Reading previous reviews of Exit 245 showcases a skilled, often humorous, and regularly playful history, from a group who has rehearsed and performed at James Madison University since 1998. Exit 245's highlight reel spans the spectrum of the genre, from hip hop to country, to folksy indie, a Christmas album, and searing singles. Exit 245 has always excelled in versatility and vocal commitment, and appears to take on exactly what the group wants to sing.

In 2024, Exit 245 released its Ascension EP, a compact offering of the skilled, humorous, and playful, sometimes packaged in one track (I Think I Like You).

Creepin' opens with a vocal red ribbon bow for listeners: an awesome exposed bass on the loose in the lower register, and a crisp and laid-back rap from Garrett Gass that infuses the piece with personality.

What You Need is a word-heavy storyteller piece, with lots of quiet desperation from the front and the backs, and ample growth and movement in its construction. A few unexpected chords and the overall rawness makes this one a full and satisfying song, one that really has to fall in the middle of a release.

I Think I Like You is my current favorite a cappella bop for the car, a cheeks-hurt-from-smiling endearing exploration of love and falsetto, and a love of falsetto. It's not deep or groundbreaking, but it's damned good fun. Cheery and bright and ready to take on the day.

This trio of works was arranged by Nicolas Gomez-Colon, who also adds some vocal percussion. It's succinct and cohesive, a tidy offering for the group's discography. James Gammon remains in the producer's chair, keeping the group's audio consistent, too; a polished but not machine-driven sound. Ascension works for the group and should appeal to fans.

James Madison University's Exit 245 hasn't submitted to RARB since before the pandemic (2019's excellent 903), and Ascension shows a group that still sounds as good as the last time we heard them. This EP is diverse — the group even touts it as "3 songs in 3 different styles of music" on its web site — but the sampler approach really works for Exit 245. Soloists are outstanding, arrangements are compelling, the group is locked-in, and the recording sounds shiny and bright.

Creepin' is a great start: a soaring soloist, a lush arrangement, and a bassline that anchors the song. The group doesn't lose momentum or energy throughout a rap interlude and a harmony-laden sing-along chorus at the song's conclusion. The group just commits to every section of this song and remains focused and engaged, which keeps the performance from dragging or sounding repetitive.

I could use the same compliments and descriptors for the ballad What You Need: even when the group slows way down, they still focus on phrasing and delivery. Long, sustained notes have a purpose and destination instead of dragging. It can be hard for a nearly four-minute slow song not to sound sleepy, but Exit 245 sounds great and doesn't shy away from risks — there's a particularly attention-grabbing moment in the song's last minute where the soloist sings alone with no backs.

The final song I Think I Like You is probably the weakest one here just because it gets a bit repetitive, but Exit 245's weakest moment is still quite strong: it's an entertaining, uptempo number that closes the EP on a fun note.

The problem with EPs is that they are (by definition!) too short — but Ascension is a great re-introduction to what Exit 245 is up to now, and I hope the group can carry this momentum into another solid full album recording.

I always look forward to listening to any release by Exit 245, as the singers are known for their fun arrangements and powerhouse vocals that bring the house down from the very first note. But, with Ascension, it's lacking the same punch that the group's more recent full albums have had. That's nothing to take away from their sheer talent and amazing vocals, but the energy is just slightly down for me.

With the opening track, Metro Boomin's Creepin', Eli Harris's solo is smooth and incredibly soulful and Garrett Gass's flow is perfect for the rap section. That said, while the backgrounds are sung very well, there's just an overall lack of oomph that I'm expecting from the opening number. Granted it's not the most upbeat song in the world, but it just feels a bit lethargic especially on the vowels that are being used. Nick Gomez-Colon's vp does add a bit of life to it, but I don't feel that it's enough to compensate for the vowel mix in the backgrounds. Again, that's not to say that I don't like the track, and I think I would have a different opinion on it if it wasn't the opener and perhaps the middle track in the set.

Speaking of the middle track, What You Need fits the bill perfectly here. Chord Overstreet's original doesn't have any percussion, and I'm happy that Exit 245 didn't try to add any into the arrangement as it gives them such a great opportunity to show off their voices, and my goodness do they! Gass delivers a beautiful solo, with great ability to flip between his head and chest voice. Gomez-Colon did a great job in the arrangement with the trading of vocals between Gass and the backgrounds, incorporating wonderful moments of harmony throughout and giving the song more of a "call and response" type of feel. It's evident that a lot of time was put into thinking about the overall musicality of the arrangement as well, as it's chock full of great crescendo/decrescendos and phrasing that draws the listener into every note.

The closer, I Think I Like You, is a fun little pop number that Maxwell Foster does well in delivering a fun and light solo, and there's plenty of enjoyable moments in the backgrounds, too. Shoutout also to Benjamin Gofton on the vp for the track, which is intricate but not so overpowering to the rest of the vocals that it takes the listener's attention away. Overall, Ascension is a fun EP that's certainly worth a listen — I look forward to the next full album and a just a little bit more firepower.