Jerry's Pick: "New Constellation"

"NEW CONSTELLATION"-TOAD THE WET SPROCKET

I've always been a sucker for a finely crafted pop-song with an upbeat, infectious hook.  Well, the latest song to feature those ingredients comes from four guys who once orbited an alternative universe several light-years ago.

Who could forget Toad the Wet Sprocket?  Okay, they may have been a bit "out there" when deciding on a group moniker -- (In fact, Rolling Stone recently listed TtWS as one of "The 13 Dumbest Band Names of All-Time") -- but you have to admit they did fill the Nineties with a string of memorable AAA tracks such as "Hold Her Down," "Walk On the Ocean," "Something's Always Wrong" and the classic  "All I Want."

Well, after listening to the group's first new single in 17-years, it sounds like guys from Toad haven't missed one-small-step and are back on the launch-pad with their best opportunity to rocket up the pop charts since Galileo first probed Jupiter.

"New Constellation" is a starry-eyed singalong love-song that touches on astronomy as an analogy… including a middle-eight that appears to be a reference to solar winds and, yes… black holes.  Lead vocalist Glen Phillips told Rolling Stone, "I wanted to come up with material that would respect our origins but also respect everything we'd learned in the intervening years.  The lyric veers from outer space to patron saints to depression to heroic gestures of love in a quick, three-minute pop song."

Please, give this light and tight cosmic composition a spin because I'm confident you'll gravitate toward "New Constellation" after just one go-around as I did.

By-the-way… "New Constellation" is the title track to a brand-new Toad the Wet Sprocket studio album that has a launch-date of September 17th!

Jerry's Pick: "Things Will Change"

"THINGS WILL CHANGE"-TREETOP FLYERS

"Let's go back, to the start…"

That "start" sounds kinda like, 40-years ago... a time when each of the five-guys in the band Treetop Flyers were even close to being born.

Treetop Flyers' first "official" single, "Things Will Change," sounds as if it was -- once-upon-a-time -- on the Billboard Pop Singles charts sometime during the decade of the Seventies.  And it's easy to hear their California harmony-laden soft-country-folk-rock influences -- from the Byrds and Buffalo Springfield to Poco and Manassas.  In fact, their group name was borrowed from a 1968 Stephen Stills' composition titled "Treetop Flyer."

When I first heard "Things Will Change," I immediately conjured-up images of the band America.  (An amusing Lincoln-Kennedy juxtaposition: America was an American group -- with just one British member -- who recorded their first album in England; Treetop Flyers is a British band -- except for the one American musician -- who recorded their first album in the States.)  I could also hear strong similarities to Firefall, especially in Firefall's cover of the Stills classic "It Doesn't Matter."

"Things Will Change" isn't exactly a brand new song for the guitar-based quintet.  Treetop Flyers attempted a more acoustic, less polished version two-years earlier in the UK without much success.  But, while recording new tunes for their recently-released first full-fledged album (The Mountain Moves), the guys decided to give the track a second chance.  So glad they did.  In this version you can hear the pain in Reid Morrison's soulful lead vocals, the harmonies are brighter and tighter, and you just can't beat the ascending consonance of those synchronous electric guitars.

With the folk-rock genre once again trending well, it would seem that this would be the perfect time for the Treetop Flyers to soar.  And with veteran producer Noah Georgeson (Adam Green, Strokes, Ben Lee) at the controls, these guys came through with a beautiful song that some will remember as one of their old favorites while they listen to it for the first time.

Jerry's Pick: "Demon Dance"

"DEMON DANCE"-SURFER BLOOD

 

(This may sound a bit macabre, but) I love Surfer Blood!  As freshman, this quartet of students at Florida Atlantic University recorded their first album (Astro Coast) in an off-campus apartment in Boca Raton using Chinese microphones and a cheap Pro Tools rig on an old Hewlett-Packard computer with Windows XP.  That honest and somewhat innocent garage rocker-of-an-album gave me two of my favorite indy tracks of 2010… "Swim" and "Floating Vibes."  And I've been waiting for something new from the guys ever since.

