“Voxtrot”
Voxtrot
Play Louder Records
(Out Of 5)
Voxtrot is one of those bands that actively yearns to be on your girlfriend’s next mixtape.
The Austin, Texas, quintet’s eponymous debut album falls directly into the canon of “indie-pop,” a genre typically composed of wistful guitar-based tunes, with emphasis on a classic approach to melody and song craft. Current banner-wavers such as Belle and Sebastian, the Shins and the Decemberists have each established considerable presence within the somewhat rigid boundaries of the genre by honing and refining a specific and unique approach. Voxtrot seems well-versed in the idiom, yet the album is hampered by indulgent production and overstated songwriting.
The band, led by front man Ramesh Srivastava, attained buzz in the blog-fueled indie community with a pair of recent EPs. However, over the course of an entire album, Voxtrot’s limitations become evident. Although comprised of catchy and melancholic pop numbers, the album would benefit from refinement and simplification. The introduction of string arrangements to Voxtrot’s sound is particularly obtrusive, as the band too often relies on them to express the mournful nature of Srivastava’s lyrics.
Voxtrot members are at their best when they pare down their arrangements, such as on the bouncy, piano-led “Steven,” which allows Srivastava the space to lament the growing distance from a childhood friend. “Kid Gloves” also benefits from being the most immediate and anthemic song on the record.
But much of the album is an underwhelming collection of forgettable melodies, clunky lyrics and lazy hooks. Voxtrot occupies a genre in which the best bands are destined for populist appeal that can unite curmudgeon music snobs and impressionable teenage fans. One day the band might attain this quality, but it’s going to have to polish its approach to get there.
““ Ross Rinehart
E-mail Rinehart at rrinehart@media.ucla.edu.