When you hear of a rock band called Afterlife Parade releasing an EP called Death, it might be easy to get the wrong idea–like something dark, macabre, gothic.  But that’s not the case at all with this band. It actually started as a project by Nashville singer/songwriter Quinn Erwin who was trying to process a series of losses that hit close to home. The result is a themed EP that actually takes the listener on a journey processing that sense of loss that death can bring…and musically and thematically, I have to say, I find it brilliant.

Dealing with death in any capacity musically can be a huge risk. Lean too far one way, and you’ll be dark and depressing–and lean too far the other, and you’ll come off as trite.  This record, in my opinion, falls right into the perfect groove between those two extremes, being engaging both lyrically and musically.

I’ve shared the first full track, “Death,” but really this is an EP that should be listened to all the way through. Thankfully, at the present time the full EP is available for free download from the band’s Bandcamp page.

Apparently, Death is just part one of the journey of Afterlife Parade.  A followup EP, Rebirth, is due out soon. After hearing this one…I can’t wait.

Afterlife Parade: “Death”

Download the Death EP from Afterlife Parade here:

Many people might be more familiar with the name Boulder Acoustic Society than they are with the name Aaron Keim. That’s because Boulder Acoustic Society has been making a name for itself as a progressive band in the bluegrass/roots/neo-folk world over the past several years.

But Keim (who happens to be the founder of B.A.S.) goes by yet another moniker when he’s flying solo: The Quiet American. And as The Quiet American, he has just released his second solo project, aptly titled The Quiet American, Vol. II. And if you listen to the record, and know a little of his story, you’ll discover that Aaron Keim is an old soul putting a modern twist on folk.

Perhaps the most interesting aspect to Keim’s work is that he literally brings history to life in the way he tackles his music. First of all–he makes most of his own instruments.  Secondly, the first installment of The Quiet American was initially recorded on a wax cylinder from the 1890′s (the new release uses more modern methods, but has a historic feel, nonetheless). And third–Keim isn’t afraid to weave traditional bluegrass tunes in with his original stuff.  Vol. II has a healthy blend of both.

And yet, somehow in bringing the past to life, by weaving subtle modern indie-rock elements into his stuff, Keim breathes new life into the music–and what is old is new again.  Pretty amazing, when you think about it.

But don’t take my word for it.  Have a listen to the opening track below.

The Quiet American: “I Will Be the One”

Buy The Quiet American, Vol. II on iTunes:

So I just got a listen to Diamonds & Gold, the new EP from Ft. Collins-based post-punk band Wire Faces released in March. I must say I’m surprised that they haven’t shown up on my radar before now. (Not that I’m omniscient or anything…)

Let’s just say it takes a little innovation for a three-piece band to fill the sonic space the way these guys do–they make drums, bass and guitar go a long way, both in musicianship and energy, giving off the pleasant illusion that you’re listening to a bigger band, when actually you’re hearing three guys playing the heck out of three instruments.

As to musical style–to me, Wire Faces has a neo-retro vibe vaguely reminiscent of The Killers, except more guitar driven (i.e., no synth), and a lot less tame. Vocalist/drummer Shane Zweygart, who handles most of the vocal work, frequently lets his voice fly passionately into pitchy territory, but does so in such a way that is actually quite satisfying.

Take a listen to the track “Tame You” from the new EP, and watch the video below from Wire Faces’ first record. See what you think.

Wire Faces: “Tame You”

Download Diamonds & Gold:

Brand new on the radar…to the sound of (not so) much fanfare…comes Denver acoustic indie-folk band the whicker and pine.

(Doesn’t ANYONE use upper case anymore?)

Anyhow, just getting started, these guys already show some musical maturity on their debut self-titled EP (which you can download for free from here).  They have a laid-back sound that’s just perfect for a cloudy Sunday morning while enjoying a cup of coffee (which is precisely why–and when–I’m writing this blog post now).

In a recent post on the band’s blog, one of the band mates half-jokingly described their sound as “Indie Folk Melancholipop.”  But that really fits the vibe of the record. It’s just enough “indie” and “alt” to get your attention, but just enough “pop” to make it accessible. Plus, anyone who can come up with a genre name that rhymes with “lollipop” has to have something on the ball.

