From all the comparisons, metaphors, jabs, and compliments that have been used in attempting to characterize the Elevator Drops, only one real universal similarity can be drawn: the band seemingly lived two lives. The first was a medley of concealed personas and pointed antics, while the second derived from an inherent songwriting ability that spawned a dynamic pop sound and earned the Boston-based trio opening slots on major tours. It is no wonder, then, that the band has long been a victim of blurred and indistinct descriptions, despite having broken up years ago. Divided between extravagant make-up and resonant hooks, fans and critics alike have been ostensibly left in limbo by the bands dichotomous presentation. But perhaps now a consensus can be reached: regardless of appearances, the Elevator Drops were relentlessly talented. Cambridge-based Archenemy Record Company has released the prequel album to the bands widely acclaimed debut Pop Bus, entitled Epidose 1. The collection of early recordings, some of which appeared on later albums in revised formats, reveals the beginnings of the bands new-wave pop sound from which they built their short-lived but prolific careers. It is, in effect, a confirmation to all those who witnessed the Elevator Drops prompt rise that the group was born out of genuine ability.
The uniquely indescribable nature of Dave Goolkasian (bass, vox), Garvy J. (guitar, vox), and Scott Fitts (drums) is partly self-inflicted, however. Look at their MySpace page, for instance, and you will see Labels are for losers under the record label category, followed directly by Label Type: Major. This contradiction, while humorous, typifies the intentional duality The Elevator Drops had established from the onset with Pop Bus. The album title itself pokes not-so-subtle fun at one label in particular, a reference that isolates the bands prankster mentality from the poignancy of the album. Nevertheless, Pop Bus, released by Time Bomb, broke significant ground for achieving a sound that, until only recently, had never been explored. Dubbed Rock n Roll Terrorism at Its Finest, the Elevator Drops actually occupy a much more melodic place in the spectrum than the description implies. Similarly, the layering of piercing vocals and coarse guitars creates a surprisingly easy-on-the-ears, fluid pop sensibility. Despite their best efforts at costumes, make-up, and antics, the Elevator Drops have always been most notable for their musical aptitude.
It seems as though much of what the Elevator Drops have accomplished, both musically and otherwise, has a purpose behind it. Every action the band has taken contains meaning, and is an event in its own right. Even the playful references from Pop Bus are derived from the bands surrounding stimuli. When the band headed to Detroit to record their follow-up, they had hoped for a less intrusive backdrop, only to name the album People Mover after the citys monorail. Simultaneously, the band dropped the make-up look, trying to reverse the focus onto their music rather than their act.
Epidose 1 achieves this very goal. Several years removed from the bands clashing duality of image versus sound, the album seems much more candid. Here, the Elevator Drops first demonstrate their ability to run the gamut from delicate and melancholy to animated and blissful, a trait that dominated their next two albums. Certainly, the lyrics stand their ground against the highly literary tone of People Mover. Original versions of Space Song and Lennon is Dead give the album a bit of a collectors item feel, although the sensation is overshadowed by simplistic gems such as Holly and a few mellifluous segues.
So if Epidose 1 sheds light on an earlier Elevator Drops we never knew, what would they sound like a decade later? Both Goolkasians group the Texas Governor and Garvy J.s solo outfit (which features Scott Fitts in the live setting) provide an accurate appraisal. The Texas Governor, which released its second album in 2005 and just finished an east coast tour, has adopted a satisfying mesh of new wave, Americana, and straightforward rock. Garvy J.s sound, on the other hand, recalls the slightly abstract nature of the Elevator Drops more mellow and dark compositions, as evidenced on his release What If It All Works Out? Nevertheless, the trio that, in a span of roughly three years, managed to cultivate a dynamic sound and fervent following, still eagerly reference their days as the Elevator Drops and, with the release of Epidose 1, they have all the more reason to be proud.
By Will Morgan
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