When in 2012 Lee Gamble released his EP »Diversions 1994-1996«, pop-culture was still doing the splits between the retromania-debate on the one hand and the breakbeat-comeback on the other. It was the right record at the right time, one could say: breakdowns, decelerated to an almost unbearable slowness, found by Lee Gamble on jungle-tapes from long forgotten days, when he was still a teenage listener of pirate radio stations. They were just as utopian as they were claustrophobic, euphoric and relaxed. However, the muffled, barely real techno-draft, which Gamble presented together with his LP »Dutch Tvashar Plumes« was not as convincing, even though it wasn’t any less trendsetting. Its special sounds-aesthetics were to inspire labels like L.I.E.S. and Opal Tapes to come forward with a hype beyond comparison. Now, the EP »Kuang« and his second long player »KOCH« (pronounced »kotsch«) are demonstrating Gamble’s divided interests once again: The short format attends to flashy versions of a somewhat unique club-music and spherical ambient, while the LP proves his passion for beat-based psycho-acoustics and rolling beats. Its polished sound design might remind the listener of the early works of Oneohtrix Point Never, while at the same time, it huddles against the dance floor: Hallucinatory, levitating layers are opening spaces, while stubborn beats are pushing them further towards the future. »KOCH« is a somnambulistic record, it’s every ketamine-party’s highlight. It delivers the beat for the deepest levels of our consciousness to raise their fists up in the air, and it is therefore more than a worthy successor of Lee Gamble’s records from 2012, combining all their various strengths.