EKKSTACY is the third album by the eponymous artist. It’s a poetic autobiography, intimate and grazed, laid out on a raw and dream-like punk. Review.
EKKSTACY – EKKSTACY
For an obscure reason, I often associate the idea of a first album with eponymy. Yet, many bands and artists actually decided to go down this route later on in their careers. That’s what EKKSTACY did as he released EKKSTACY has his third record. The reason here? It’s more autobiographic, exploring (some) joys, (many) sorrows, and the artist’s loneliness. And getting this one out after spinning previous records is only strengthening the intelligence and power of the project. After all, he’ll evolve even more… and compared to now, he probably didn’t have the same self-awareness as an artist in the first one.
Let’s jump, then, in a spiral of cold pop, grazed punk, visceral poetry. Everything starts on the road, endlessly rolling under the tires, like a meditation… i don’t have one of those has that hypnotic and relaxing lull to it. EKKSTACY’s vocals are landing here like a feather. Then it turns sticky with goo lagoon. The sound gets rawer and more acidic but stays dancing. It’s a vibe found on the whole record – like on luv of my life, fuck, and chicago. And if I enjoyed the romantic bits (bella) and dreamlike bits (get me out), as they are sublime, I really was blown away by that strong-headed spirit that bursts in from time to time.
The road stretches still but allows for some stops, just in time to get some cool collaborations in (alright with The Kid LAROI, and problems with Trippie Redd). It’s an album easy on the ear, playing with a movement between heavy guitars and sci-fi-like sound effects. However, it’s not a simple album, as its themes can get pretty intimate. EKKSTACY isn’t made for a stadium, but for clubs where everybody is happy to share that precious well-thought yet wild sound. Fascinating.
