Sing A Joyful Tune

I had a discussion with my kids today about the virtues of vinyl records. My 13-year-old is nearly convinced, but my 11-year-old has a ways to go. Of course it would help to actually get a record player so my dusty LPs from my teens can get some use. I digress.

Today Brandon Schott and An American Underdog (aka Andy Reed) release four perfect-pop gems on their new EP reasonably titled The A/B EP. An American Underdog's The Show Goes On and Good Girl grace Side A while Brandon Schott's Henry and Verdugo Park (Part 2) carry the load on Side B. It's well documented here how much we value Brandon and it's a thrill that he's really tapped into his poppy parts that we heard emerge front and center with his last full-length 13 Satellites. An American Underdog is a revelation and new to me. I've read his 2011 release Always On The Run is a must yet here I am without. The shame.

All four tunes will be on their respective forthcoming full-length albums so this is just an enticing taste of what's to come. The Show Goes On is absolute gold and I'm in love. If someone asked me what a perfect pop song sounds like, that would be a fair answer. Good Girl proves that a marriage between the musical echoes of Elliott Smith and Jeff Lynne is very welcome. Henry is the Penny Lane we knew Brandon had in him. It's pure Beatley joy emanating from the headphones. And Verdugo Park (Part 2) is a bit moodier and suggests a cliffhanger for what's next. I can't wait to hear.

So back to vinyl. In retrospect it was less a digression and more of a set-up. I can't imagine a more appropriate format than vinyl for this release that is so deeply steeped in vinyl's golden age yet such a breath of fresh air. The 7-inch vinyl edition is limited to only 100 copies! Have a power pop fanatic in your life that you think has heard it all? This will blow them away. You can settle for the digital version as well, which is how I've been enjoying it, but these four tunes have inspired me to share a now unique musical experience with my kids that may elevate their love of music to record heights. Pun intended.

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Hold the Phone It's So State of the Art

Alright. I've been holding this one in for a while. I'm in love with Gotye's Making Mirrors and I have mixed feelings about it. I've been listening to the crazy huge hit Somebody That I Used to Know for months on satellite radio. At first I'd only listen to the first 30 seconds and give up. Then I gave in. It builds and builds through the Sting-like vocals and what I can only call the tinky music until Kimbra nails it with her painfully short guest appearance. While I believe it is a killer tune worthy of all the attention it's getting, I was pleasantly surprised to hear so many other great tunes on the album.

The true surprise of the whole album is how unashamedly reverent it is to many sounds of decades past, particularly the 80s. It's not only about the new wave that seems to rear its head every few years. Eyes Wide Open follows up Somebody with a clear nod to Peter Gabriel at his best. The Depeche Modey Smoke and Mirrors is next and sets up the three most interesting and probably polarizing songs on the album. I Feel Better sounds like Sly and the Family Stone filtered through 30+ years of indie music. In Your Light is the best yacht rock tune I've heard since the subgenre's heyday, although it starts off scarily enough with a George Michael riff. And State of the Art. What can I say about State of the Art? I just can't decide if they're being cheeky or dead serious about it. It sincerely reminds of listening to and making our own goofy shit with my brother (Way2Poppy) and cousin when we were kids.  The album ends with probably two of the strongest songs Save Me and Bronte. Bronte is just lovely and usually makes we want to listen to the whole damn album again.

At its core Making Mirrors is an electro-pop (gack) album and probably the best since The Postal Service's brilliant Give Up. It's definitely of its time but surprisingly the fact that it evokes such strange bedfellows makes it so damn fun. I feel like a fool smiling every time I hear its genius little moments, but isn't that what it's all about?

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Chasing The Dream

It's no surprise that I adore new music that respectfully owes plenty to the old greats. There is a fine line (that takes a giant leap to cross) between banging out sound-alike tunes and creating something entirely fresh yet familiar, comfortable, and friendly. Very few cross that line as well as Jeff Litman.

Jeff smacked us hard over the head a few years back with his phenomenal debut Postscript. I heaped praise on it but remarked on the album's not-so-subtle backward nods. I've revisited Postscript countless times since and an interesting thing has happened. No longer do I hear the obvious influences first and Jeff later. Jeff's voice is deliberate and clear. I should have given him more credit.

The first great Too Poppy album of 2012 is Jeff Litman's Outside ... officially released today! Outside embodies balance in many ways. It's a bridge between the sounds of the past and present, thoughtful lyrics and catchy tunes, ballads and rockers, reverence and fresh blood. In an era of party tunes and singing competitions, we deserve a talent like Jeff Litman.

