Led by Albert Wolski, the cult Naarm/Melbourne band blending post-punk, dub and krautrock, have unveiled their seventh album on LCD Soundsystem’s DFA Records.
It’s a wonderful success story: Local band works persistently, writing and touring worldwide, then an established imprint swoops in to recognise that hard work. Well, it’s rather a case of showing the power of cold outreach.
The announcement of EXEK album number seven, Prove the Mountains Move, included frontman Albert Wolski’s out-of-the-blue Instagram DM to DFA: “Hey there. Long shot. We recently finished our new LP. Wondering if you’d wanna check it out and consider releasing it. No prob if not.” The folks at the DFA office already had them on rotation for years.
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Now signed to the label, the band lives in another rightful home. “We might not sound exactly like LCD Soundsystem, but we share pretty similar DNA in musical influences,” Albert says. “And I’ve always considered their lightning bolt logo to be cool AF.”
For over a decade, EXEK have prolifically released hypnotic post-punk music with hooks that’ll reel anyone in. Their fusion of quirky synths, angular riffs, and deadpan spoken word recalls underground alternative bands of the past, but the coolest thing is that it’s from Melbourne.
Prove the Mountains Move strays away from the unsettling atmosphere of their previous work. Albert describes the new songs as some of their most “epic”: “The number of chords in the middle eight of Arrivederci Back Pain are nothing short of epic. It’s some straight-up Wagner-type shit.”
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Indeed, the ascending riffs brightly elongate as electric synths move from one ear to the other, adding more to the melody that was initially just repetitively cycled.
“Like tugging on a loose thread of clothing, more and more chords kept spilling out, and I ended up with that middle eight,” Albert recalls.
It’s one idea of many coming off the cuff – Albert claims 90% of his riffs form while he’s in the shower – and the loose, out-there nature of EXEK’s output allows them to thrive on spontaneity.
What was more intentional was the lighthearted direction. On opener Sidestepping, Albert’s voice isn’t obfuscated by the music. The lyrics are discernible and distantly read like a pop song, especially at the chorus.
Growing older, Albert is venturing beyond obscure angular post-punk of the early ‘80s, finding inspiration in ‘90s pop and club hits and even what his parents listened to: “Easy listening like Neil Diamond and Celine Dion, and dad rock. I still dig the odd angular post-punk excursion, but it just doesn’t slap as hard as Mariah Carey.”
It makes more sense when he makes his intent clear. “I can hear EXEK staples such as ESG, Public Image Ltd and Michael Rother all still firmly present,” Albert says. “I used that dubby and krauty foundation to springboard into some choruses that ended up sounding like The Go-Go’s or Corona.”
He goes on to hint that the next album will have more of that, but the whole jumping between influences idea is really “just business as usual.”
Another aspect of EXEK being more than Albert’s mind is its large lineup. Today, they’re a sprawling six-piece ensemble, with members coming in and out over the years. “A few years ago, I decided I’d better start checking people’s references – a solid CV is a start, but it doesn’t mean anything unless you double-check rental history,” Albert quips. “And hence here we are, as the EXEK Sextet.”
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Looseness is a throughline in everything they do, which Albert recognises. “All great art needs to teeter on the precipice of destruction. That’s why not practising is important, as it keeps your guard up. With our type of music, we can afford to stay loose. If you’re in the Melbourne or Sydney Symphony Orchestra, maybe go home and do some scales.”
Clearly, EXEK have amassed a dedicated cult following in Melbourne’s eclectic music scene. They’re celebrating their new heights at DFA with an album launch at the Curtin on 14 March. It’s a venue they always love to play, but Albert confesses they could do without the “airport-like” security when having a ciggy there. “The game’s got a price,” he resigns.
Albert doesn’t really know what else he’d do besides music. “I’d just be at the pub more,” he jokes. “That shit can be expensive though, and recording at home doesn’t cost me a dime. As fun as the pub may be, it’s fulfilling to have a long-term project.” He sure isn’t pumping the brakes on EXEK anytime soon.
EXEK are playing The Curtin on 14 March. Grab tickets here.
