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- Dutch Tvashar Plumes by Lee Gamble
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This record opens up with a right awkward blast of mangled alien electronic shavings that veer from bright to dull in fidelity. It has one foot in glistening ambient pastures and the other in a murky pond of bent-circuit intoxicated wonky synthesis. Then there’s a brief blast of cyber distortion that dissolves into static then...nothing until this superb piece of murky lo-fi techno slams in. ‘Plos p7s’ devastates the dancefloor of my mind. Next comes the short but sweet foggy sound of a train moving slowly through a gravel storm prior to being struck by lightning.
There’s another really cool intriguing techno piece towards the end of S1. This is buried under a dusting of static echo before the blunted, slightly abstracted beat sharply steps up and slams into your frontal lobe whilst eerie come-hither glimmer ‘n’ chime carries the melodic baton. I especially admire the lovely ribbit/clatter of what sounds like an orchestra of wooden tree frogs.
S2 begins with a woozy vibraphone style piece, very pretty, then more strange malfunctioning scrunched-circuit madness blended with a very bass-y 4/4 from five fathoms below. ‘Nowhen Hooks’ is a slippy disembodied house track that would probably sound dead normal on ketamine but alas, on my almost forgotten lukewarm morning cup of tea it sounds fucked-up, disorientating but nevertheless quite brilliant.
‘Tvash Kwawar’ appears like some ace kind of techno/chime amalgamation with lots of fidelity range manipulation. This would sound divine over a massive system, well tripped-out. Concluding with a nice stormy, yet zen drone piece, this is quite a different record to his recent slab of intriguing skeletal jungle-disassembling. I prefer it to be fair even though that record was incredibly interesting - he’s obviously a producer of real talent and scope. I look forward greatly to hearing much more. On the always challenging and cutting-edge PAN, housed in lush graphic designed PVC packaging as always. Respect.
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