The Epilogues

If you don't know about The Epilogues, you no longer have an excuse.

They have, after all, been steadily rising in the ranks of the Denver music scene with a unique brand of danceable synth-emo for the last year.

The band played at the Aggie last week, and their bass player, Jeff Swoboda, is a former Fort Collins resident. Recently, the quartet has been interviewed by both CTV, the campus TV station, and KCSU 90.5 FM, the campus radio station.

But if you need more reasons why you should know The Epilogues, just listen to their new, debut EP: "The Beautiful, The Terrifying."

For that matter, just listen to the first track. "King Arthur" starts the party off right with a killer beat and one of the EP's most irresistible synth-lines. The only question is whether you should get your groove on or cut yourself in time to the catchy-but-anguished chorus: "I'm still alive / but I can't let go of this pain inside / so just let me out."

The lyrics of "The Beautiful, The Terrifying" give the impression that lead singer and guitarist Chris Heckman has just broken up with his last seven girlfriends consecutively before writing. But they are also surprisingly well crafted. Take this line, for instance, from "Hurting You": "I'm breaking this down for you / But I'm breaking down here too."

OK, so maybe it's a tad cheesy. But it's easy to want to sing along to the words when they are bathed in a tidal wave of sound that includes layered vocals, soaring synth, clean guitar and an understated but highly effective rhythm section.

The end result sounds something like American New Wave music melded with contemporary sensibilities.

This combination works to greatest effect with "On The Radio." The song builds a head of steam with a percolating electronic beat reminiscent of The Postal Service for over two minutes before exploding into a synth-heavy chorus that could have come from straight out of the '80's.

The tune also serves as a showcase for Heckman's superb vocal delivery. By walking the line between torment and restraint, he lends "On The Radio" its urgent, vital energy.

There is certainly no shortage of energy on "The Beautiful, The Terrifying." However the EP is bogged down by the fact that all of the songs consist of approximately the same tempo, mood and aesthetic. It doesn't help that the recording quality is just a step below professional, rendering some segments a little muddy.

But these are small problems on an EP that shows big promise. If "The Beautiful, The Terrifying" is any indication, this probably won't be the last time you hear about The Epilogues.

- Nick Scheidis, The Collegian

When I told a friend I’d be reviewing the Epilogues’ debut album for Scene, she caught me by surprise with her fawning: “It made me fall in love again… and I’ve never been in love.”

That’s a special kind of passion, no doubt. But for me, The Beautiful, The Terrifying is more like a post-breakup medicinal, good for any lover without a warm body to cling to: heavy on the synths and the woe, it starts off with ache-breaky melodies before transitioning into danceable “loving-the-single-life” synth rock.
The Epilogues must have studied some arty encyclopedia on somber electronica in preparing their debut, as their sound draws a wide variety of comparisons. Singer Chris Heckman’s vocals have a coolly punch, comparable to those of Morgan Quaintance of Does It Offend You, Yeah?

Openers “King Arthur” and “Hurting You” especially reflect this. And like DIOYY, both sail on an unmistakable electro-emo beat and catchy chorus. It’d get repetitive if not for a few gems of different color: standout track “On The Radio” rides on a sullen Radiohead-esque synth line as Heckman muses on the complexities of escape. “Caroline” is a similar slow-burner about desperate jealousy lined with throbbing mental images of exes embracing new lovers.

Comparisons aside, there’s a fair chunk of dance amidst the bleakness, particularly apparent in “The World is Yours” where rampant hooky guitar breakdowns remind us that it’s okay to move on.

