Okay, I’m gonna be honest: I wasn’t too big on reviewing Sleeper Agent‘s debut record Celebrasion. I first heard this indie-rock act when they came through town on tour last spring with Cage the Elephant. Their set was energetic, but really sloppy, like they had just came out of the garage. I remembered wondering how in the WORLD they got an opening tour slot with a hot band like Cage.  When I found out they were from Bowling Green, KY, I put two and two together: they prob’ly got the gig because the two bands are friends. But I heard nothing in their music to make me think this band actually deserved this kind of tour.

So a few weeks ago, Sleeper Agent came through town again, this time on their own, playing a much tinier venue. Against my better judgment, I went to see them play–and they had definitely improved. At the very least, it felt like this smaller venue fit them, rather than swallowing them up.

And THEN I spun their record Celebrasion, and that completely turned my opinion in their favor. I’m now a fan.

Except for recognizing some of the tunes, I’d never know this was the same band I heard a few months ago. The production value is excellent, their melodies are totally singable, and their sound is raw but well put together–high energy, catchy alt-rock with a touch of retro. The tracklist is consistent throughout, a great selection of tunes that defines the band’s sound but also shows off its range.

It’s also interesting to note that Sleeper Agent has only been around since 2010, and that puts things a little bit more in perspective. When I consider that a band less than two years old has made this much progress–and I can personally tell the difference within the past few months–this band is growing rapidly, and is well on their way. I’d say Sleeper Agent has plenty of cause to celebrate.

Sleeper Agent: “Get It Daddy”

Sleeper Agent: “Some White Blinds”

Buy Celebrasion on itunes:

Let’s begin at the beginning: Andy Palmer can’t sing.

I’m serious.

Think Bob Dylan. Think Tom Waits. Think Johnny Cash near the end of his life. That’s singer/songwriter Andy Palmer. All through his record Sometime Around (released under the moniker “Palmer”), he growls, squeaks and strains through the lyrics with a voice that sounds at times twice his age, almost like he spent the last ten hours screaming at the top of his lungs, or like he’s been smoking three packs a day since he was four.

Having said that…his record is excellent.  Sometime Around has high production value and a gritty, folk-rock vibe that stays with you after the songs end–and Palmer’s squeaky/gravelly vocals are just the icing on the cake.

You see, one does not have to achieve vocal perfection in order to be memorable. Solid musicianship, compelling songs and a passionate delivery can often grab and hold a listener’s attention even better than a perfectly executed vocal. Some of the world’s best performers and songwriters can utterly captivate their audience while barely carrying a tune in a bucket.

Think Bob Dylan. Think Tom Waits. Think Johnny Cash, even back when he could sing. That’s Andy Palmer.

Now, don’t misunderstand: I’m not equating Palmer with the stuff of legends–not yet, anyway. This guy is still near the beginning of what could be a long career, and has plenty of room to grow. But besides solid writing and great guitar work, the one thing he’s got going for him is that he’s memorable, and in a good way. Palmer can’t sing–but he also doesn’t sound like anyone else you’ve heard, which gives him an open field. Not legendary yet–but certainly there is enough musical substance here that gives Palmer the potential to connect with a larger audience.

Andy Palmer currently heads up a band in the Denver area called Grub Street Writer, and while his record doesn’t officially release until the fall, it’s actually available now on a name-your-own-price basis from his website. So if you like the sample track below, go pick up the rest of it.

Palmer: “Take It Down”

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:

Okay, so I’m a sucker for a great hook.  I admit it.  Don’t judge.

Drew Holcomb and The Neighbors is an up-and-coming indie-rock band, and hailing from Nashville, you can definitely hear the country sensibilities in their sound. But that’s not what won me over.  The opening track on their brand-new record Chasing Someday had me at the first few bars. “Fire and Dynamite is a simple love song, very catchy–the kind of song that makes you want to drive with the top down. And definitely the best song they could have opened with–a powerful first impression. Take my word for it–this song is a hit in the making.

The rest of the record ain’t bad, either. Produced by Andy Hunt, with additional production credits by veteran Nashville producer Brown Bannister, Chasing Someday has great production value and plenty more catchy hooks. But don’t confuse “hooky” for shallow.  While the record does suffer once in awhile from overly simplistic lyrics, there are also some really deep and moving moments. Besides “Fire and Dynamite”, personal faves of mine are “Live Forever” and the last song, “Weight of the World.”

Drew Holcomb and The Neighbors has been around for a few years and seen a bit of success, having their music appear on TV shows like “Parenthood” and “Oprah,” and currently touring with Marc Broussard. But this record is a marking point for them. They might be chasing someday, but IMHO, “someday” has already arrived for this band. It’s just a matter of time before the rest of us catch up.

Buy Chasing Someday on iTunes:

Indie music fans might actually find something familiar in the sound of modern rock band Take to the Oars and their recent January 2011 release American Volume. Especially fans of Vonnegut.