Now -- with major-label assistance from Warner Brothers Records and veteran producer Gil Norton (Pixies, Echo & the Bunnyman, Foo Fighters) -- Surfer Blood has released a new single called "Demon Dance" which proved definitely worth-the-wait!  Sure, they sound a bit more polished, but they still retained their quirky personality and some of that gritty, grungy, garage-rock feel.  You'll hear that in the song's heavy-metal middle-eight where lead-vocalist John Paul Pitts screams out a bridge over distorted guitars -- recently reminiscent of Dave Grohl's shouts on "Walk" two years ago.  And it all takes place over a contrasting subtle chorus of "ahhh's" that maintain the song's continuity.

Some of the words to "Demon Dance" may sound a bit dark -- "The hounds of hell need love and care, the hounds need organs and limbs to tear" -- but are instead a bit droll and, according to Pitts, inspired by Sherlock Holmes.   He explained to Rolling Stone, "The lyrics may seem cryptic compared to the straightforward nature of the song, but the song is about dishonest and cruel people I've encountered against the backdrop of Sir Arthur Conan Doyle's 'The Hound of the Baskervilles'."  (I especially enjoyed the band's artful glow-in-the-dark doggy reference.)

And -- like Sir Arthur's name -- Pitts' vocals lend a bit of an English feel to Surfer Blood.  That's why I have come to the conclusion that "Demon Dance" is the best British-sounding power-punk single not to emanate from Britain.

Although "Demon Dance" was just recently released as a single, you'll have to wait a few more weeks for the official unveiling of that new Surfer Blood album.  Pythons will be ready for uploading on June 11th.

"Excellent!" I cried.  "Elementary," said he.

Jerry's Pick: "Still Into You"

"STILL INTO YOU"-PARAMORE

Have you ever been in one of those rare, one-of-a-kind love-affairs where…
…every single day seems better than the last?
…it's impossible to keep your hands off of each other?
…you would give up everything you have just to be together?
…your relationship is effortless, adventurous and a hell of a lot of fun?

If so… I found your new theme-song!  (And one you can dance to.)  This, my friend, is where BFF meets LOML.

The alternative rockers Paramore have ventured away from their darker, more serious, gothish compositions of the past and stepped into a much different, peppy, playful, pop-like environment making this their most radio-accessible track to date.

"Still Into You" is three-and-a-half minutes of light-hearted, irresistible, convivial joy that captures what true love feels like.  And, this very personal message comes straight from the heart.  In fact, Paramore lead vocalist Hayley Williams is simply letting everyone know how she feels about her five-year romance with New Found Glory guitarist Chad Gilbert.

Hayley recently explained to Spin magazine, "'Still Into You' is definitely a love song.  It's definitely happy.  But to me anyway -- and obviously I wrote it so maybe I'm biased, but -- it's not a sappy love song."  She added, "…and honestly I don't have a whole lot of experience writing love songs, or anyways lyrics that are like this.  So, I'm just ready.  Wherever this song goes, whatever it does, I'm just excited for our fans to hear it."

"Still Into You" is the second single to come from the band's fourth studio album Paramore which was released last week.

Go ahead.  Give "Still Into You" a listen.  There's a very good chance you'll fall in love with falling in love.

Jerry's Pick: "Awkward"

"AWKWARD"-SAN CISCO

Awkward, indeed.  I first thought about recommending this song over a month ago but was afraid that it would come back to haunt me.  Still could.  But... I'm gonna take that leap.

"Awkward" is a fun, kind of cute and catchy pop-dialogue from a group of Australian youngsters that call themselves San Cisco.  But this musical verbal exchange -- played by lead vocalist Jordi Davieson and drummer Scarlett Stevens -- could have easily been titled "Stalker" instead.

Him (insecure): "I left a message last night, you haven't called back, I've been calling you for days."  Her (uneasy): "I have my keys at the gate.  My mind is made-up to make a quick escape."

For me, "Awkward" reminds me of when I first heard Gotye's "Somebody That I Used To Know."  Not only are the lyrics an uncomfortable conversation between a pair of incompatibles, but both songs are simple in construction and immediately stand out from everything else on the radio.

"Awkward" may be held together by a facile drum and electric guitar riff, but it's the video game synths, cellphone text-like lyrics and especially all of the "dah-dah-dahs" and "doo-doo-doos" that make this recording very unique.

But the song's positives could also be its negatives.  This particular piece of pop-candy borders on the novel.  It may initially please your aural senses, but -- after a number of plays -- "Awkward" has the potential of quickly turning from ear-worthy to ear-worm.