Ultimately, this heart hasn’t been moved, but I’ll be keeping The Beautiful, The Terrifying handy for the next time some girl breaks it. - Erik Myers - Scene Magazine

Who: Epilogues
Position: 2nd Supporting Act
Whose Baby? Chevelle and Coheed had a threesome with Silver Sun Pickups
This is not what I expected in a support band. Their lyrics are more complex. Their sound is layered. Some of the songs really stick with you. The musicians are excellent and really get into it. To be honest, they might actually be too good for this level of a support band. Given some more time and a big of a budget for their live set, I could easily see them headlining their own tour. This is both good and bad for AWOL themselves, the good part is they have a stellar band to get us excited and happy to be here. The bad part is they totally stole some money from AWOL, I payed out my CD and gas money to get their album instead of A/N’s.
Obviously, I could fanboy all over this band for the rest of the day but I’ll leave it with this: their rendition of Filter’s “Hey Man, Nice Shot” was incredible, almost as good as the original. The entire crowd flipped out, as well they should. So freaking good. Go pick up their CD. - PopCitizen

Pre-releasing a highly anticipated album is a fantastic idea. Mixing that into a hometown CD Release Party is even better. And that's exactly what the Denver band The Epilogues did for their upcoming album Cinematics. So for the few hundred lucky souls that were out that night, there was an excellent multi-aesthetic experience to be had.

The stage was dimly lit with a few tower lights in the back and the occasional reds and blues coming from above. Though it was only minimal effects there was still an essence of Innerpartysystem and Nine Inch Nails drifting around. And given the overall tone of their new album, this set up was quite fitting. The new album is full of impressive selections and the setlist followed suit, however there were a few that really stood out.

Synthesizers created layers of pulsating sounds blanketing the audience, gradually bringing in soft vocals and ultimately creating an almost haunting feeling in the venue during the song "The Keene Act". When the tempo finally kicked up there was an indie rock melody of distorted guitars, and shoegazer rhythms. The cleverly placed pauses acted as catalysts, shifting each section of the song and making it more powerful than the previous.

Having Rolling Stone take interest in one of your songs is a big thing for any band, but for a DIY band it's insanely huge. So of course we were all looking forward to seeing "Paradigm Shift" performed live. One thing that The Epilogues do best is create some undeniable drama in their songs; the kind of drama that gets your heart racing and your volume inexplicably getting louder and louder. This type of music translates to the stage quite well. The lead in progression of notes came across the electric guitar that night perfectly. And all it took was those few notes for the audience to go crazy. But what really brought it home was the hardcore alternative thrashing that came out in each chorus. The melodies from the heart of the song were still there, but our heads were rocking too hard to notice.

And what would a CD Release Party be without the song that hooked most of the fans there? "Hunting Season" has this crazy intoxicating quality to it and you can't listen to it just once. Between the marching band percussion and anthem rock guitar chords, you'd think the vocals would've been hard to pick out. Nope, those words that instantly became embedded in our minds were clear as day on stage. This was one of the many songs when energy was at its highest on stage and throughout the venue. Each musician gave it their all, moving with every beat of the song, becoming more and more covered in sweat. But then so were their fans.

For a local release show it was a well-attended night, for a DIY band just now hitting the national scene it was successful. Overall, it was also fun.

-Rachel Fredrickson

The Epilogues
October 6th, 2012
Summit Music Hall, Denver, CO
- Hybrid Magazine

Denver based indie/dance outfit The Epilogues are set to drop their new album, Cinematics, a month early for us Coloradoans on October 6th at a Record Release Party taking place at Summit Music Hall. The album will be released on homegrown label Greater Than Collective.

We had a chance to get our hands on Cinematics last week during their listening party and have been playing it for the past few days. The Epilogues are not strangers to the Denver music scene, in fact, some have described them as “one of the hardest working” music acts around. I have had the privilege to see them live on a few occasions and can say that their live shows are energetic and lively. The band consists of Chris Heckman on vocals and guitar, Jason Hoke on drums, Jeff Swoboda on bass, and Nate Hammond on keyboards.

Cinematics is a record that describes the blood, sweat and tears it takes to be successful in a saturated city full of talent. The record conjures up an emotionally charged battle cry letting us know that The Epilogues have arrived and are here to stay.

From the opening track it is easy to make comparisons to the Silversun Pickups, in fact it is astounding how similar Heckman and Brian Aubert, Silversun Pickups front man, sound. I hate to make comparisons but this it is completely accurate. On “The Shadow King”, the opening guitar is accompanied by an infectious drumbeat that carries the song and makes for an impressive opener.