New bands always have room to grow, and that’s certainly the case here. But the whicker and pine has is already quite easy on the ears, and it will be interesting to see how their sound develops.  Meanwhile, take a listen to the opening track of their EP below, and if you like what you hear–go here to get the rest of it.

the whicker and pine: “stay awake”

I had an interesting experience this morning.  After last listening to the Sundelles song “Can’t Win” one time last week, this morning I woke up to the song playing in my head. Talk about catchy.

While there are a lot of bands and acts out there who are trying to push music forward by pressing the envelope of experimentation (often until you have no grid whatsoever for what’s going on), a number of bands look backward for their inspiration. But even among these bands, I’m discovering a difference between “retro” and “resurgent.” A retro band tends to live in yesteryear (sometimes even dressing the part), recalling the fond memories of days gone by–completely looking backward.  But other bands are shooting for a resurgence; they look backward just enough to get inspiration, and try to bring that music forward into a modern-day context, to make it current and relevant again.

Photo: JM Houle.

Listening to the Sundelles, their 60′s California surf-pop vibe is unmistakable.  But it’s also apparent that these guys aren’t retro; they are resurgent.  They are playing this sound in such a way that it fits the modern day, and makes us fall in love with the sound all over again in a new way.

Bottom line, though: whether a song takes its inspiration from the past or pushes to the future, what makes it stand out is if it is catchy.  Ultimately, that’s why I like the song below, “Can’t Win.”  I don’t like it because of its roots in the past; I like it because it’s catchy.

“Can’t Win” is from the Sundelles’ debut full-length album Georgia Swan.  Give it a listen and see what you think.

Sundelles: “Can’t Win”

Buy the Sundelles on iTunes:

This band is already getting plenty of attention, but I just have to put in my two cents’: acoustic folk duo The Civil Wars is one of the best I’ve heard in quite some time. More than just the raw, minimal instrumentation and catchy melodies, these voices just go together.  John Paul White and Joy Williams have stumbled on a combination and chemistry that is more than just talent (which both have in spades, btw).  It’s a sound that exceeds the sum of its parts.

It’s almost ironic that their name is The Civil Wars, because they go so well together. And yet, you can hear a subtle tension and struggle within the music itself. Perhaps that’s what the name refers to.

Here’s the video from the title track of their record, Barton Hollow. Take a look/listen and discover why this new duo is already selling out shows all over the place.  If you like what you hear, at the present time you can get a free download of the song from the band’s website.

Singer/songwriter Tyler James is a bit of an anomaly.  His bio says he grew up in the Pacific Northwest and in Iowa, and currently hails from Nashville.  But spin his debut record It Took the Fire, and you’d swear he was from Memphis.  And maybe from the 1970s.

Don’t misunderstand–James’ blue-eyed soul has a retro vibe, but it is not dated.  It’s timeless.  Tyler James has managed to draw from the old influences to breathe fresh life into some just plain good music.  Not only are his songs well-crafted, but he delivers his vocals with that kind of smoky rasp that many kindred spirits can only dream about.  And although his music will probably remind you of something you heard years ago, there’s something about it that is fresh and very much “today.”  It’s a new spin on old soul. Don’t ask me how.  Just enjoy it.

Here’s the video for “All I Got,” the opening track of the record.  See what you think.

Buy It Took the Fire at iTunes:

Photo: Selah Photography

For those of you in Denver this weekend…if you want to go see a fun band play live, catch the h is o.  They’re headlining at Larimer Lounge, 2721 Larimer Street in Denver, this Saturday, 3/19. Tickets for the show are $8, available from Larimer Lounge–and that ticket includes sets from some other Denver locals, including Dwight Forcey, The Evening Edition, The Cages and Doubters.

I have two free tickets to the show, which I’ll be giving away to one lucky person tomorrow evening by a drawing.

Here’s all you have to do to enter: leave your name and email address in the comments, or if you’re uncomfortable doing that, email me that information personally using the email address on the “About” page.  Entries will close Wednesday at 5PM MDT, and I’ll notify the winner that evening by email.  It’s that simple.  (And your email address will ONLY be used for notifying you–you won’t be added to any email lists. Promise.)

Whether you score these tickets or not, go catch the h is o Saturday night in Denver.  (If you’re in Denver Saturday night, it’s obvious you missed SXSW, anyhow–so this is the next best thing.) Doors open at 8 PM, and the h is o is the headliner, scheduled for 11PM.