Let's just say it should come with the disclaimer: "Enjoy in moderation."

Jerry's Pick: "Spotlight"

"SPOTLIGHT"-LEAGUES 

A few weeks ago I discovered an indy-band out of Nashville named Leagues who have just released a single that should be a sound hit later this Spring.  It's a tune that recently received a promotional boost following a spin during season-9, episode-14 of "Grey's Anatomy."

Efficaciously using a catchy groove, jangly guitars and a strong bass-line, their song "Spotlight" will not only get the upper part of your body bopping along to its bouncy beat, but its infectious chorus should also have you taking part in your own little karaoke performance as well. You'll discover that the power of this popalicious pick lies directly in its hook.

Although Leagues is just three song-guys out of Nashville (Thad Cockrell/vocals, Tyler Burkam/guitar, and Jeremy Lutito/drums), "Spotlight" is so nicely produced and solidly layered that you'll assume they must have had lots of assistance in the studio.

Definitely danceable, "Spotlight" is a track that could have easily been recorded by Two Door Cinema Club as it has the same effervescent feel as "Something Good Can Work."  And aside from being effectively infectious, "Spotlight" offers a little bit of the band's own philosophical op-ed on love. ("Give it when you feel none.")

According to Thad, "The general thought on music is that it can only be dance or fun party-music if the lyrics are throwaway lyrics. I think in some way we would like to challenge that."

So, listen and smile while you're in the "Spotlight."  Any dancing and singing will be a bonus.

Jerry's Pick: "Mexico"

"MEXICO"-STAVES

Whether you know it or not, popular music is in the midst of a folk-rock revolution we haven't seen since the days when Joni Mitchell lived in a fine Laurel Canyon house with a couple of cats in her yard.

Today it's acts such as Mumford & Sons, Civil Wars, Bon Iver, Lumineers, Iron & Wine, Decemberists and others who are successfully selling songs and picking up significant radio airplay.  One of the latest to join this genre is the Staves, three synchronized singing sisters (Emily, Jessica and Camilla) who hail from the London suburb of Watford. 

The Staveley-Taylor siblings are kind of like if the Fleet Foxes had daughters who grew up in England.  Think delicate Judy Collins vocals with tight Crosby, Stills & Nash harmonies.

The Staves have recently released a beautiful recording called "Mexico" that could quite possibly become their break-through hit single here in the States.  The best way I know how to describe the feel of "Mexico" is with a barrage of adjectives, like; haunting, innocent, emotive, effortless, etherial, simple, melancholy, sober, thoughtful, pensive, rich, honest, delicate, subtle… poignant.

"Mexico" begins with middle sis Jessica on acoustic guitar and lead vocals, then Emily and Milly join in adding depth and dimension to this beautiful ballad with their three-part pitch-perfect harmonies, all leading up to a stunningly soaring chorus.

The girls say they grew up singing along to artists like Feist, Simon & Garfunkel and Buffalo Springfield. “There was always music in the house and we always sang,” Jessica recalls. “Mum and Dad weren't professional musicians or anything but they were always into music and would sing, and play both the guitar and piano. Lots of harmonies.”

"Mexico" is part of Dead & Born & Grown which was produced by the ultra-legendary Glyn Johns (Eagles, Eric Clapton, the Who) and his son Ethan (Ryan Adams, Kings of Leon, Priscilla Ahn).

So, should you set "Mexico" as the next destination on your iPod?  Folk, yeah

Jerry's Pick: "A Tattered Line of String"

"TATTERED LINE OF STRING"-THE POSTAL SERVICE 

It was ten-years ago this month when programmer Jimmy Tramborello of Dntel and singer Ben Gibbard of Death Cab for Cutie -- having never met each other -- collaborated on a collection of songs from opposite ends of the country via the US Mail that would go on to define the indie music scene and inspire many DIY desk-top music makers.  That album, of heavily synthetic pop songs (titled Give Up), still stands as the only full collection of new tracks to emanate from The Postal Service.  Fans have been waiting and wanting more ever since.

Well, to commemorate its 10th anniversary, the two decided to re-release a remastered Give Up with a bonus disc of B-sides, live performances, remixes, covers… along with two, never-before released Postal Service tracks.