With influences on this album channeling that of early Smashing Pumpkins, it is the distortion-driven guitar riffs and complimenting bass, keys and drums that make every song on this album radio-friendly and infectious.

On the fourth track listeners will recognize “Hunting Season”, a track that has been a staple on 93.3’s rotation for sometime now. The same can be said for “The Fallout”, whose video still haunts me today (see below).

Overall, you get a sense of musical maturity by the foursome along with raw pasion. Though it took some time to put out a new album, the production was spot on and really captured the message of the album. Cinematics will take you on a journey that will have you hitting the repeat button over and over again. - Ultra5280

The sarcastic comments and dirty looks came almost immediately when Nathaniel Hammond asked to plug in his synthesizers. Soon the scrutiny became a familiar rite for the Epilogues' keyboard player after the band started playing live in Denver around 2006.

"They'd be like, 'What am I supposed to do with your three keyboards?'" recalls Hammond of those days. "It was a learning curve for me. No one gave the keys respect."

A chilly response from countless soundmen didn't keep Hammond and co-founder Chris Heckman from pursuing the group's early dynamic, a synth-driven sound that reveled in ambient experiments and new tones. Along with bassist Jeff Swoboda and drummer Jason Hoke, the two Smoky Hill High School graduates have spent the past five years refining their approach while keeping a strong focus on the possibilities that can stem from a simple keyboard.

"We basically developed our sound without a lead guitarist," Hammond explains. "Keyboards have always been the lead. It took finding the right sounds." Five years after their initial experiments, the search for new sounds has borne fruit. The bandmembers have progressed notably as performers, and even more strikingly as songwriters. The Epilogues have a single getting airplay in radio markets across the country, and as a result, they're building buzz far beyond Denver. The group is planning a new release within the year, a record that will include revamped versions of tunes from their 2008 EP, The Beautiful, The Terrifying, as well as newer singles like "Futurebox" and "The Fallout."

Whatever modicum of success the bandmembers have had up to this point, they say it all goes back to their early fascination with finding new tones. "We started writing songs for feel," notes Heckman, who spent his first years in college writing solo material as a singer-songwriter. "Now, for this next album, we've been doing that same thing, but giving them breathing room and interludes...while at the same time being songs that you can play without the band."

That duality is clear on songs like "Hunting Season" that fuse ambience and concision. The act's developing skills for marrying mood and structure, however, came after being disorganized early on. The shift was inspired by a movement in the larger rock landscape that saw bands like the Killers and Hot Fuzz drawing sounds and structures from another era. "That's what we clung to, for good or for bad," Heckman remembers. "People automatically associated us with that '80s sound. In all honesty, it wasn't very good at the time."

In the beginning, the Epilogues played smaller places and spent just as much time talking on stage as playing music. "We used to joke with each other on stage," Hoke admits, recalling a specific show in 2008. Following a poor review of that gig, the members started to retool their on-stage approach. "That was a turning point for us. We went from being a bar band to being a venue band."

They continued to improve with the recording of their freshman EP, The Beautiful, The Terrifying, a collection of eight tracks that helped chart the course to come. "I think that's what The Beautiful, The Terrifying was; it was taking those unrefined songs and methods and finding a cohesive feel for them," Hoke notes. "It was the first time that we all realized what we liked playing. It had dark undertones without being over the top."

For the EP's sense of mood, the group drew on an eclectic range of sounds and sources, a creative palette that included everything from video-game soundtracks to the score of the film 28 Days Later, by John Murphy. "Murphy scores in a sense that it's almost like an indie-rock scoring," Hammond points out, adding that the approach made a deep impression on the band. "It's eerie and dark. We were in love with that and Vaux's last album."

Even with the wide range of influences, the Epilogues' love for synth and driving riffs on tunes like "King Arthur" drew inevitable comparisons. "I think the '80s association was a copout," Heckman insists. "We really were a rip-off of the Killers in 2004 and 2005, but by the time that album came out, the only thing that resembled the '80s was some of our synth colors. And that was about to become a huge thing."

