published 2 Nov 2012 interviewed by Joseph Morpurgo share At first glance, Lee Gamble 's feet are are firmly fixed in the more academic fringes of contemporary electronic music. In his role as a key member of the speccy Cyrk collective, Gamble has curated or contributed to work by William Bennett, Russell Haswell, EVOL and NHK; his sonic collaborators (digital composer John Wall, artist Yutaka Makino) are from similarly rarified environments, and austere experimental stable entr'acte have handled his solo releases. 2006?s 3? CD 80mm O!I!O let complex digital processes run wild, with chaotic and spastic results. 2009?s oblique Join Extensions , meanwhile, was a tribute to "perpetual configuration, disfiguration and reconfiguration" -- five words which accurately sum up whether the record will be for you or not. Gamble's roots, however, lie in much grubbier soils. The Birmingham native came up DJing on pirate radio stations, and spent his formative years in the mid-1990s as an active participant in the jungle scene. His recorded work is all about process, sonic disfigurement and deliberate abstraction -- but there's raver's blood in those veins. Two major releases on Bill Kouligas' PAN label see Gamble pursuing two different sorts of muse. Forthcoming ten-track LP Dutch Tvashtar Plumes sees Gamble produce a sort of twilight computer music: a gossamer-thin collection of ambient and techno, it's a comparatively accessible step on from the sonic essays found on his previous solo discs. Diversions 1994-1996 , meanwhile, is a breathtaking 25 minute composition for 12? vinyl, cobbled