Helmed by producer Greg Reason, Brisbane-based band Ektoise (formerly known as Purity Device) managed to attract considerable local acclaim upon the release of their 2008 self-titled debut EP, with the resulting dark fusion of electronic and processed instrumental elements inspiring comparisons with the likes of Coil, Nine Inch Nails and Ulver. In the wake of the band’s recent limited four-part seasonally themed CDR EP series, this debut album ‘The Single Act Of Being’ sees Reason continuing to expand his considerable ambitions out even further, and indeed it’s no real surprise to discover that Ektoise’s live line-up currently consists of eight members, such is the breadth of sonic territory and moods covered amongst the ten tracks collected here. While the aforementioned comparisons to Trent and Co. might suggest a gothy industrial at work here however, in reality the predominant mood captured here is one that leans far further towards shoegaze-informed post-rock and dark ambient / drone, with a virtual kitchen sink’s worth of other genres rearing up in the mix at various points. Emerging from a swirling backdrop of eerie synth arpeggios and clicking glitchy rhythms, opening track ‘Rivers Of Enkephalin’ kicks proceedings straight off into sinister, steelplated leftfield hiphop territory that sits somewhere between Amon Tobin and El-P, shortly before fierce walls of metallic guitar feedback power things towards a triumphantly flaming conclusion that ends in a mass of DSP contortion.
The misleadingly-titled ‘Miasma’ meanwhile sees feathery acoustic guitars slotting in alongside overdriven power chords in a wide-eyed moment that almost calls to mind one of Sigur Ros’ sweeping, orchestral arrangements – indeed, it’s easily the most ‘optimistic’ offering to be found here. Elsewhere, ‘Active Denial System’ manages to fuse My Bloody Valentine’s blissfully shearing sonic attack with the sorts of furious metallic fretwork you might expect from Cannibal Corpse with surprisingly convincing results, before abruptly sending things straight out into woozy hiphop-laced jazz for the outro section, blunted beats sliding effortlessly beneath smoky contorted horns, while ‘Euclidean Curve’ even sees some piano house elements creeping in amongst the distorted bass and clattering broken drum rhythms before ‘The Great Perpendicular Path’ wanders out into seven minutes of vast droning dark ambience coloured with the eerie howl of pitched-down guitar feedback and spectral voice harmonies that evokes an atonal yet exquisitely controlled atmosphere similar to that of Ligeti’s themes for the obelisk in Kubrick’s ’2001.’ While genre-crossing exercises of this type often end in disaster, if not sheer clumsiness, with the exception of ‘So Slowly’s atypical wander into tepid ‘adult contemporary’ pop stylings, this debut album sees Ektoise crossing established boundaries with a level of adeptness and confidence that’s almost intimidating at points. Well worth investigation.
Chris Downton
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