"Synths are everywhere now," Swoboda offers, smiling wryly. "We weren't the only ones doing it. We used to have a little bit of fun with it. We'd say, 'Hey, if you like the '80s, you'll love this next band' on stage.

"We take it all in stride," he adds. Still, the guys maintain, the easy association missed the deeper currents of the Epilogues' sound. The songs from the first EP incorporated m - Westword

Umm…okay, so these guys have won almost every local award there is to win over the past several years, to the point that they’ve “retired” from competing--so it seems admittedly redundant to put them on a “bands to watch” list. But their new album Cinematics, released last fall nationwide, lives up to its name—it’s basically epic in its sound. 2013 has the potential to be a breakout year for a band Denver already knows stands toe to toe with the best of them. - Examiner

The Epilogues are not only one of the most revered bands in Denver, they are also one of the hardest working. The indie rock outfit has been dominating the local music scene for years through powerhouse performances, repeated radio rotation, and award-winning songs. With a brand new forthcoming album, the foursome- Chris Heckman (vocals/guitar), Nate Hammond (keys), Jason Hoke (drums), and Jeff Swoboda (bass)- is poised and ready to extend its sovereignty to the world stage. On November 6th, The Epilogues’ stunning new record Cinematics will be released nationally and then the band will hit the road for a tour in support of the new music. I recently got the opportunity to talk to the charming artists about Cinematics, their do-it-yourself mindset, and how important fans are to the band’s continuing success.

From the beginning, The Epilogues have placed a big emphasis on growing the band's fanbase and popularity organically. What are some of the ways that you've found success through your grassroots approach?

Our key has always just been work ethic. We all wanted to be career musicians but we also were willing to admit that we didn't know the first thing about how to get there. We just started going to as many shows as we could. We met people, and supported the acts in town. Over time, more and more of the people and bands that we’d met started supporting us. I think the support within a music scene is what defines it, and Denver’s music scene has thrived because of that. We’re very fortunate to get to be a part of it.

The new album Cinematics is phenomenal. What was your goal for the record?

Thank you! We wanted to write an album where the tracks complement each other and that flowed well within itself, rather than it just being a collection of arbitrary songs. We looked at some of our favorite albums, albums like Melancholy and the Infinite Sadness by Smashing Pumpkins or Kid A by Radiohead, and those albums both seemed to tell a story. We wanted to write an album that told a story too.

The Epilogues have great fans across the country. What are some of the ways that they inspire you? How do they help contribute to your success?

At the end of the day, we only get to do this because we have fans that come to shows and support our band. There are no words to describe the feeling of seeing people singing along with something you created.

Are there any songs on the new album that the band was initially uneasy about releasing, maybe because they pushed you in a different musical direction or you weren't sure how people would react?

I don’t think there was anything that we had a problem releasing. We started writing a couple of songs early on in the process that didn't make the cut, but that’s just part of the process. I will say that lyrically, this album is a lot more honest and multi-dimensional than some of the songs off of our last release. Chris really opened up on this one.

Talk to me a bit about the local record label that you're currently working with.

Well, we spent pretty much all of 2011 negotiating with a label that was an imprint of Sony, and without going into too much detail, that label was basically shut down at the end of the year as a financial casualty of Sony after they brought in a new president.

In early 2012, we were asked to be a part of the Illegal Pete’s/Greater Than 2nd annual Starving Artist Showcase at SXSW. We got to know Pete Turner really well during that time, and somewhere along the way we started discussing signing with them for our upcoming release. It has been a really great experience working with Greater Than, and we can’t wait to see what the future holds.

Describe the recording process for this album. How long did it take? How much control did you have over the creative aspects?

Like I said, we had our label debacle in 2011. It left a really sour taste in our mouths because we sat idle so long and in the end it just turned out to be a lost year. We had been writing here and there during the negotiations, trying to write follow-up singles for what would have been our label release, but after the deal fell through we scrapped most of the songs and started over. We used our anger and disappointment as fuel for our new songs. We spent 2011 being told what our best moves would be, what direction we should be going, and in the end, we had almost nothing to show for it. This album is us writing what we want to write.

