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Tlaotlon – Ektomists

Artist: Tlaotlon
Title Of Album: Ektomists
Year Of Release: 2014
Label: 1080p
Genre: Experimental, Drone, Techno
Quality: MP3
Bitrate: 320 kbps
Total Time: 00:29:45
Total Size: 67 mb

Tracklist:
1. Spetra 07:43
2. Novodene 07:09
3. Juicerays 07:43
4. Fuji IV 07:09

Twisted, maximalist and hyper-cerebral electronica from New Zealand (now Melbourne-based) producer Tlaotlon aka Jeremy Coubrough, who has produced a number of distinctly frenetic records in the last few years for Dungeon Taxis, Epic Sweep and Trensmat.

After recently replacing the old PC (a rugged dusty chunk of components in an exposed case with no protective panels) on which he built those experiments in noise and dismantled techno, Coubrough explores a new kind of narcotically euphoric virtuality on a new machine, with added synthetic stimulation from a new e-cigarette. For “Ektomists”, the vapour flavour of choice was Redbull; thick plumes of smoke in front of dual 24” monitors displaying several new processes in the Tlaotlon sound.

The four 7-minute tracks on “Ektomists” are multi-rhythmic and techno-influenced, with huge flourishes and meticulous sound design thanks to this more computer generated approach. Where previous albums have incorporated more analog approaches (built with a series of pedals and a 16 channel desk), this newly erudite take on re-negotiating techno’s relationship to machines shuffles amongst hectic polyrhythms but also more linearly laid out drum sequences; post-industrial and slippery, fluid, and accelerated.

Synths, distorted samples and drum sequences hustle for space and attention only to crumble outward into wide open space, an endless-point-cloud vapourized/vapourizing domain. Insanely manipulated, growling digital vocals are drilled into huge, rapturous synth chords that are above all suggestive of an escapist urge to interact with but ultimately soar above power and technology, whether it’s the machine of the NSA, marketing, or emojis.

“Novodene” is a pure out of body experience built in a space between mind warping acid ideals and exhibits looks towards the funky edges of the mechanic with anthropocentric rhythms and a heavy deconstruction of four-four dance signifiers for an ultimately sleek, mechanic but biological experience. “Fuji IV” has the same sort of club backbone but quickly disorients into messy, quasi-techno punctuated with bursts of outer-space synth swirls and brightly mutated textures.