For example: I wonder how wild dance floors could get when served by Haiku's itchy techno tracks. "Showdown At The House Of Blue" and "The Blood Splattered Bride" are cut for big rooms, but the top layers of texture Haiku installs in both are as sumptuous as they are confounding. (On "The Blood Splattered Bride," vapour from a glassy pad is occupied by what sounds like a balloon being twisted and tied over and over again.)
Mike Parker's contributions are equally imaginative. A simple synth squiggle is wound so tightly around "Vorticular Movement" that it becomes completely disorienting, despite not much changing across its six minutes. The rhythmic shifts are as perceptible as they are deniable. "Luminescent Black"'s ping-pong chords are less of a puzzle, emphasising space over "Vorticular Movement"'s dizzy motion, but they're of a piece with the rest of Inkblots #3, a release whose artwork is the most straightforward thing about it.