It’s hard not to be distracted by the visual aspect of Ejecta’s music (with each new release, singer Leanne Macomber seems to have fewer clothes than before.) Still, Macomber’s trademark nudity isn’t gratuitous, especially when you consider the somewhat modest nature of Ejecta’s electronic sounds. While still retaining their sparkly-smooth sheen, the tracks on Dominae are basic, but never boring; the debut album from Ejecta is classic-electro pop, stripped down to the bare essentials.
As a creative hub for electronic music, the city of Denton, Texas, has produced some stellar acts. Among them is Neon Indian, with whom Leanne Macomber has performed over the past few years. Now with Ejecta, Macomber’s other half is Joel Ford, known for his work in the production team Ford & Lopatin. On Dominae, the newly-formed duo explore concepts of love, heartbreak, and loss with shimmering abandon, and to stellar results.
Dominae opener “Mistress” glides through falling waves of sound and a throbbing disco beat, offering a first hint towards the album’s subtle power. The synth-driven “It’s Only Love” is glossy and glamorous, with a snappy drum beat and whisper-soft vocals accented by slick instrumental breakdowns. As the album surges forward, Dominae reaches new heights, becoming brighter and better than before. The gorgeous, melancholy “Silver” and groovy anthem “Jeremiah” are highlights, cramming influences such as disco, new wave, and contemporary synth pop onto one packed dance floor. All the while, Macomber is crooning into the dark night that’s suggested by the album cover, as lonely and sad as her words as pretty.
While performing on stage, Leanne Macomber finally dons clothing, but that doesn’t mean she’s any less vulnerable. Though supported by Joel Ford’s elegant synths and heavenly beats, Dominae is an emotional lyrical journey to the far reaches of the human heart, stark-naked for the whole world the see.