Independent Clauses | n. —unusual words about underappreciated music

Afterlife Parade's Rebirth is a successful one

September 28, 2011

J. Quinn Erwin is the first Horizon artist to drop the tag, and he’s done so with impressive speed. It was just July that I was wondering where Afterlife Parade would go from its impressive but scattered debut, and three months later he’s clarified his position — with an exclamation point.

Erwin has gone the anthemic route over the subtle track on Rebirth, and it’s a bit of a revelation. There are strong suggestions of U2, Kings of Leon and Springsteen here, but Erwin makes the markers point to his tunes instead of away to those other guys’ works by meshing the easily categorizable elements with unusual, complex arrangements. That is exactly how you play those cards. High five.

The title track appropriates new-millennium U2 excellently, underlying the “woah-ohs” and terse melodic action with a rumbling energy that connects it to the other seven tunes here. “Black Woods, White Beach” is where Erwin really gets going, however. He deftly meshes raw emotional power via the vocal tone and melody with triumphant, Funeral-era Arcade Fire crescendos in a way that was missing from Death.

Erwin shows shades of his exuberant songwriting ethos throughout, whether in the giddy “Sequoia,” the clever minor/major pull of “Devil’s Dirt” and the fitting closer “Maypole.” These songs are bursting with interesting things to talk about, but that would strip the joy of discovery from you. Yes, it is that good.

Rebirth truly lives up to its title. Afterlife Parade now has a recognizable sound and the makings of a distinct songwriting vision that’s more than a gimmick. There are no clunkers on Rebirth; furthermore, there are no easy picks for “best tune.” They all have their own treasures. I expect big, big things from Afterlife Parade. I also expect you to go check out this album.

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Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.

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