hough he may give off the straight-shooting air of a Midwestern jock, Lee Curtiss has a wicked ear, plain and simple. Like his partners-in-crime Seth Troxler and Ryan Crosson, the shaggy Curtiss produces primal, exquisitely deep dance tracks that pulse with life, sex, and humor, incorporating countless genres but beholden to none. Lee Curtiss is an eccentric, an original, a ten-year veteran of the electronic-music scene—and his love of his craft shines through in his tracks’ every bump and shudder.
Curtiss grew up in Western Michigan and eventually moved to Detroit, living the guitars-to-turntables / concerts-to-underground-parties arc shared by so many other children of the electronic-music revolution. The similarities end there, though—Lee displayed an immediate knack and passion for dance music that translated his love of Prince, Quincy Jones, and good
old underground disco into a production and DJ style noted for its sensuality and effortless style. Now returning to Detroit after an extended stay in Berlin (where he swapped ideas and lived with his old friends Troxler and Crosson), Curtiss continues to produce vital releases and remixes on labels including Dumb-Unit, Wolf+Lamb, Esperanza, and Mothership, and play DJ gigs the world over.
The Black Door EP, Curtiss’ first release on Spectral Sound, was years in the making—stretching back to the producer’s early days in Detroit, where he first befriended label mainstays Matthew Dear and Ryan Elliot. To be released in October, 2009, the Black Door EP is the result of years of stylistic tweaking and Curtiss’ ever-shifting aesthetic agenda. It’s also quintessential Lee: instantly familiar, subtly unhinged, masterfully executed dance music.