With Exhaust Lee Gamble adds another piece to the pan which sees In a Paraventral scale as a stand-out first chapter and which we talked about earlier this year.
The Birmingham-born artist carries around his usual hand luggage loaded with philosophical meditations and with a sound design well-worth of an essential textbook. However he also goes on with the critically acclaimed experimentations regarding the Semioblitz, ‘the aggressive onslaught of visual & sonic stimuli of contemporary cities & virtual spaces’. One thing is certain: Lee Gamble doesn’t play it safe.
By now, we find ourselves in a despotic society which the London-based producer portrays in a unique fashion relaying on fluid sonorities, IDM glitches and abrasive techno echoes. Hardly falling into place, Exhaust strikes at the brain more than at the heart, which still remains dazed and mesmerized by his majestic use and alternation of melodies and urban sounds.
Stroboscopic synths mingle with urban confusion, provoking total estrangement, at times truly killer for how he combines the two sonic spheres. Tinkering again and again, Gamble even pops out with captivating melodies (in their mechanical monstrosity) and rhythmic constructs that fit together as a pair of well-worn jeans, uniquely mixing together extremely different and fascinating ideas.
To say the least, If the whole album was at the same level as its peaks (Switches and Shards), we could easily label Exhaust as one of the masterpieces of recent years. Despite this not being possible for a single chapter made of eight tracks, during its almost thirty minutes-long run, Lee Gamble never stumbles, presenting a world of sorrow and alienation where ‘weightless’ and ‘hardcore breaks’ coexhist in a skein of synthetic gridlocks.
A further confirmation of the pivotal role played by Gamble in the present experimental electronic scene. This remarkable sound essay will leave you wanting for the next and final segment of this amazing project.