Three remixes—one of them by waveTangent—and two originals dip back and forth between rusty machines, faded oscillators and lively audio deconstruction.
Michael Morton digs deep into his roots for the Curse of the Black Lotus, delving into darkened drum’n bass and post-industrialism with a positive slant. Synths rummage through tangled drums as the prolific Toronto, Ontario-based resident continues to sharpen his tools and etches a continuous path of lively, freeform chemical decomposition on his own realigned Crime League imprint.
Five slices of ricocheting percussion and scorched melodies slither through layers of grit somehow display shadows of early Witchman and Noise Unit productions. Three remixes—one of them by waveTangent—and two originals dip back and forth between rusty machines, faded oscillators and lively audio deconstruction. Broken up by fast paced loops, shivering vocal snippets (“Black Sun, Black Moon”) and disorienting spherical beauty (“RZLA—Burned Mix”), all is well in the land of displaced semi-gothic structures. While there are obvious looming textures encapsulated here, beams of light ever so carefully pierce through the shadows.
Fans of early pioneering industrial and synthesizer-based experimentalism—including Cabaret Voltaire, Intermix et al—will revel in this brief crepuscular audio snapshot.
Curse of the Black Lotus is available on Crime League. [Release page]