One of the two is "A Tattered Line of String," a smooth, uptempo synth-laden techno-tune featuring Gibbard's gentle and fluent vocals that would have fit-in perfectly with the rest of their stuff from a decade ago.  And -- just as she did back in 2003 on the original Give Up sessions -- it was a nice surprise to hear Rilo Kiley's Jenny Lewis harmonizing on "String."

Although "A Tattered Line of String" has plenty of hooky pop goodness, it will never come anywhere close of rising to "Such Great Heights."  The reason its included here is that the track procured a few extra points simply because of the crazy cult-like anticipation of its release.  But soak it in, as it doesn't appear The Postal Service will deliver anything else beyond this brief reunion… at least anytime real soon.

Last year Gibbard told Spinner magazine, "I really enjoyed doing that record (Give Up) with Jimmy."  But then clarified, "I find that making music in computers involves a lot of mouse-time... I don't have an aesthetic for that.  Keeping up on new software technology… I'm not particularly interested in that."

The Give Up reissue will be available April 9th… about the same time The Postal Service will be performing twice at the Coachella Music Festival here in Southern California.

Jerry's Pick: "Forest Whitaker"

"FOREST WHITAKER"-BAD BOOKS

I first listened to this track last October, but mistakenly dismissed it as novel.  A second, third (eventually 14th) listen yesterday got me seriously hooked.

"Forest Whitaker" is the best track from the second collection of songs (II) from a side-project called Bad Books, a collaboration between alternative folk-singer Kevin Devine and indy-musician Andy Hull with his Manchester Orchestra.

The simple but slightly somber lyrics -- delivered in a perfect matter-of-fact way by Hull -- are about loathing and self-loathing all set over a contrasting light, up-tempo, synthesized background.  Favorite line of many: “I bought a bird that repeats what I say but ‘I’m lonely’ is all that he’s heard.”  It's fun, forlorn and feckless all at the same time.

Most often the title of a pop song can be found as an integral part of its hook and sometimes an extremely succinct synopsis of the lyrics.  "Forest Whitaker" -- which isn't even about the actor -- fails on both counts.  And the hook isn't lyrical at all… it's an infectious happy-go-lucky whistle that'll have you puckered-up in minutes.

"'Forest Whitaker' was the last song written for the album," Devine tells Rolling Stone." Andy came up with the bones and basic structure and fattened it up instrumentally with (lead guitarist) Robert (McDowell) while I was finishing up my spring tour with Say Anything.  I came in and we dug into those harmonies and Strokes-y synth/video game guitars, which was super fun and expansive -- different for us texturally.  I love the lyric and melody ear-candy with a twist of darkness to keep it off-balance -- save it from being saccharine.  Feels like the missing piece to the record."

By-the-way... if you thinking of purchasing your own copy of "Forest Whitaker," be sure you download the full version which opens with a brief wicky-wicky, beat-heavy, electronic, hip-hop intro that gives this already unique Bad Books tune a special extra dimension.

My advice to you: "Play Forest, play!"

Jerry's Pick: "Harlem"

"HARLEM"-NEW POLITICS

Are your ears tired? Listless? Run-down? Looking for that perfect piece of poppy punk to raise your energy level several notches?

Well, I just may have discovered the rock anthem of 2013!

It's a tick-tick-tick-tick-tick-tick-tick BOOMing track called "Harlem" performed by three hyper Danes in Brooklyn who call themselves New Politics.

You may have already heard about these guys. It was only a couple of years ago when their debut single "Yeah Yeah Yeah" received moderate airplay on a handful of alternative radio stations, drew comparisons to the Hives, and was chosen as the theme to Dew Tour 2010. And like "Yeah Yeah Yeah," "Harlem" contains enough aural-caffeine to stimulate the alternative-rock lobe of your brain to keep the rest of your body pumped-up.

The party begins with cheerleader-like chants, a strong My-Sharonian backbeat, lyrics touting the frolicsome females of Upper Manhattan, all of which is held together by a kick-ass chorus: "When it gets loud, I turn it up! Shake it like a bad girl up in Harlem!" (Then there's a not-so-subtle nod to masturbation -- "Here come the jets, hide my money in your tube socks" -- that would make the Violent Femmes proud.)

"Harlem" is one of those tracks that works just as well as a Red Bull.  Side effects may include heart palpitations, rhythmic foot tapping or, quite possibly, spontaneous car-karaoke. Listen liberally. And as John Lennon once instructed, "Play Loud!"