The largest downfall to most new bands’ debut albums is a lack of musical focus. Many groups are in search of their sound while recording a freshman record, which can result in floundering between genres. But one band’s downfall could be another band’s treasure, which is just the case for Saint Motel.

The Los Angeles-based quartet is known for its inventive indie pop.  Back in 2009, the four-piece released For Play, a six-track EP full of dance inducing tunes (think Franz Ferdinand and The Killers) and video accompaniment for each song. Since then, its ever-growing fan base has been chomping at the bit, anticipating an LP from the charismatic group. On July 10, the band obliged by releasing its debut full-length, Voyeur.

During the album’s eleven songs and 43 minutes, Saint Motel takes its listener on a musical roller coaster ride through Latin (“Feed Me Know”), big band/swing (“Benny Goodman”), Piano Pop (“1997”), and classic rock (“Hand Up Robert”). And though I generally scoff at groups that try to muddle so many genres together, I’ve got to hand it to these guys. They pull it off.

The largest reason for the album’s success is its ability to contemporize retro sounds. Yes, Saint Motel touches on a myriad of genres, and even pays homage to “The King of Swing” in the form of “Benny Goodman,” but in no way does the four-piece rip off the music from yesteryear. Where so many groups these days “sound like” another band you’ve heard, it’s hard to pin point Saint Motel’s direct influences. This skill is what may take the indie foursome to the next level (not to mention the tightness of the musicians themselves). The complexity and fullness in each track is so great that it’s hard to believe Voyeur is a debut album.

The record’s highlight (and best example of the band’s true talent) is “Daydream/Wetdream/Nightmare.” Clocking in at 5:07, it is the longest track on the album. And just as the title suggests, the song is sectioned into three distinct phases. It begins with a magnificent vocal harmony for the first minute and a half, where it transitions into its second section, an upbeat, disco-tinged breakdown that features vocalist A/J Jackson Jr.’s brilliant falsetto. At 3:15, the instrumentation changes again and drops into a darker, simpler key, as the group sings in unison “Don’t wake up, wake up, wake up,” until the song fades out.

The album’s A-side continues on this innovative path, but its B-side falls a bit short. The exploration tapers off and is replaced with a more straightforward indie rock sound that is not groundbreaking. If Saint Motel wants to break out of the indie rock mold, it needs to focus on its experimentation and playfulness in its sophomore effort.

Saint Motel is also BestNewBands.com’s Artist-Of-The-Week.

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