In every good way Outside takes me back to the renaissance of rock/pop in the 90s. First single Over and Over would fit it snugly with Michael Penn's oeurve. The title track is deliciously Jellyfishy and even features Jellyfisher Roger Joseph Manning Jr. on keyboards and backing vocals. Girl Down I-95 evokes sunny roadtrips soundtracked by Gin Blossoms and The Smithereens. Runaway irresistably sounds like Crowded House filtered through Soul Asylum.

What makes Outside break out from the pack though is its diversity that sounds like a carefully crafted and beloved mix-tape. Not content with mere hooks, Jeff fires up our emotions with throwbacks like Back To You that I'm convinced I've either heard on 70s AM radio when I was a kid or recently on a great Mike Viola album. Of course it's all Jeff, which is his genius. I don't name-drop flippantly. Jeff has earned these comparisons and frankly it's the fairest way to describe the album. Jon Brion. Elvis Costello. Wisely. Paul Westerberg. Jeff Litman. It works.

One great album is rare and fleeting. Two great albums are the works of a master.

Jeff Litman - Outside (official site (cheap!) / iTunes / Amazon MP3)

Download first single Over and Over here

In the Cradle of a Song

“You’re the greatest love I’ve ever known.” When Brandon Schott sings it in This Is Home, rest assured it isn’t mere hyperbole. Lesser artists bury such a heartfelt line in flippant three-minute pop songs that sting with fleeting pleasure. Brandon lays it so bare on one of the sparsest songs on his new album 13 Satellites that it resonates through every carefully crafted note on the whole album. In just a moment it is stunningly clear that the stellar 13 Satellites is Brandon’s most ambitious, satisfying, and accomplished album to date.

Lyrically there’s a cozy domestic vibe on 13 Satellites that resonates with this 30-something suburban dad. Brandon writes, plays, and sings from his heart with such sincerity and vulnerability that you can’t help but want to hug the guy. Knowing Brandon I’m sure he’d be game, which is a testament to his honest, personal songwriting. What an incredible feat of courage it is to put your life out there in song and Brandon is making a career of airing it all out. As a listener we are only enriched by the trust and respect Brandon clearly feels for his listeners.

As with his excellent previous efforts, it is pure joy to hear Brandon's influences. In the hands of such a talented songwriter the tunes never sound derivative or unoriginal. In fact, Brandon leaves his original mark on every second of every song. Specifically, Satellite reminds me that as long as the final product comes close to a song like this, every new generation has a right to lay claim to The Beatles’ lasting legacy. The Sgt. Peppery Exploding Angel oozes Being for the Benefit of Mr. Kite. All the Way Down could so clearly be an outtake from Paul McCartney’s eponymous debut that would sound just perfect next to Junk. Although indisputably and admittedly Beatlesque throughout, 13 Satellites evokes its fair share of Beach Boy harmonies, Elliott Smith depth, Ben Foldsian melodies, and ... something sure is Jellyfishy with Louise Street.

The best thing about 13 Satellites? Brandon sounds happy. He has dealt with pretty heavy issues through his music and doesn't shy away here, but Brandon is clearly in a good place. 13 Satellites reflects a newfound playfulness that proves the good ones don't sacrifice fun for substance.

iTunes | Amazon MP3 | BrandonSchott.com

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Check out the way cool animated video for Satellite below.

On a final note, Flowers Fading is easily the most gorgeously timeless song I’ve heard all year. It. Is. Stunning.

To the Dreamers Go the Dreams

I had the privilege of taking my 8-year-old son to see Guster Thursday night in Des Moines and we were blown away. It's my fourth time seeing them and they are one of those rarities that keeps getting better and better with age. These guys have been touring together virtually non-stop for 15+ years - only taking breaks to record albums or have babies. They are tight yet find a way to stay loose and have fun. You know they are well rehearsed, but they make you believe they just picked up their instruments and started jamming.

I remember fondly first hearing Airport Song back when I was working radio and it struck me square between the ears then and I've been smitten since. What a joy then to hear a wild version of it last night complete with discoed guitar bits and the irresistible bongo freak out. The ping pong balls came out a bit prematurely, but this was such a new, different version I can't blame my fellow concertgoers. This was my favorite highlight, but I'll always have a soft spot for Airport Song. Others were Happier, Barrel of a Gun, Come Downstairs and Say Hello (complete with a summoned ukelele that gently glided down from the heavens), and of course the requisite Jesus on the Radio unplugged to close it down. Oh and who can ever forget the relatively impromptu A Dong, an ode to a favorite Vietnamese restaurant in Des Moines. Hilarious. Everything from Easy Wonderful sounded like it perfectly belonged in Guster's ever-growing catalog of tunes that sound fantastic on CD and even better live. They found the right balance with playing old favorites mixed with the new tunes, that judging by the audience's reaction were just as beloved as the classics. No song was unwelcome and I really only missed hearing Either Way and One Man Wrecking Machine. Check out some videos here. Looking forward to a bootleg!

