A Journal Of The Dark Arts
Label: Hospital Productions
Release Date: 12.23.13
Ron Morelli’s Backpages is the Taxi Driver of techno records. Cut from the same frenetic recording sessions that yielded Spit, inspired by hooker spit & antisocial tendencies, like the latest release from Morelli’s L.I.E.S. imprint, this is Music For Shut Ins.
Burned out bass synths and tense, pulsing beats rise like heatwaves from melting asphalt, as “Public Consumption” fills yr tropical apartment/dentist waiting room/plasma donation center, taking you back to the Summer Of Sam, the razor’s edge of public wantoness & sensuality, about to recede into a generation of sterile, polished recluses. You can practically SMELL the music contained on Backpages: it smells like roasted peanuts and car exhaust, sweat and cigarettes. This is New York, existing in a perpetual gloaming.
Like much of the music on Long Island Electrical Systems, which has been one of the leading halogen lights of the underground electronic music world this year, Morelli’s music has a sense of urgency and immediacy, raw, rough and ragged, just how we like it. In a recent interview with Fact Magazine, he said:
I think it’s good to get lost in the frantic energy of the moment and not stop to think. To me if it sounds good then it is good. The bottom line is that there is always more one can do. You can always edit more, you can always EQ more, you can sit there for days or months getting stuck on a sound.
This is the sound of a man at work with his machines. And it DOES sound good, so it must BE good. With most electronic music, there is a sense of the producer fiddling with their hardware, screwing around with the building blocks of sound and notating the results. Complex systems are set up for mutation and modulation, until tracks become technological ecosystems beneath the surface of ducking bass and waves of reverb. Morelli’s synths are like an incandescent school of snapper shrimp, around the bones of an anenome reef of solid percussion.
Ron Morelli, along with some of his L.I.E.S. roster (which you will be hearing more about, trust us), along with Domincik Fernow and his Hospital Productions, perfectly encapsulate the dichotomies and contradictions of Forestpunk. It’s reclusive and introspective, yet explosive and danceable. This is music for scholars who like to dance. Music for friendly misanthropes. It perfectly straddles the world of staying in vs. going out. You need both, to stay sane. Morelli’s music functions on headphones as well as soundsystems. Morelli’s also a seasoned DJ, so his instincts are good. Clever, forward thinking selectors would be advised to get in on the ground floor, grab this on tasty purple vinyl before it costs $50, and rock the dancefloor with some challenging, but satisfying fare.
Since this frenetic outburst of recording, Morelli has since abandoned New York, which he described as “a dirty cesspool” in favor of Paris, where his aesthetics are more widely acknowledged and accepted. This may be a rare window into malcontent, so get on board now, while the producer is still lean and hungry and disaffected.
I’ve heard Spit a little bit, but am definitely going to have to go back and investigate further. Will return with findings.