What are your plans for the future? How will you continue to grow as artists, flourish as a band, and expand your popularity?

We’re really excited to finally get to share Cinematics with all of our fans. As for what is in store after that, we have a few things that we are working on but nothing confirmed yet. Hopefully, we are able to get on the road a lot. We haven’t done any touring this year, and we’re having withdrawal from it.

Aside from your unique and engaging music, what differentiates T - Examiner

With their infectious melodies and emotionally-charged lyrics, Denver indie-rock fixtures The Epilogues are poised for stardom with their new album "Cinematics" coming out on Denver-based Greater Than Collective in November.

The Huffington Post caught up with The Epilogues and chatted with them about their upcoming album, making music without a major label and their favorite spots to hit in Denver when they aren't on tour.

Who is in the band and who plays what?

Chris Heckman – Vocals/Guitar
Nathaniel Hammond – Keyboards/Synth
Jeff Swoboda – Bass
Jason Hoke – Drums

How long have you guys been playing as The Epilogues?

With our current lineup, it has been about six years.

How did the band get its start?

Chris and Nate grew up together and have been playing together since high school. Jason joined the band in 2006, and then Jeff was brought in in 2007.

What's it like being a musician in Denver?

Denver has an incredible music scene. People really love their music here. We’ve played all over the country, and there are very few markets that compare to Denver. The talent here is ridiculous, and the artists are so supportive of one another. It really feels like a brotherhood.

Why "The Epilogues" as a band name? How did it come about?

We were originally just called “Epilogue,” which was taken from the Death Cab for Cutie song, “Company Calls Epilogue.” It turned out that another band had already trademarked the name “Epilogue,” so this was our solution. Additionally, we all come from very different backgrounds. Our name highlights the way that we’ve kind of formed this singular unit that has been shaped by all of our individual stories.

How did you guys arrive at your sound?

When the band first started out, we were really into bands like Muse and The Killers. So we spent the first year or so trying to be those bands. I don’t think that there was ever an exact moment, but as we became better musicians and learned how to really write together, we began to develop our sound.

Who would you cite as some of your biggest musical influences?

As far as other artists, Radiohead is a big one. Also, The Smashing Pumpkins, The Cure, Brand New, Nine Inch Nails, Circa Survive, Mew, and M83 just to name a few that come to mind. We’ve also been hugely influenced by movie scores (particularly John Murphy), and also video game scores.

How does the songwriting process work for you guys?

It all starts with Chris. When he starts writing, he records pretty much everything he thinks of. Most of the time it results in nonsense, but anytime he gets something he likes, he’ll bring it to the band and we’ll all piece the rest of it together.

When you set out to make your new album do you have a theme in mind, or perhaps a certain sound/feeling/inspiration you want to capture on record?

When we began writing this album, we used a lot of synths to write. As a result, most of the hooks sounded like something from a film score. I think the idea for “Cinematics” came from that. We really liked how things were sounding, so we embraced those tones and sort of built the album around that sound and that theme.

How did the recording of "Cinematics" go? And what did you want to do on "Cinematics" that you didn't do on "The Beautiful, The Terrifying??

The recording process stretched out a little over two years. After our label deal fell through, we started recording on our own, but we found ourselves bouncing around studios, tracking only a song at a time. To be honest, it was really hard to stay focused. I think we were averaging maybe a track a month and, frankly, the album began to sound like a bunch of arbitrary singles thrown together, rather than sounding like a cohesive unit. After we signed with Greater Than, we ended up scrapping a number of tracks, and writing new songs specifically to bring the album together. This album represents a very trying period in our lives, and I think that there’s a depth to it that you don’t see a ton of in a lot of music today. Chris opened up on this album in a way that I don’t really know if he’s actually even comfortable with yet.

How did you hook up with Greater Than Collective and how has that partnership worked out?

