The affable Kate Voegele. (Ethan Miller, Getty Images)

Kate Voegele, "This Fine Mess" (Interscope)

First things first: Voegele isn't an actress-turned-pop star. Sure, she's on the dreadful CW teen-soap "One Tree Hill" — playing singer-songwriter Mia — but that break came long after Voegele's initial breakout success.

That said, Voegele's peppy sophomore album, "This Fine Mess," still sounds as if it were born out of a mediocre teen drama. The tepid songs stay afloat only because of the incredibly sharp production and Voegele's charming, if inconsistent, vocals. "This Fine Mess" makes for a difficult listen, and that's a shame because Voegele makes for an affable pop star.

Overwrought songs like "Lift Me Up" suffer from ridiculous lyrics and fickle vocals. "Manhattan From the Sky," a bouncy piano pop tune, debuted on "One Tree Hill" and will be familiar to fans of the show. But Voegele manages the slinky, dance-pop of "99 Times" better than any of the other pop mutations on the record. Ricardo Baca

Wentworth Kersey, "EP (O)" (Plastic Sound Supply)

Joe Kersey Sampson and Jeffrey Wentworth Stevens have contributed so much to the Denver music scene over the years that it's no surprise they united to record their own project.

Their sublime chemistry, however, is revelatory, sounding little like either Sampson's various folk-rock projects or Stevens' electro-dappled George&Caplin. On the second in a series of three EPs, the duo oozes a gentle sophistication and patient melodicism that sets it apart.

Opener "Adore" rolls in on waves of forlorn Southwestern horns, synths and nylon- stringed guitar. "Wealth" is a grittier Nick Drake with symphonic touches redolent of "Sgt. Pepper's"-era Beatles. Formless, haunting instrumentals such as "Teton Mountains" and "Empty Mall/Dead Mall" work better as ambient music for midnight road trips, while "Brief Symphony" and "Wild" have borderline optimistic tints.

If you're looking for concrete evidence of Denver's ballyhooed music scene, it's here. John Wenzel

This EP is free with any purchase this week at St. Mark's Coffee House, 2019 E. 17th Ave.

Iron & Wine, "Around the Well" (Sub Pop)

Watching Sam Beam open for Flight of the Conchords at Red Rocks on Saturday was amazing. Beam, the man behind Iron & Wine, captured a packed amphitheater with only his voice and acoustic guitar — a feat made all the more impressive, given that he was opening for his labelmates, a music-comedy duo.

Several of Beam's hushed musings, which included a couple of songs (including his quiet, stilted cover of the Postal Service's "Such Great Heights") from this new, two-disc collection of B-sides.

This collection will sound familiar to fans who have followed Beam since the rock club days. Some of the songs on the first disc stretch back to the band's beginnings in 2002. Beam helped engineer the "quiet revolution," which is benefitting national acts (Bon Iver) and Denver acts (the Wheel) alike.

Beam has a way of making covers his own, as he proves on the Flaming Lips' "Waitin' for a Superman" and New Order's "Love Vigilantes." But the originals on here are just as enjoyable. Ricardo Baca