Master of the seductive synth, sensitive, pop-inflected songwriter, and all-round label visionary, Lee Curtiss knows how to straddle the dance industry’s many contradictions. In the process, he releases hits as exquisitely crafted and mentally twisted as they are in global demand. The musical engine room of Visionquest, Lee first made his mark as a producer with releases for Spectral, Get Physical, Supplement Facts, and Wolf & Lamb. Through DJ sets that mine the depths of dance music’s history and live PAs that pave the way to its future, Lee has showcased his inimitable sound in the world’s most esteemed clubs and festivals around the globe. Two of his biggest hits, “Good Voodoo” and “Smoking Mirrors,” both made RA’s annual top tracks polls, and his naughty Lunatic Fringe EP, described as “DJ Deeon meets Phil Spector,” is a Visionquest’s top seller.
But despite all of this success, Lee is much more than a mere techno producer. He has done celebrated remixing work for pop icons such as Tracey Thorne and director David Lynch. As close friends know, he is just as happy at home in the studio drawing inspiration from bands like My Bloody Valentine, INXS, and Roxy Music as he is electrifying the club. These diverse influences shine through in his work, furthering his artistic goal of “bringing non dance music into dance music.”
The last few years have seen big changes for Curtiss. Several moves from Detroit to Chicago to London to Los Angeles, have ignited a passion for art, food, and fashion. And of course, Visionquest, the label and DJ/production outfit he co-founded, took off into the stratosphere, transcending the confines of the underground and becoming a global brand. The trio are behind an acclaimed fabric CD, a retrospective label compilation mining their 50+ releases, global tour of all-night sets and much more.
Lee’s personality is just as hard to stereotype as his career. Don’t let his broad shoulders and wide grin fool you, because behind the straight-shooting air of a Midwestern woodsman is the wry, self-effacing humor of a Larry David, often describing himself as “concerned about the future of house music” even while he perfects its form.