If you read this blog and see the number of comments people actually leave, you’ll see that your odds of winning these tickets are actually pretty good, if you’ll just step up.

Ready…go.

(For more information on the h is o, click here.)

When Mike Sembos of Connecticut indie-rock band The Alternate Routes contacted me to let me know about his Other Band, The Backyard Committee, I have to admit I was a little wary.  Here’s why:

“…part of the concept is a constantly rotating cast of musician friends, each who brings their unique voice to the project.” (quote from Mike Sembos)

When I see phrases like “constantly rotating cast,” I get the picture of a loose-knit collective of musician friends who are just getting together to jam–which is cool, and lots of fun, but usually doesn’t add up to making good records because as a general rule, there usually isn’t enough structure in it to make it work.

Meet the exception to the rule. This is a hodge-podge collective that actually works.

Yeah it’s a little sloppy in parts, but nothing like I would have expected. Yeah, it skates across a few genres (a fact which Sembo admits), but overall it stays close enough to the folk-Americana category that it doesn’t lose its audience. The end result is a sort of jam-session garage band you’d actually want to sit and listen to–like somewhere in Connecticut is this bunch of musician neighbors that get together for a barbecue or something, and actually sound really, really good.

And here’s the best part: you can download the whole album, right now–and forevermore–and you don’t have to pay for it.  Says Sembo, “…[another] part of the band concept is that it doesn’t cost anything for anyone to own our music.”

So I’ve shared a couple of the tracks below to give you an idea about The Backyard Committee, but you can go to the band’s Bandcamp site and download the whole dang thing right now, for free.  IMHO, it’s worth owning.  And if The Backyard Committee ever decided to charge for the record, it would still be worth owning.

Alls I’ve got to say about it is if this is a backyard committee, this is a neighborhood I’d like to live in.

The Backyard Committee: “Red China”

The Backyard Committee: “25″

Or download the whole dang thing for free here.

When I was contacted by someone from Lindsay Aline‘s team to review her 2009 self-titled record, I have to admit I was a little skeptical. Taking a look at the website and reading the self-written bio, I couldn’t help but think, Oh, great–another young girl who thinks she’s got it.

Yeah, I know it sounds jaded. You want me to be honest, right? (Chalk it up to a combination of first impressions and the fact that I really do wade through a lot of sub-par material to find the good stuff.)

So then I listened to the sample track, and I had another impression….what’s the word?…

Stunned.

Yes, that’s it.  Stunned.  Surprised.  (Pleasantly surprised.) And put right in my place.  This girl has got it.

So I wrote the guy back and said, “Yes, yes YES, please let me review the album.” (Actually, I was a bit more professional and collected. But still.)

Listening to Lindsay Aline’s record, I’m reminded of so many things, but with whole different spin. There are elements that remind me of Enya, Evanescence, a female Josh Groban, and just about any female singer on any recent Disney animated film–it’s a piano-driven blend of classical, pop, Broadway and just a bit of jazz, but done in a contemporary style that will definitely appeal to a wide audience.  I kept feeling like I’d heard this girl before–but I knew I hadn’t actually heard this before. It’s a great combination of the familiar and the new. Well-produced, smartly arranged, and captivating.

That said, there’s only one glaring flaw I can find with the record.  The track “Belong”? Doesn’t. Amid all these intriguing classi-pop sounds is this blase song in the middle that just kind of sits there and doesn’t fit the overall vibe of the rest of the album. At all.  They’d do just as well to delete that song on any reprints of the CD, and they’d have a much more consistent and cohesive package.

Having said that, Lindsay Aline has demonstrated a solid vocal presence on this record, and tons of potential. It takes a lot of skill to successfully tackle this kind of genre-blending, especially with the classical elements involved. Because of the sheer magnitude of what she’s undertaking here, I can’t say Lindsay Aline has arrived–but she’s close. With a bit more maturity (both in sound and image), this girl has the makings of a world-class artist.

I’ve included the first track of the record, “Reach,” which I feel has the best of all the elements in the record. It’s also the track that won me over and got me to review the record in the first place. This album is definitely worth getting and listening to.

Lindsay Aline: “Reach”

Buy Lindsay Aline on iTunes: