5–8.09.2019 BIAŁYSTOK
Lee Gamble

Lee Gamble

United Kingdom

Friday 6 IX 2019 Beats.
Włodi Iglooghost live

Sound designer/junglist/composer and DJ Lee Gamble’s output defies clear cut genre
categorization – from roots as a teenage DJ rinsing state-of-the-art jungle, to exploring the
sound architecture and abstraction of comupter music — Lee’s flair for probing, warping and
dissecting stereotypical conceptions of electronic sound led to the release of the seminal
Diversions 1994-1996, followed by Dutch Tvashar Plumes and Koch and Kuang on PAN &
Mnestic Pressure on Hyperdub, and the start of a new platform dedicated to new voices in
electronic music - UIQ.
Gamble’s brand of hyper-concrète and his dynamic DJing style earned worldwide recognition
from audiences, critics and major art & dance music institutions alike. Lee has presented his
work – solo live performances, DJ sets and a cartographic A/V show Foldings developed in
collaboration with visual artist Dave Gaskarth – at ICA London, Southbank Centre, MoMa PS1,
Tate Modern, Sonar Festival, Berghain, WWW in Tokyo, MMCA Seoul, Fabric, Ministry of
Sound, Sonar Festival, Unsound Festival, Oval Space, Village Underground, Mutek Festival,
Old Granada Studios, Dimensions Festival and The Empty Gallery in Hong Kong to name just
In 2017 Lee has been commissioned by Shiva Feshareki and the London Contemporary
Orchestra to compose two acoustic pieces to be premiered at the Great Masson Cave in
Derbyshire Peak District alongside the first performance of Éliane Radigue's latest acoustic

In telling his tale, Gamble comes across as a tireless innovator - somebody for whom shredding
conventions is a default setting, not some once-in-a-career feat. But more importantly, Gamble's
tale eerily encapsulates the dominant aesthetic collisions of our times: the dancefloor and its
negative, nostalgia and iconoclasm, hi-fi precision and lo-fi impressionism. The Quietus
[...]he proves that the future of experimental music doesn’t have to be difficult – for the listener
at least. The sublime Ghost holds back his prior abstractions of jungle in favour of something
bordering on a straight up roller, and it’s nothing short of spectacular. CRACK
Among many other subjects, Lee Gamble was wrestling with artistic development, premodern
musical notation, politics and soundsystem culture when he wrote Mnestic Pressure. This
makes sense. The record achieves an incredible collision, where complex themes and ideas
meet the raw immediacy of the dance floor. RA

Ever the experimentalist, the Birmingham native has forged a truly unique approach to making
music, fusing philosophical ideas with sonic technique. The result: songs that conjure up
emotion, instigate reaction and truly mesmerise. Past outings on the reputable PAN, his own
UIQ label and Hyperdub, imprints championing innovation and avant-garde production, illustrate
Gamble’s forward-thinking nature and ear for the inimitable.” Hyponik
Last year’s Mnestic Pressure felt a watershed moment for Lee Gamble, a point in which his
conceptual digging collided with cultural reference points and produced an explosion of thrilling
force. It was no end-point however. Sets like this one, glitchy and epic in scope, belie a mind in
restless flux. There’s an endless tension at work here: build-ups stretch onwards, snatches of
incoming breaks or bleeps are interspersed throughout, and razor-sharp sound design
contributes to this deeply unsettling, nerve wracking trip. Its angularity is also intensely
satisfying, teasing at the boundaries of how far you can push it while retaining just enough
control to keep a dancefloor moving. One of the very best working right now. CRACK
Whether or not Gamble intended for Mnestic Pressure to be an exercise in confronting modern
UK electronica’s fractured past and present, it certainly resonates as such [...] as a work that
gathers up so much of what’s going on in modern dance and electronic music in 2017 and finds
ways to make them click together, Mnestic Pressure feels like a game-changer, or at the very
least a defining moment. Time will tell. The Quietus

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