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viewing 1 To 10 of 10 items
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10"
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UIQ 011EP
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Lee Gamble signs up HXE (fka HEX) for a tightly coiled, hard-edged quartet of deco-rave recces in the space between sound designer techno, mutant Latinx styles, and polluted mega-tropolis vapor noise. "Rozay" opens with an alarming sort of Industrial dancehall smackdown, all panic-station strings and pummeling, off-kilter bass with unyielding effect. "Spill" sustains and vents tension with lurching, gnashing dembow dynamics. The reticulated writhe of "Worm" synchs breathless synthetic gasps with mechanically reclaimed rhythm with 'floor-flailing force.
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LP
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UIQ 002LP
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NON Worldwide co-founder Nkisi rolls out an instant modern classic with 7 Directions for UIQ. A masterful debut album informed by African cosmology and Congolese rhythms, it's aesthetically comparable with music ranging from Æ's Incunabula to The Connection Machine's Painless, Lee Gamble hyperprisms and William Bennett's Cut Hands, but ultimately it's peerless in the (hyper)modern field. Specifically referencing the writings of Kongo scholar Dr Kimbwandende Kia Bunseki Fu-Kiau and the African cosmology of the Bantu-Kongo, 7 Directions is offered as a gateway to hallucinatory mind states via aerobic mysticism. Ultimately it is focused on the idea that rhythm has the capacity to modulate and experiment with conditions of perception, and to disrupt predetermined expectations, and does so in the belief that new movements of energy can determine collective behavior and generate new possibilities for knowledge production and dissemination - perhaps even supposing rhythm's potential for premonitory pattern recognition. Nkisi's notions about dance music's relate to its potential for transferring and conveying energy, both negative/ecstatic and abstract/intuitive, so it's a rare pleasure to hear her limn those ideas so beautifully, effectively and open-endedly through 7 Directions. In each part she inimitably unlocks and retunes the body's rhythmic anticipation with breathless batteries of incredible polyrhythms that arguably make the majority of Western dance styles sound like rote line dance music for folk with little imagination in their bones. In each direction Nkisi's drums writhe and rattle in a simultaneously ancient/futuristic style - ancient because they explicitly reference percussive traditions older than Western civilization, and futuristic because they've never been presented in this way before, alloyed with cosmic synth pads that draw lines from Detroit to the Lowlands and back to the source, way out in the cosmos. But rather than closed systems for study and analysis, Nkisi's tracks feel like living, bristling organisms or virulent systems that only become activated with user participation, where those ideas can begin to take root, grow and mutate via kinesis. Even if one doesn't dance in public and saves 7 Directions for the living room/bedroom/holosphere, listeners will get the best out of this album by putting something in themselves, by shutting their eyes and dancing with it. Mastered by Mike Grinser at Dubplates and Mastering, Berlin. Design by Dave Gaskart, photography by Susu Laroche.
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LP
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UIQ 001LP
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Contemporary computer musician Robin Buckley, aka rkss, reassembles mainstream EDM sample packs on the killer, unconventional DJ Tools LP for Lee Gamble's UIQ. Manipulating off-the-shelf sounds from "EDM Kicks Vol.1" through various processing techniques, rkss explores the politics and aesthetics of club culture, technology, and queerness by radically altering these preconceived, "purpose-built" blocks of sound from their original use, and rendering them in a spectrum of non-standard, ambiguous designs that both highlight, abstract, and reimagine the samples' social function. The result is nine hyper-colorful, unpredictable, and uniquely engaging tracks that metaphorically connote queer dynamics, employing the user-oblivious potential of computer software to shape a form of dance music that insightfully reflects and celebrates rkss's difference within the flux of today's social spaces. In other words, it's a music very much of, and for, its times, crucially in step with current redefinitions of musical boundaries and identity politics. In rkss' own words: "DJ Tools was recorded at a turning point for me as an artist and person as I came into the aesthetic and social limitations I was finding in contemporary dance culture. I started to change how I thought about myself as an artist in terms of changing the way I created music, instead of writing the music at home and later arranging it for the club, I started writing music for live performance first. I wanted to be able to arrange these pieces/excerpts/sketches live. I was beginning to re-arrange how I thought about my gender/self and placing, exploring and finding the language to point to my sense of difference as a rans person. DJ Tools was where I began to formulate my own relationship to club culture as a mostly sober, transgender person, what version of club music did I want to engage with in that social space... Fluid, dynamic and reacting to audience. Highlighting the social. Sharing & connecting through my difference rather than erasing it." RIYL: Florian Hecker, Rian Treanor, Jesse Osborne-Lanthier, V/Vm, Evol, Errorsmith, Theo Burt. Master and vinyl cut by Matt Colton at Alchemy.