Guster satisfies every time but also leaves me impatiently waiting and hoping for another visit really soon. The tour goes on so get out and see them if you have the chance. Me gusta Guster.

Opening band Good Old War was quite good in their own right. It was clear from the beginning that very few people in the audience had ever heard of them. By the end of their 45-minute set, they earned a standing ovation and cries for encores - a pretty impressive response. I dug the three-point harmonies and overall hippy-dippy yet poppy vibe. I look forward to digging a bit deeper.

Which Fire Is The Fire That Calls You Out Into The Light?

Yesterday was what we'd call in the Too Poppy universe Super Tuesday. My checking account certainly couldn't keep up with the must-own new releases so I started off with The Posies' Blood/Candy (iTunes, Amazon MP3) and Gin Blossoms' No Chocolate Cake (iTunes, Amazon MP3). Both bands have been with me for nearly two decades now so they've earned it. After one listen, Blood/Candy is as stellar as I was hoping after I first heard Licenses to Hide. Suffice it to say that I think this is their best album since Frosting on the Beater - and every album since has been pretty damn good by most standards. On the other hand, after one listen I think No Chocolate Cake could've been called No Killer Tune. It's a nice but very safe Gin Blossoms album. I mostly like when they put away their mid-tempo AC tunes and turn on the power pop juice. So far I think this one could use more rocking out.

Only one listen each for both though so my thoughts could change. Gin Blossoms could be a slow-grower - I hope so - and The Posies could wear thin quickly - I highly doubt that.

Other notable new releases...

Ben Folds & Nick Hornby - Lonely Avenue (iTunes, Amazon MP3)
Pete Yorn - Self-Titled (produced by Frank Black!) (iTunes, Amazon MP3)
Neil Young - Le Noise (produced by Daniel Lanois!) (iTunes, Amazon MP3)
Eric Clapton - Clapton (iTunes, Amazon MP3)
Phil Collins - Going Back - uh, no

Just Charming Alibis

Max Jury has released an excellent new EP called Rhythm of the Rain, which leaves you momentarily satisfied yet overall impatient at the promise of what a full-length release might reveal.

The subject matter might be what you expect from a college freshman like Max or hell, any given songwriter - songs of love and love lost. But it's obvious from the very beginning Max is no ordinary freshman or songwriter. His lyrical perspective expresses a universality beyond his years - and mine for that matter. His musical touch, though, is what drives it all home. Max has an unrelenting grasp on what makes music timeless. He refuses to box himself in by trends and displays a refreshing disregard for cheap gimmickry and hipster pandering. It's Max, his piano, spare accompaniment, catchy melodies, and his heart on the line.

His music is pure. The sentiment is personal. The result is unforgettable. To quote a recent tweet of his: "human? like music?" Rhythm of the Rain is a must own.

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Previously...

I Never Knew You Harry But I Loved Your Songs

Okay, so I've been sitting on this one for quite a while now, late June to be specific.  I've certainly been Distracted.

Seth Swirsky's Watercolor Day is a wonderful album.  It has everything you hope and expect from a true power pop outing.  If you read this blog, you'll love this album, and that's a Way2Poppy Guarantee™.  Lots of great guitars, harmonies, pianos, trumpets and even a clarinet or two.

Standout tracks include the ambitious Movie Set, title track Watercolor Day, and delicious I'm Just Saying, to name just a few.  I highly recommend the full album purchase.

I'm definitely will be checking out his other outings, Instant Pleasure and She's About To Cross My Mind (as part of the pop duo The Red Button).

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See It Written On My Face

In an alternate, Too Poppy universe, you might hear Mark Bacino's latest album Queens English soundtracking the latest Meg Ryan-Nora Ephron rom-com or maybe the biggest animated hit of 2020: Toy Story NYC; chronicling Andy's post-college adventures in the big city and his burgeoning domestication as he hunts down his favorite plastic friends so his own kids can experience the magic. You might see Mark on the piano singing his newest single Happy surrounding by furry monsters on Sesame Street - a better fit than say Camp Elmo despite the title. Most excitingly in this wishful-thinking universe, we'd seen Mark open up for a reunited Jellyfish for a match made in Too Poppy heaven.

