Oxcart's Many-Layered "Equation" Is a Rewarding Listening Experience
by
David Shepperton
The title of this record is apt. It gives a hint at the careful approach that Oxcart have taken in its creation, and also at the really pleasant geometry that underlies its sometimes dark sound. But The Equation is definitely a work of art and not one of math or science. It is a fine album that shows off the breadth of a band that is probably overlooked even in their own backyard of Portland, Oregon.
Although it sounds sometimes sad, sometimes foreboding and sometimes aggressive, it is a a pleasure to listen to. The band is tight, and the songwriting and production displays real care and intelligence without succumbing to any sophomoric delusions. There are themes and threads and feelings running through the whole record. And there are plenty of callbacks, lyrically and musically, for those inclined to tune into such things. It sometimes plays like a concept album, but is not at all the tiresome experience that comparison might suggest.
The music is difficult to categorize. The songs are all over the map, displaying a really broad range of abilities and incorporating many influences. I hear echoes of Pink Floyd ("Wishes"), and a distinct heavy metal flavor in some tracks ("Explosions", "Tetherball"). Sometimes there seems to be a little Ben Folds Five ("Genesis", "Office"); I am reminded of Tool ("Gambler Pt. 2", "Commencement"), and sometimes of Faith No More ("Tetherball" again); and yet other times, the sound evokes Rush, or The Police, or even Peter Gabriel.
Any rock aficionado might be inclined to make some of those comparisons. But mostly, the album has a sound all its own. And even when influences are most evident, any song is liable to go off in an entirely different and unexpected direction. There are transformations and changes even within single songs that can be drastic without being harsh or unnatural. "Wishes", in particular, stands out in this respect, with solid, driving drums and guitar. But eventually it veers off that road into a really nicely layered break-down. That in turn fades off, as a relatively quiet and plaintive interlude paves the way into "Office". Here the pattern is somewhat reversed: the song begins smoothly and quietly, and concludes with the high volume and chaos of guitars, drums and keyboard.
The transitions between many of the tracks maintain a satisfying flow that helps to illustrate a single vision behind the album. But the placement of individual songs also enhances the presentation. "Inception", as a percussion-free cosmic-journey-sounding piece, is an appropriate warm-up for the rest of the album. "Commencement" serves as an appropriately atmospheric finale. And "Gambler's Lament", with a soft and amorphous keyboard, ethereal guitar and vocals, and a rhythmic phrasing that transmits a lot of emotion -- it is simply a beautiful recording, with a gentle ending providing a pause that makes it a very suitable mid-point.
There are a few rough edges, and a couple of songs are a little uneven. "Lesson" in particular comes to mind. After a very pleasant keyboard interlude, bass and drums provide a backdrop for the gratifying interplay of guitar and keyboard. But the transitions are somewhat jarring, and both lyrics and vocals seem somewhat out of place. And I admit I'm not really sure where Oxcart were going with "Tetherball"; it certainly packs a punch, and is not a bad song, but it doesn't quite seem to fit.
But overall, The Equation is a truly impressive work. It represents a milestone and an achievement of which Oxcart should be proud, and which you will want to experience.
