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English sound artist Lee Gamble (from Birmingham) debuted with the
randomly improvised/composed computer music of Join Extensions (2009),
a rather childish work that straddles the border with both free jazz and
early electronic music (Paratelic Offsets), but matured with the
EP Diversions 1994-1996 (2012), a collage of cassette tapes that
scientifically removed, or muffled or slowed down, the beats from dance pieces
and otherwise manipulated the remains, concocting a sense of dislocation
and alienation (especially Emu), of disorientation and weightlessness
(M25 Echo),
of ghostly breathing (Digbeth), and visions of nocturnal factory robots
marching towards sinister gatherings (DTI, the expressionist peak);
the
hedonistic factor reduced to a concerto of anemic gestures, coupled with a
subtle case of minimalist repetition (Razor, a particularly emasculated
example).
Dutch Tvashar Plumes (Pan, 2012) was less cohesive overall, but its
selection of laboratory beats yields
throbbing sound sculptures like Plos 97s and especially
Tvash Kwawar, the
glitchy cosmic music of Skorokhodz, the
skittering minimal techno of Coma Skank,
as well
more abstract vanishing philosophical meditations a` la Diversions
such as Black Snow and especially
the desolate post-human soundtrack of Kuang Shaped Prowla.
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