I'm not trying to be flippant about Mark's new album. I'm trying to convey the images and feelings it evokes through its sounds, lyrics, and infinite hooks. It's a love story (or better yet, a romantic comedy) to New York with a sonic accompaniment you'd expect from Harry Nilsson. It's a reflection of that inevitable jump from a carefree lifestyle of smoky clubs and debilitating hangovers to one of diapers, stability, and responsibility. It's playful and clever yet pensive and substantive. Mostly, it's respectful of its musical heritage with seemingly deliberate nods to Nilsson, Bacharach, Newman, and Costello while joyfully blazing its own modern path fearlessly void of hipster trappings.

Queens English is a record in its purest sense - 11 songs in 26 minutes - and it's a welcome relief from the format-less bloating we tend to see too often in a digital world. You know every second and every note is there for a specific purpose; a precision the purest pop fans can appreciate.

I'm late to the Mark Bacino party. Not only was Queens English released this spring, Mark has forged a strong fanbase with his previous, so-called bubblegum releases. So be it because I'm so happy to have bumped into him.



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Standout tracks: Middle Town, Happy, Bridge & Tunnel

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Ignorance Can Leave an Awful Bruise

I never set out for Too Poppy to be a music review blog, but when something trips my trigger I feel the urge to share it. Here are just two I've neglected sharing for too long now with more coming soon!

Jeremy Messersmith - The Reluctant Graveyard
The stellar third album from the Minneapolis singer-songwriter. Definite Beatley / Brit Invasion vibe, particularly on the first few tracks, yet tempered with an edgy folksiness you might hear on a Jon Auer solo release. A macabre delight set to the cheeriest of tunage. 

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Highest recommended tracks: Violet!, Dillinger Eyes, Lazy Bones

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Gidgets Ga Ga - The Big Bong Fiasco
Chicago-based power pop trio - need I say more? As a music lover who spent my formative years in Chicagoland at the height of Material Issue's brilliance I must say more and to do so I will employ several Too Poppy approved adjectives: catchy, crunchy, rollicking! GGG delivers catchy three-minute gems filled with crunchy guitars that will leave you rollicking. I gotta believe they put on a helluva live show. This is a must listen for fans of The Replacements and even Nirvana who occasionally lust for pure pop amid the din. The album comes in a bit long at 18 songs and would have made an incredible 10-song, 30-minute album, but kudos for ambition, boys.

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Highest recommended tracks: Lullaby, The Sorry Song, Baby You're a Star

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Living in the Sprawl

Man, talk about the dog days of summer. My absence from Too Poppy has less to do with being out of town for nearly a week and much more to do with generally being uninspired to write about anything - until now anyway.

The iPod is unexpectedly being dominated by Arcade Fire's The Suburbs this month. I say it's unexpected because this is my third attempt at trying them out and the first time it's stuck. Previously I've just found them to be over-hyped and too pretentious. It's not that they're no longer over-hyped (they do have the #1 album after all) or pretentious, but the power of the music and subject matter breaks through on The Suburbs.

It is an investment at first. Although there are catchy tunes scattered throughout the diatribes on the suburban life, we're not talking three-minute perfect pop gems. Listen closely and repeatedly though and it'll catch. Oh, it'll catch. Modern Man is a great example. Try to shake it after the second or third listen.

The Suburbs times out at 60 minutes plus. In the age of the digital single this is a heavy ask for the casual listener. But as much as The Suburbs is a soundtrack for the suburban coming-of-age story, it is also an entirely convincing argument for the on-going relevance of the album as an art form. The Suburbs is best listened to in its entirety. The superb Sprawl II (Mountains Beyond Mountains) is a stunner in its own right (finding its groove somewhere between Blondie and The Sugarcubes while even teetering unashamedly into Abbaland), but as the musical and thematic climax of the album, it transcends to glory. There have been few goosebump moments like this in recent years so when we have them we should exploit them. Over and over again.

You've likely read up on Arcade Fire and maybe you're even a hardcore fan. This is the first time though they've found a place in the Too Poppy universe. Let's enjoy.

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Break the Silence

In a break from my norm, one of my favorite albums of the year so far is Nada Surf's If I Had a Hi-Fi.

