For the second instalment in Lee Gamble's Flush Real Pharynx series, the producer has eschewed the serpentine meanderings of the opening chapter in favour of a vigorous, energetic twitchiness. This is echoed in the cover art, in which the smooth metallic figure that introduced the series now finds itself vandalized by multiple coloured adornments in a variety of textures. This is a chaotic affair, vibrating with an agitated energy.
A series of digital bombs explode as "CREAM" brings Exhaust into focus, and an advertisement for cosmetics serves to enhance the concept of the "semioblitz" that was introduced in the first instalment of the triptych. "Envenom" is an exhalation of dreamy pads that launches into an almost funky drum breakdown before it crumbles into a pile of sonic rubble. The jackhammer beats of "Glue" are paired with a rave-inspired vocal sample that slides deliciously in and out of focus.
The hyper-glitchy "Naja" slowly worms its way between the folds of the listener's gray matter, its ever-accelerating footwork-like patterns driving unintentional limb thrashing and head bobbing. "Tyre" is almost comical in its rapid-fire delivery of a slot machine cacophony, accompanied by a motor-mouthed rhythm.
The trio of tracks that closes out the proceedings — "Switches," "Shards" and "Saccades" — finds Gamble preparing himself for the third and closing chapter in his rumination on the ever-present onslaught of sensorial stimuli. The fractured sonics slowly evaporate, creating a conceptual tension that aches for a closure that only Gamble can provide.
(Hyperdub)A series of digital bombs explode as "CREAM" brings Exhaust into focus, and an advertisement for cosmetics serves to enhance the concept of the "semioblitz" that was introduced in the first instalment of the triptych. "Envenom" is an exhalation of dreamy pads that launches into an almost funky drum breakdown before it crumbles into a pile of sonic rubble. The jackhammer beats of "Glue" are paired with a rave-inspired vocal sample that slides deliciously in and out of focus.
The hyper-glitchy "Naja" slowly worms its way between the folds of the listener's gray matter, its ever-accelerating footwork-like patterns driving unintentional limb thrashing and head bobbing. "Tyre" is almost comical in its rapid-fire delivery of a slot machine cacophony, accompanied by a motor-mouthed rhythm.
The trio of tracks that closes out the proceedings — "Switches," "Shards" and "Saccades" — finds Gamble preparing himself for the third and closing chapter in his rumination on the ever-present onslaught of sensorial stimuli. The fractured sonics slowly evaporate, creating a conceptual tension that aches for a closure that only Gamble can provide.