We’ve worked with Greater Than in the past, for SxSW and also a few benefit shows. Although during that time, we were in contract negotiations with Sony Music Group with one of their imprint labels. We were about a week away from signing the deal when Sony replaced one of their higher-ups, and he turned around and shut down all the imprint labels, thus nullifying about eight months of work on our end. We essentially had to start all over, and that’s when Greater Than stepped in. We met with them a couple of times and decided to work together. It’s been great. We have such similar mindsets and work ethic, so it’s really been a perfect marriage.

You recently had your vide - The Huffington Post

We don't necessarily want what's good for us — from chili cheese fries to that one last Jäger shot to a late-night booty call. And sometimes we must give thanks for the circumstances that thwarted us and led to a later sense of relief.

So it is with dramatic indie rockers The Epilogues, who had a major label deal in hand, only to watch it dematerialize when Sony changed presidents and the incoming chief shuttered all the label's small imprints. Of course, it didn't feel like good news at the time, but now that the Denver quartet's finally released its debut LP, Cinematics, getting dropped doesn't seem like such a bad thing.

"They just kind of pulled the rug right out from under us because we thought we'd done it. It is such a familiar story, but we fell victim to that, 'Oh, this is it. Everything is going to be great,'" says singer/guitarist Chris Heckman. "We made some poor choices, where we kind of jumped the gun on some things and started spending money we didn't have — like on radio campaigns. But at the end of the day, that album changed so much that we can look back and I'm glad it worked out the way it did."

Heckman and keyboardist Nate Hammond met in a high school guitar class as freshmen and have been friends ever since. They started the band in the early Aughts while being drawn into the electroclash/New Wave revival. They bought synthesizers as if they were trading cards and absorbed the music of Muse and the Killers, beginning with three synths in the lineup.

That eventually gave way to the chunky, guitar-driven epics they now fashion, with sweeping arrangements soaked in atmosphere and power chord riffage that draw comparisons to Silversun Pickups and Manchester Orchestra. Indeed, at times Heckman's voice sounds remarkably like that of Manchester frontman Andy Hull. (Though Heckman's quick to note that the synths remain and many of Cinematics' fuzz-laden "guitar solos" are actually grimy, grunged-up Moogs.)

"I think we all had the same influences growing up. The reason I started singing that way was from Damien Rice. He was, like, the fist person I latched on to, and when I heard Andy Hull for the first time I was, like, 'Son of a bitch,'" he recalls. "[As for] Silversun Pickups, I hear a lot of Mew in what they do, and that's another band we've been listening to for years."

They got a huge break when Denver radio station 93.3 KTCL put their 2010 single "Hunting Season" into its rotation. It not only proved a local sensation but drew the attention of major labels. They spent eight months in negotiations with Sony, not doing much else, so when it came crashing down, so did their spirits. That's reflected in the searching, depressed, and aching tone of tracks like "Paradigm Shift" and the slow-burn rager "Call Me a Mistake."

"That was the hardest thing — we didn't have anything going on. We were sitting in our studio for so long just thinking, 'What the hell are we doing with our lives?' that you run out of things to say," he says. "Five years ago, I would've never admitted to any shortcomings. It would've been the end of the world for anyone to know any of my dirty secrets or things that were less than flattering. Now I don't care anymore. I think we're just becoming more accepting of who we are as people."

The out-of-pocket cost of finishing up the album has limited their touring, keeping them shackled to Denver since March 2012. They've also begun work on what will be at least an EP and what they hope will develop into a full-length album by the end of the summer. But first, they must hit the road.

"We're going stir-crazy here at home," Heckman says. "It's been a little tricky. We've got guerrilla-style everything lately just to try to keep our album going and keep our heads above water. But we're really excited to get out in front of people again."

