Voxtrot EPs

VOXTROTTHREE EPS

In my upcoming book of moody, hyperbolic album reviews, art-or-die rants, album craft musings, real-to-life anecdotes and exaggerated sound experiences, Shattered Air (Guitar), there is a chapter called “The R.E.M./U2 Model for New Bands.” This portion of the book examines what happens to new bands after releasing a celebrated debut album, something Voxtrot is all set to do in 2007. A good number of bands either go the stadium way of U2 or the warily inventive way of those boys from Athens, Georgia. After hearing Voxtrot’s first three releases – all short EPs – I reread the chapter in anticipation of their imminent debut full-length album, all along the way speculating where the greatest new band in the world would take their career. Would they do the U2 “higher purpose” thing or the R.E.M. “higher art” thing?

With this very imperative matter in mind I stayed up for a week straight listening to Voxtrot’s first EP, Raised by Wolves. Five bright tracks long, Wolves sees Voxtrot exploring (or even discovering?) the subtleties of the many sub-genres of rock music, specifically indie-pop rock. Lazily compared to The Shins, The Smiths and Belle & Sebastian upon their arrival, Voxtrot’s recordings reveal themselves over time as increasingly rewarding and – after three or so listens – some of the most communicable, joyous pop music of modern mop-top times. As with most new bands, the influences are present, and they’re screaming at you; but Voxtrot’s modus operandi manages to sway out of the dust seemingly peerless. Sure, they do like The Shins and The Smiths, and yeah, they probably like Belle & Sebastian as well (who in their right mind doesn’t?), but with the mere 13 songs that span their three initial three releases Voxtrot could already have a more consistent “best of” collection than any of those bands. And therein lies the promise of the “Next R.E.M.” Or U2, I guess, although I’m sure Coldplay (or maybe even Interpol) are already planning to wear that booster-healed, sunglass-heavy costume. So yes folks, this Voxtrot business is critical stuff; very few new bands are able to walk the tightrope of invention and imitation with so much promise.

Soon after the impressive debut release of Wolves came the Your Biggest Fan EP, a three-song collection of radio-ready charmers that, had they received any overseas promotion whatsoever, would’ve certainly landed these Voxtrot kids on the excitable cover pages of NME, Q and Uncut Magazine, concurrently. (Predictable minds think alike.) The EP’s title track – built on heartening vocals, English literature major writing, willowy strings, bouncy jangle guitars, backbone piano and second guitar flourishes – could be the new prototype for simple, thinking man’s pop music. “Trouble” is both catchy and finely creative, enlisting the same general formula (as is the case with most Voxtrot tunes) in a way that undoubtedly shows the bands true gift of finding their fourth dimension.

“Mothers, Sisters, Daughters and Wives,” the title track to Voxtrot’s third EP, is at once lean and expansive (and probably their best offering yet), again tapping into the band’s previously (and inexplicably) mentioned “fourth dimension.” Though not always as immediately accessible as their previous offerings, Voxtrot’s third EP sees the band clearly more comfortable, developed and dimensional than their other two more-than-stellar releases. “Rise Up In the Dirt” better than ever incorporates the use of string arrangements, an element that chief songwriter and vocalist Ramesh Srivastava claims will be even more so a part of the blueprint on the bands all-important debut full-length. “Four Long Days,” similar to “Wrecking Force” from the Raised by Wolves EP displays Srivastava’s upward knack for confident word strings, something fans can expect even more of as time goes on and Srivastava continues to studying English and literature at a collegiate level.

Still befuddled by all this strange talk of “dimensions?” Rightfully so. Voxtrot’s greatest gift thus far is their capacity to make recordings that never seem to sound even remotely from the same mind but are unmistakably (and wholly) the product of one band. Still only 13 songs into their career and Voxtrot have already spanned more understated territory than most bands do over several years, if ever. (Again Voxtrot find their bonus dimension by managing this rare feat while always sounding exactly like, well, themselves.) Belle and Sebastian, for example, have at times attempted – albeit, with very little success – to stretch their formula all which ways, only recently seeing regular success on their last two albums. The difference between B&S’ and Voxtrot’s accomplishment is that B&S have experimented with both lineup changes and new production methods in order to vary their sound; Voxtrot doesn’t need such things. They just have “it.” And when I say “it,” I mean that utterly gauche thing I’ve been sketchily trying to describe as a “fourth dimension.”

Voxtrot, an incessantly dimensional band who’s forthcoming debut LP carries the promise of a better sounding future, should help listeners recall the days when new bands – bands like U2 and R.E.M. –  were not just good, but relevant, fresh and rousing. Every once and awhile a band makes a recording with enough spirit to help people believe in both themselves and the world they live in. Voxtrot might not ask you to raise your feisty fists, but they’ll certainly do all they can to make you smile. And dance. And sing. Simply put, Voxtrot are a cloud nine band who seem incapable of putting out anything resembling second-rate. While they might encompass certain elements of both early U2 and early R.E.M., they’re far to prematurely developed to fit into the limits of the aforementioned “R.E.M./U2 Model for New Bands.” Like The Strokes in 2001, Voxtrot have arrived fully realized and equipped with material twice as good as all the bands they’ll inescapably be likened to. Stay tuned for chapter 12, titled “Pleasurably Gone astray in the Fourth Dimension.”  8.5/10

Written by G. William Locke