Because it is Vonnegut.

In June of last year, Vonnegut officially changed its name to Take to the Oars, essentially saying that their sound and mission had evolved to the point that the old name no longer fit. Unlike Meese morphing into The Centennial, however, TttO’s name change doesn’t represent a completely new direction for the band–just growth.  Kind of like outgrowing your old clothes as a kid and having to get new ones.

However you describe it, I like this record a lot. The songs on American Volume carry a raw and honest sense of melancholy, and a good diversity of sound. The record ranges from driving beats and chunky guitars (“Learning to Breathe”, “Vanishing Act”) to more reflective grooves (“Why I’m Not Where You Are”, below) without losing its continuity. There are a few moments on the recording where the arrangements feel just a bit sloppy, but considering the emotion coming through, the sloppiness is forgivable, even appropriate–like it wouldn’t really be the same vibe if they’d cleaned it up.

That said, Take to the Oars has done more than just change their name–they’ve given themselves growing room with this record. It’s the same band, only more so.  The group of guys formerly known as Vonnegut have set out on the open waters, and…well…

This is my personal fave on the record. Take a listen and see what you think.

Take to the Oars: “Why I’m Not Where You Are”

Buy American Volume on iTunes:

A few weeks ago, I talked about the anticipation I’ve had about Churchill‘s long-anticipated release Happy/Sad. After getting hold of the full recording, I’m “happy” to say the songs have more than met my expectations. (Read a review here.) I’m even happier to say that as of today, you can get the record on iTunes–or if you’re a Denver local, you can pick up a hard copy at Twist and Shout Records.

Denver hometown boys The Fray graciously lent their personal recording studio for the tracking of Happy/Sad, which (as the album title suggests) explores the range of human emotions, particularly in the context of relationships. Besides the overall sound and chemistry of the band (of which I was already a fan), what I like best about this record is the songwriting. Creative lyrics and catchy melodies that stick in your head. After listening to this record just once, for several days afterward I woke up in the morning with several of these songs playing in my brain’s auto-shuffle. Along the first single “Miles” which I shared here, personal faves are “We Used to Be Happy,” “Loud,” “The President,” and “Think It Over.” The song “Burn It Down” is also heading to the top of my list. But really, imho, there’s not a bad song on the record.

Here’s another tune from Happy/Sad which I think you’ll enjoy. If you like it, go download the record from iTunes.  And if you’re in the Denver area this Friday, Feb. 11, be sure to check out their CD release party at the Hi-Dive.

Churchill “We Used To Be Happy”

Download Happy/Sad on iTunes:

Typically, when a band labels themselves “Americana”, there is a certain amount of expectation as to what it’s going to sound like.  So when Denver-based “Americana” band The Congress sent me their self-titled EP for review, I got a bit of a surprise.  T’weren’t at all what I expected.

Don’t get me wrong. This is Americana; they haven’t mis-labeled themselves.  It’s just that sometimes we forget that our roots aren’t just folky; there’s a bit of fried chicken and soul mixed in there, too.  This is the part of America that The Congress captures–the blues/jazz/rock part–and the result is that mmmm-hmmm satisfying kind of music, like soul food (blue-eyed soul, to be exact)–or like a really good back scratch.

This band is relatively new, but it’s apparent these guys aren’t novices.  This record has a foundation of rock-solid musicianship and equally-solid songwriting, overlaid by near-flawless vocals.  This is an indie band that isn’t striving to be edgy–just really good. And they are.

The only potential downfall I found with the record isn’t with the quality itself. There’s a smooth Hammond B3 throughout the record that really helps define the record’s sound; the only problem is, there is no organ player in the band.  That part was added by co-producer Daniel Clarke, who isn’t part of the band. Thus, while this is definitely a solid recording, one has to wonder whether it is true to the band’s actual sound.  Of course, seeing them play live (which I plan to do) could settle all those questions; just saying.

Anyhow, check out The Congress and see what you think.

The Congress: “Queen Mary”

If you like this band, buy their EP on iTunes.

The Thin of Thick Things.  Say that five times fast.

No, don’t.

Boulder pop-folk singer/songwriter Eric Forsyth is releasing his second project on September 21, a six-song EP called The Thin of Thick Things.  My advance copy has been in my ipod shuffle rotation for a few weeks now, and when one of Forsyth’s songs comes up, it is one of those moments when I go, “Wait…what song is that??”  Eric Forsyth’s sound is comprised of an intriguing blend of impressive acoustic-roots-folk guitar work underneath, overlaid with Forsyth’s surprisingly smooth, soulful vocals.  It isn’t what I’d call groundbreaking, but it’s just plain good music.

So…is it thick, or is it thin?

Well, both, actually. 

On the arrangement side, it’s thin–meaning sparse, not substance-less.  The tracks are mostly acoustic guitar and vocals, with the occasional bit of mandolin–and while it would do just as well with bass and drums, the sparse instrumentation carries it off just fine.