The feeling's about to get mutual. - Phoenix New Times

It’s an easy thing to make comparisons for bands. There are the obvious influences in certain genres – pop/punk bands pay homage to Fall Out Boy, Blink-182, Green Day, etc., things along those lines. That being said, there are those rare acts who, like a breath of fresh air, give you something you can’t quite place a finger on. Band in focus: The Epilogues. The fact that I can only think of one band off the top of my head to draw a strong correlation to (Vagrant Records alumni The Comas) is a pretty decent sign that I should be expecting something great.

The Denver quartet, comprised of vocalist Chris Heckman, bassist Jeff Swodoba, drummer Jason Hoke, and keyboardist Nate Hammond, throws together a mixture of sounds and styles into something entirely their own.

From the first notes of Cinematics, the guitar-hook and drum-roll intro of “The Shadow King,” the album delivers consistency that others neglect to provide. The smooth, gentle vocals and light strum of “Call Me a Mistake” lull you into a relaxation before Hoke leads the track into a heavier direction. Feedback and distortion connect this with the booming “My Misinformed ‘John Hughes’ Teenage Youth,” the first real standout on Cinematics. An echoing introduction repeats itself through a vocally-gorgeous chorus, supported by an eerie swirl of static-coated vocals.

Where “John Hughes” reaches for arena walls, the soft introduction of “Hunting Season” begs to be bounced off of the walls of dirty, sweaty, small clubs, not strictly due to the soaring vocals of Heckman, but the lyrics that support it – “Oh what have I become … / I can feel it now / Yet all the things I think I want are very things that push my friends aside / And I need them now, oh I need them now / I’m afraid it’s all for nothing.”

The brief “Foxholes” winds into “Paradigm Shift,” a dance-inducing epic that grows more with each second. Featured on Rolling Stone’s site as a Daily Download, it’s an obvious choice to showcase The Epilogues’ skill set. Heckman’s vocals, whether clean or strained, are terrific, spotlighted by a supporting band performance that could make major-label bands feel like disappointed in themselves.

“Closer” brings a smooth shoegaze mood, while “Animals” is a dance-rock romp led by a heavy stomping drum and guitars that The Killers’ Hot Fuss could have used on a track or two. Tempo highs and lows counteract each other, dropping in and out without much warning.

A quickly-strummed acoustic guitar mirrors itself above a blipping kick drum until Heckman’s shouts lead into the chaotic “The Fallout,” filled with buzzing synth, precision drumming, and steady bass before fading away, bringing the title track in on its coattails. “Cinematics” is one-hundred-and-fifty-six seconds of the sounds of ebbing and flowing synthetic violins, pushing and pulling before arriving at “The Keene Act,” a nearly seven minute marathon that begins with the same swirling “Cinematics” ends with, and delivers another example of Heckman’s vocal range and capabilities.

With the exception of “Foxholes,” “The Wondrous World of Will Dupree” is Cinematics’ shortest track, timed in at just over a minute and a quarter. Somber, serene piano brings the listener by the hand into the finale “Saboteur,” a curveball of a song that starts softly before blowing the hinges off of the doors, morphing into a grand affair, ending Cinematics in perfect fashion.

The Epilogues are a do-it-yourself band, and always have been. A major label deal was within their reach, but it turned out that the cards weren’t dealt in their favor. However, the band took it in stride, taking their fate into their own hands. As a group, it seems they understand the importance of not wasting time. They’ve put a serious effort into producing a stellar album, and listeners’ time will not go to waste.

Rating: 4.25/5 - Lucy Out Loud

Denver, CO-based alt-rock band The Epilogues have a new release available for listening called Cinematics. This record begins with “The Shadow King” which, like its title, has an element of gloom about it. With a somber guitar riff and addictive lyrics, one is soon to be humming along with the track. The sad sound of the vocalist’s voice counterbalances the gradual rise in tempo that occurs within the number. “Call Me A Mistake,” the cut immediately following, tells the story of a love lost. This song has a distinctive grunge feel to not only the vocal style, but the entire musical composition of the piece.