It's not that I don't like Nada Surf - I do, very much. It's that Hi-Fi is an album of covers, which I'm typically indifferent toward. But Nada Surf owns every cover as if it was their own composition so the entire album seems less like a mix-tape than most cover albums. The song selection is unmatched in balancing the well-known (Enjoy the Silence, Question) with the lesser-known (Electrocution, Evolution). This balance is tricky, but the flow of the first five songs alone justifies the entire album's existence.

To me, Depeche Mode's Enjoy the Silence is the most recognizable tune, but if you had never heard it before you'd swear it was a Nada Surf tune. Their handling of the classic reanimates it to fit in nicely with the band's oeuvre - quite an achievement.

I picked it up a while back during Record Store Day, but they just widely released it earlier this month. Get it and reminisce about old favorite tunes while listening to them through an accomplished Nada Surf filter.

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Download the Electrocution MP3 free! Find the link here.

She's Like a Star Tonight

I've been meaning to write about Broken Bells for months now but I've been too busy listening to it. The collaboration between Danger Mouse and The Shins' James Mercer just might be permanently burned into my iPod after all the plays its received. It isn't instantly catchy like a lot of Too Poppy music, but once it catches, you can't let go. Clean beats and downer lyrics create quite an atmospheric listen - probably not one to play while boating on a sunny day with your beer-drinking buddies, but when the rain comes we all need something special. Broken Bells is special.

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Check out the new video for falsettoed The Ghost Inside starring that busty lady from Mad Men (well, she is - I dare you to look away). It's cinematically sci-fi and fits the tune quite well.

I'll Make You So Sure About It

It's undeniable. God Only Knows is easily one of the most brilliant tunes ever released in the Too Poppy genre. Lovely harmonies, sweet sentiment, gooey in all the right places - just an all-around fantastic aural experience. The generations since have shown just how influential this one song has been with so many trying so desperately to write and record their own God Only Knows. Some come close. Most don't.

And others simply record their own cover version. Let's not kid ourselves, this is an incredibly risky move. Imitation may be sincerely flattering, but what good is a cover unless it has something special or unique to offer?

Brandon Schott is the latest to give it a go and not surprisingly we're the better of for it. As you'd expect, his version is no radical rearrangement, but the gift that Brandon gives in his music and especially in this cover is a certain intimacy and even vulnerability that let's us in and encourages us to experience the brilliant song from a slightly different perspective. For those of us familiar with Brandon's work, you're not surprised the musicianship is top-notch. He slows the tune down just enough for us to notice and give it new consideration. And for a song so revered for its harmonies that envelope the listener, Brandon boldly keeps them in check. The most obvious covers overwhelm us and try to outdo the original's harmonies. Brandon has more respect for the song itself and this interpretation challenges us to experience it with a fresh set of ears. Of course the killer moment comes when his son Tyler breaks in near the end: "...what I'd be without you...!" As any parent will tell you, this transcends the song to a completely new level.

Brandon Schott's proves God Only Knows is one of those rarities that is of its time and completely timeless. Well done.

I must not neglect to mention God Only Knows is backed with a cover of Strawberry Fields Forever! Strawberry Fields Forever is certainly of its time and is a bit too weird to be as universal as God Only Knows, but Brandon gives it a similar special treatment. As any Beatles nut as done throughout the years, I've dissected the song to dig deeper for understanding or revelation, which is its beauty - it never gives it all away. By making it downright haunting, Brandon's take adds a whole new element that has me excited to revisit the original and its many takes seeking a similar feel.

The Beach Boys and The Beatles - give Brandon credit for tackling both on one single and for giving us an entirely new appreciation for both the brilliance of the original songs and the gift of Brandon's musical voice.

God Only Knows b/w Strawberry Fields Forever is out today via iTunes.

What Do You Know About Rock and Roll?

Been sitting on this review for too long now...

The new album from Plasticsoul called Peacock Swagger plays like an educational piece highlighting some of the most interesting aspects of late-era Beatles: variety, surprise, chatter, noise, mystery, melody, innovation. And there is quite a bit of real soul in Plasticsoul.

For me Peacock Swagger's most striking track is Cancer. Lyrically, Steven Wilson makes us feel the pain. "Cut it out; please cut it out" is either a plea to be left alone or a literal request to get that shit outta there. Either way, it hits hard. Even more brilliant though is the backwards guitar, which for me represents just how discordant the disease can be in one's life. It doesn't quite fit, but it's there and you must deal with it. Absolutely brilliant.

