International Festival of Digital Creativity and Electronic Music
WHO: Birmingham-bred producer Lee Gamble and London visual artist Dave Gaskarth
STYLE: Abstract techno disfigurements in a choreography of animation, colour and shape
LATEST WORK: B23 Steelhouse (2015), Koch (2014)
LABELS: Entr’acte, Pan
MORE: Both artists were involved in the CYRK Collective (2004-2008), curating events, radio series, gallery work and musical releases. Gamble has a new label/portal called UIQ – Gaskarth designed the logo and contributes to its visual identity.
MUTEKs: Lee Gamble, Montreal: 2013; with Gaskarth, Mexico: 2015
With his conceptualist’s approach to sonics and an ear for deliberate subversions of genre, Lee Gamble has forged a discography built out of musical shards and artefacts — adding fringes to the fringes of electronic music in the process. His sleights of sound deal in ambiguity and rupture, intent on discombobulating the time-space continuum, toying with memory and expectation. In concert with the peculiar animations and vivid imaginings of graphic and video artist Dave Gaskarth, Gamble’s sounds are set in alien visual geographies that expand and warp their already displacing tendencies.
Growing up in 90s rave, pirate radio England, Gamble’s first releases deconstructed his teenage collection of jungle/d’n’b mix tapes, extracting and amplifying their surface noise, discreet vocal or rhythmic moments and generally creating an impressionistic, decomposed rendering of the genre: an almost hallucinogenic evocation of an era. Restlessly, he moved next into code and the space of the computer, teasing out a tangle of digitalia and putting it through a blender of processing and twisted arrangements to create a disfigured techno that still yielded an invitation to dance. With three albums on Pan now, he has established a reputation for thrilling aberrations in electronic music.
A friend of Gamble's since childhood, Gaskarth too was tutored by rave times, in his case the surrealism of flyer art turned him on – it also provided a roadmap that led him down a path through situationism, the fractured collage of Burroughs and Gysin, glossy pop art and early computer art styles. This mix of visualities and their overwhelming associations with music created an easy fusion, as witnessed in his long running collaboration with Gamble in both video work and live audiovisual performances.
Expect a mingling of sonic and visual palettes that will bend eyes and ears, as Gamble and Gaskarth undertake Foldings -- an audio visual exploration of otherworldly, hyperreal space which maps virtual sonic and visual terrains with imagery and data from the ESA's 'Sentinal Satellite Missions'. Through the concept of 'folding', time, space and sound are remapped - plotting the cartography of a virtual earth.