As Cinematics plays through, a definite theme of darkness is apparent and it’s as if the lyricist is battling his demons through the grim layers within the music. Upon the first notes of the third track, “My Misinformed John Hughes Teenage Youth,” the ear is almost instantly intrigued. The number is aesthetically pleasing due to its seamless song structure and simplicity. “Paradigm Shift” begins as a lighter journey of a song, with gentler vocals and subtle guitar. Suddenly, the drums and singing become more frantic as the song transforms into something borderline progressive at its solo.

The Epilogues seem to have mastered fleshing out a place for themselves that is not to be confused with a band of any other sort. The ninth number, “The Fallout,” is a more fast-paced and emotional ride, with panicked vocal parts over synthesized harmonization. A lot of the second half of Cinematics incorporates synth elements underneath their hypnotizing guitars and singing. The album, as a whole, is a successful, quality work done by an act that cannot be compared to anyone. That is the goal of any band looking to make an impression and after listening to The Epilogues, an imprint remains.

In A Word: Impressive - The Aquarian Weekley

#1 most commented, #3 most shared, #12 most viewed video for over 2 weeks - MTV

Denver band The Epilogues crafts dramatic rock songs that fall somewhere in between Manchester Orchestra and Silversun Pickups. The group, which will release a new effort, Cinematics, on November 6 via Greater Than Collective, draws together revving guitars, surging vocal melodies and cinematic layers of sound. “Hunting Season” is the album’s first single – a heaving, evocative rock number with moody, emotional resonance. - RCRD LBL

Thank the heavens for unexpected surprises. The latest in what seems to be a monthly occurrence is the Denver band The Epilogues. On their sophomore full-length Cinematics the band makes a case that they may be the band to watch in 2013. If the enveloping and inviting album opener "The Shadow King," does not hook you, then perhaps the methodical and sweeping "Call Me a Mistake," will. From start to finish, Cinematics is accentuated by bursting guitars, thunderous drums and a rousing concoction of drama, swagger and tenacity.

Vocalist Chris Heckman croons with both effortlessness and a steadiness that seems to point towards larger tours in stadiums and amphitheaters. Heckman is flanked by a can't miss rhythm section of Jason Hoke (drums) and Jeff Swoboda (bass), who along with Nate Hammond (keys) craft saturnine and sweeping masterpieces. On the disc's first half there's the buzzy and Brit-inspired "My Misinformed John Hughes Teenage Youth," the busting and taut "Hunting Season," and the explosive fireball that is "Paradigm Shift." Nestled in between is an elegiac minute-long ballad in which Heckman showcases his world-class vocals and offers up further proof that the band is indeed the farthest thing from a pretender.

Cinematics' second half comes out swinging with the stormy siren "Closer," the propulsive "Animals," and the gripping "The Fallout." Around the two-minute mark in "The Fallout," there's a palpable sense that this disc was not just written for themselves, but rather with a wider audience in mind. The celestial title track is a near-three minute instrumental that serves as a fitting conclusion for "The Fallout," and an even better segue for the near seven-minute ballad "The Keene Act."

And it is here in this leave-it-all-on-the-table juggernaut that The Epilogues make arguably their strongest statement to date. Though there have been many moments thus far that have left one wanting more, nowhere is that more felt than on the layered beauty of "The Keene Act." The album finishes with the stark piano instrumental "The Wondrous World of Will Dupree," which segues into the expertly crafted "Saboteur." Much like "The Fallout," "Closer," "Hunting Season," and "The Shadow King," it is the sound of a band setting themselves apart and proving their worth in just forty six engrossing minutes.

From front to back, Cinematics as a whole has a visceral and guttural pull towards gravity that rivals their contemporaries. And it is that very trait that sets this Colorado band apart.

Quite honestly, it doesn't get much better than this. - Absolute Punk

Artist: The Epilogues
Song: "Paradigm Shift"
Album: Cinematics

"'Paradigm Shift' marks the point where we started getting national attention. Dealing with record labels and management for the first time radically changed everything that we thought we knew about the business," the Epilogues' Chris Heckman tells Rolling Stone. "It felt like we had to change everything, and we didn't have any control. "Paradigm Shift" is about the frustration associated with that change."



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