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12"
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UIQ 009EP
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Egyptian producer Ahmed El Ghazoly makes a stunning second mark on Lee Gamble's UIQ label with Numbers. The six tracks experiment with tessellating dry and fluid textures. The dusty, humid London-via-Cairo swerve of "Bow" goes into the metastable techno momentum of "CommProto". "She's Hearing Voices" feels like a smoking area between rooms, heard in a queasy but spangled state. The chromatic trance warp of "What You Do" convulses into action, followed by its grubbing Autechrian inversion, "Tongue Chomper", only to slide off the page into the melted dancehall of "Foam Home".
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12"
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UIQ 008EP
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Aesthetically, Sim Hutchins's Vantablank Stare EP's roiling post-jungle-ism and fractured dub techno recalls N1L and Lanark Artefax, but its conceptually closer to Sam Kidel's Disruptive Muzak (RAVE 014LP, 2016). The music uses samples of radio waves, covert signals, and intercepted E-Comms as the raw material for an impressionistic tussle of invisible forces, translating as disembodied jungle structures in "Some Men (You) Just Want To Watch The World Burn", and as an allegory for textural attrition in "Nescience Is Not Ignorance", whilst "Some Men (Me) Just Want To Let The World Burn" is a knottier tract of warped, quicksilver dub techno.
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12"
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UIQ 006EP
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The angular, abstract funk of Renick Bell's Empty Lake EP is perhaps exactly what you might expect from a pioneer of algoraves - a forward-looking union of live coding and rave music. With Empty Lake EP, Bell skillfully teases out a tangle of post techno pulses, shards of catty ballroom house, hardcore kuduro and footwork patterns. From the recoiling swang of "Trying To Control The Four Winds" to the Patten-like melt of "The Well" and the fluctuating states of "Surface Waters Flow Together", there's a level of detail here that will baffle your sense of meter and tone.
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12"
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UIQ 003EP
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Budapest scene lynchpin, S. Olbricht delivers a quartet of chiming ambient techno and woozy house tracks with ZZM EP. ZZM EP rolls deep into those lip-smacking, thizzing ends of the night with a key subtlety and firm-but-light touch. These tracks rank among S. Olbricht's most seductive and hypnagogic. From the Terence Dixon-like harmonic suspension systems of "137x3brk" and the ruddier rumble and flickering rim shots embedded in the chasmic "Ktyring" to the glowing chord filaments laced into the 110bpm slug, "J UC". The gracefully tilted techno elevation "F10a1" could easily be mistaken as the work of label boss Lee Gamble.
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12"
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UIQ 005EP
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22 year old Glaswegian, Lanark Artefax, presents a debut on UIQ. A willingness to bend perceptions is key to the title track and the lush, polymetric gyroscopics of "All That Is Solid Melts Into Air" or with the prism-pushing aspects of cone-buckling subs and interlaced choral frameworks in "Remainder I". "Glasz" is a curdled take on trap, oozing queasy stripes of melody and rave stabs on a brittle rimshot/snare, before "Phasze (s_h_i_f_t)" diffuses grime in an aether fantasy of sci-fi romantic pads and elastic drums, and "Virtual Bodies" glitches a sort of shatterproof hyper chamber music.
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12"
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UIQINV 001EP
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Lee Gamble presents Chain Kinematics; the first release on his UIQ Inversions series. Lee Gamble ups the dynamics, heading into new realms at the intersection of jungle techno ballistics and ambient dimensions. Chain Kinematics presents four powerful studies for bodies in motion and students of the future; Bending time, light and space between "004"'s mutated percussive dimensions and the warehouse wormholes of "For Infernomatics", the suspended proprioception of "Kinematics"'s emulation of a night flight thru Gamble's glittering grey matter, through to the helter-skelter torque of "Cnull".
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12"
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UIQ 002EP
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Lee Gamble's UIQ label presents the debut EP by Cairo multi-instrumentalist, producer, and sound artist Ahmed El Ghazoly aka ZULI. "Robotic Handshake in 4D" syncs neck-snap sub knocks with shimmering gamelan tones and gremlin voices like a lost Dabrye bomb, before the creamed microtonal timbre of "Compactpact" and the Beneath-style bleep-and-bass pressure of "131001G." "Robotic Jabs in 4D" sparks its lush, fluid synth swell with desiccated 2-step jungle patterns before the decelerated thump and STL-style dub house triplets of "Ahmed ?" Closer "Dr. Beckett" convulses like a Gantz riddim during an ayahuasca ceremony. RIYL Lee Gamble, Coil, Urban Tribe, Beneath.
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