La visión panorámica de Lee Gamble (PAN.UK)

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La esperada vuelta creativa del autor experimental británico Lee Gamble irrumpía hace unos meses con la llegada de uno de los cortes que aparecerán en su nuevo álbum, “KOCH”; en ese momento faltaban aún detalles que conocer sobre la naturaleza de ese disco que será de nuevo editado por PAN y su EP precedente, “Kuang”. Hoy y vía Resident Advisor, el artista aporta más contexto a las publicaciones: dice el sello que el álbum divaga en cuestiones más profundas que sus antecesores “to reveal a singular and intimate musical vantage point, shifting to approaching music as projection, state, hallucination, an other place”.  ENG. The creative arc Lee Gamble’s music has taken is a strange and wonderful thing to behold. It began with a literal tearing apart of his influences, and then set off on a journey to see how much further away he could progressively move from them. His first full-length release, Diversions 1994-1996, tore passages from jungle mixtapes, stripped all the beats out, and reimagined them as dysfunctional bad dreams. The word “abstract” is never far away when people reach for descriptions of the London-based producer—and with good reason. His second release for Pan, Dutch Tvashar Plumes, was a hollowed out shell of techno, where all semblance of form and shape was lost long ago, leaving only fragments of a former good time. Gamble’s music is staged in an unusual place, somewhere between the unreal and the all-too-real, where wretched drug experiences at past-peak club hours somehow end up in a form of metaphysical drift into the following morning.

SOUNDCLOUD