On the emotional and lyrical side, it’s a little more thick–but not too thick.  Sometimes whimsical, occasionally reflective–autobiographical, even–Forsyth has drawn from both positive and negative recent life experiences to craft the lyrics of the record.  His honest writing gives the recording a decent amount of depth for a six-song effort.

So, yeah, it’s both thick and thin.  A pretty good balance, actually.

If you’re in the Denver/Boulder area, you’ll get the chance to experience the thin and thick for yourself. Forsyth will be doing a CD release show on Saturday, September 25, at The Laughing Goat on Pearl Street in Boulder.  Helping him out will be the new duo formed by Megan Burtt and Ayo Awosika, Travel | By | Skylark.

Eric Forsyth: “Good Days”

Gabrielle Louise is a best-kept-secret kind of singer/songwriter: not widely known, but when you hear her, you wonder why more people don’t know her. A young artist with an old soul, her jazz-infused folk style reveals a maturity that belies her years. Coming from a musical family, and with several DIY recordings already to her credit, she has the confidence of a seasoned pro.

Gabrielle’s latest latest effort, Mirror the Branches (due to release later this month), lives up to the standard of excellence those of us who know Gabrielle’s work have come to expect. At times light and airy, at other times low, jazzy and smoky, her vocals throughout the twelve-song collection are expressive and nearly flawless. The record covers a range of emotional ground, from the melencholy of “Desiree” to the tongue-in-cheek whimsy of “I’ll Turn Myself In Tomorrow”. Led by acoustic guitars, the instrumentation is understated, the overall tone reflective.

For me, the strongest songs are the folk-heavy tunes–and I admit a bit of bias here, as I prefer folk to jazz. The simple melody of “Strange Summer Snow” embeds itself deep in your brain (in a good way), and “Midnight Molasses” (a cover tune borrowed from Gabrielle’s partner-in-crime David Rynhart, who also contributes vocal and guitar on the record) is a deeply haunting tune that leaves me breathless each time I hear it.

Gabrielle is currently raising funds for the final printing of the CD, and for a minimum $25 contribution she will give an immediate download of the full recording, plus a hard copy of the CD when it is officially released.  You can get your exclusive download copy at Gabrielle’s website.  And for those of you in driving distance, Gabrielle Louise is having a CD release and social tango party (again, you have to know her) on Friday, August 27, 7:30 PM, at Aron Johnson’s Architectural Antiques Warehouse, 389 S. Lipan St. in Denver.

Gabrielle Louise: “Strange Summer Snow”

D.B. Rielly is an American roots music artist with a two-sided approach to his art.  On one hand, he is quite tongue-in-cheek (or maybe just “cheeky”) in his approach, and on the other–well, it’s apparent he holds a deep respect for the Americana genre.  Both sides of Reilly’s nature are evident on his latest record, Love Potions and Snake Oil, a CD that pledges to be an “instantaneous cure for all afflictions.” (It says so–right on the label.)  The question, of course, is this:  does the record do what it claims?

Yes.  And no. (A two-sided answer–how appropriate of me.)

While the musicianship and songwriting on the record are definitely on target, in all honesty I feel that the record has three distinct shortcomings.  First of all, the dual nature of the record itself seems to work against it.  At times Reilly’s songs are heartfelt and sincere (“Save All Your Kisses”, “Love Me Today”), and at other times satrical and irreverent (“We’re All Going Straight to Hell”). And the twisted humor in the song “I Got a Girlfriend” borrows a page straight from “Weird” Al Yancovic’s playbook.  It seems to be intended as diversity, but instead it feels more like several violent mood swings.

Second, roots music spans several genres, and this record apparently tries to span all of them–from zydeco to blues, and everything in between. Granted, all genres are done well enough, but the overall voice of Love Potions is inconsistent at best. Listening to the album through, Rielly doesn’t stay in a genre long enough even to help the listener get used to it.

Third, as far as the music itself, while it certainly pays homage to the historic roots of American music, it doesn’t break any new ground. It sounds more like the music of yesteryear, not like a record made this year.

These three issues I have with the record all share a common thread: the music is good, but the dual theme doesn’t work.  This record feels like it travels all over the place, and doesn’t seem to know what it is, or what it wants to be.  It covers plenty of ground, but lacks focus.

Having said that, imho, the album’s strongest suit is actually its bluesy acoustic tracks just beyond the halfway mark.  Stark, raw and honest, these tracks represent the best of D.B. Rielly.  (I’ve included these as a sample below.) If the rest of the record sounded like this, it would be a classic.

If Love Potions and Snake Oil is inconsistent as a stand-alone record, at the very least it demonstrates Rielly’s range and talent–a sample of what he’s capable of.  And despite its shortcomings, the one message that comes through clearly on the record is his love for roots music.  It will be interesting to see where Rielly’s journey takes him next.

D.B. Rielly: “Changed My Mind”

D.B. Rielly “Got a Mind”