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Sep 25, 2014With KOCH, Gamble has found a canvas that's just the right size to fit everything on, to hold the whole beautiful thing up at once.
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Sep 25, 2014The lucid dreamlike hold of Koch carries unparalleled allure, elevating Lee Gamble's already adept soundscapes to quicksand plateaus.
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MojoNov 7, 2014An unsettling soundtrack of misanthropic club dystopias. [Nov 2014, p.99]
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Sep 29, 2014The sounds that seem most real and certain disintegrate as you listen to them, while the ones that might be an illusion drift into proximity, obscuring all else.
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Sep 25, 2014Once again, Lee Gamble has managed to produce an effort right in PAN's wheelhouse, pairing idiosyncratic experimentalism with dance floor styling, and it totally works.
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Sep 25, 2014Rich and disorientating, KOCH accesses a different pace of life--or rather several, bewilderingly, all at once.
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Sep 25, 2014At times, KOCH is so microscopic it feels like there’s barely any place left for this music to go. But Gamble keeps finding new ways to take it apart and reassemble it, to the point where something so closed off, so concerned with the smallest of gestures, feels thrillingly open.
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The WireDec 2, 2014Koch feels like a merger of the two [Diversions 1994-1996 and Dutch Tvashar Plumes], backsliding into the dance timbres of yesteryear, and their hissy, ever moody dissolutions become predictable. [Oct 2014, p.63]
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UncutSep 25, 2014Gamble is a dab hand at sound design and creating textures that convey anxiety and paranoia--some tracks are smothered in hiss--but because of its sprawling length, parts of KOCH feel rather one-dimensional. [Nov 2014, p.75]
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Sep 25, 2014While the Actress tracks were, by most accounts, club tracks exposed to organic erosion and presented in sequence as an endurance test, KOCH is more bizarre and less aggressive.