No worries, though; this is not at all a bummer of an album. How can it be with an opening track as irresistible as Sentimental Fucks / Life on Other Planets? Try resisting the chiming of Champion Tragic Boy from consuming your brain all day. Go balls out for Cock Rock 101. Feel the spirit of Elliott Smith in My Three Friends. Finally, cleanse yourself with the life-affirming Rainy Season, the perfect antidote for Brandon Schott's award-winning Fire Season. How appropriate, then, that Brandon happens to be a member of Plasticsoul. Brandon keeps good company and has the honor of being involved in two of the best releases of the year (the other being his very own Dandelion).

Peacock Swagger has already hit notable best-of-09 lists and if I bothered to put one together, it would undoubtedly be in a good fight for the toppermost of the poppermost.

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Disclaimer: The artist provided a preview copy of the album for consideration of a review. I wouldn't have bothered writing one if it wasn't genuinely as good as it is.

I'd Like to Write a Happy Song

Drummers in the spotlight? It brings on the inevitable and usually not well-intentioned comparison to a certain Richard Starkey. But being the huge Jellyfish fans we are at Too Poppy, we know just how much of a creative force drummers can be.

Case in point: Kevin McAdams. Kevin is the drummer for the well-liked NYC indie band Elefant and for whatever reason, Kevin felt an urge to get out from behind the skins and record his own album. We're the better for it.

I'm struck immediately by the similarities to Jason Falkner - big sound, bigger melodies, great lyrics. And while Jason fumbles around with Japanese releases and long-delayed domestic albums, we can satiate our hunger for delicious yet nutritious pop by engorging on It's My Time To Lose My Mind over and over and over again. Just try and resist all the "la-las" on this album!

Unlike Falkner who logically puts his guitar front and center, McAdams does what you'd expect a drummer to do - he gets all rhythmic on our asses and plugs in the keyboard to boot! This adds a delightfully retro feel ala ELO and sets you into a groove you'll be hard-pressed to get out of. In fact, Leave Us Alone would fit perfectly on the excellent LEO album from two years ago. The production is clean and the songs well-crafted. And in a rarity these days, it's an album that gets stronger with each song and with every listen. It's hard to pick standouts in a sea of standouts, but A Different Kind of Love Song and My Time are sure to make it in my iPod's heavy rotation.

But right when you think you have this guy figured out, he gets HEAVY on the final track, Turn the Lights Off. Awesome. Believe it or not, that particular track makes me imagine what Tool would sound like with some melodic influence from Marilyn Manson. Then again, perhaps my senses are swirling after listening to one of the best albums I've heard all year. I can't wait to listen to it again.

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Get to Know the Feeling of Liberation and Release

As I slowly recovered this week from what was likely H1N1, I couldn't stand another minute of the Food Network so I hit the local Redbox and rented Adventureland.

I'll be honest, despite the critical acclaim it received earlier this year upon its release, my expectations were significantly tempered by the overexposure of too-cool-for-me Twilight superstar Kristen Stewart. Perhaps it was the fever haze I was in, but the movie resonated with me. It seemed genuine (excepting the caricatures by Bill Hader and Kristen Wiig) and unforced (excepting the distracting overuse of the Mary Jane), reminding me of similar experiences in my younger days while working with peers at a cultural attraction not entirely unlike the amusement park in the flick. I was never as disaffected as these characters, but I do relate to how they lived to a certain soundtrack - and what a soundtrack it was!

I love when movies use great music well. Adventureland's soundtrack was nearly distracting; not because the music was poorly used, but because the music is so good it nearly dominates the scenes. Fortunately the filmmakers found the right balance. With The Replacements, Velvet Underground, and The Cure the cool factor is amped up, and I found myself smirking to Falco's Rock Me Amadeus, swooning to Crowded House's perfect Don't Dream It's Over, and cringing to Animotion's Obsession.

Unfortunately the official soundtrack (below) is a mere 14 tracks long and hardly representative of the film's music. Thankfully, others have come before me to fill in the rest.

via Amazon.com
via iTunes

Oh, I now understand the appeal of Kristen Stewart a bit better. Her performance seemed effortless and real, and despite her rather moody character she lit up every scene she was in.

Our Melody Is Strong

The hymn-like Season’s Turn on Brandon Schott’s new album Dandelion sets the tone: this is a serious album. We’re no longer in a golden state.

I likened Brandon’s previous album Golden State to summer. How appropriate then that Dandelion is set to be released days after summer ends. Thematically and musically this is a winter album – a deep winter album – yet it undoubtedly hints at inevitable spring awakening.

Its name is no accident. To Brandon, dandelions remind him of “childhood, of a certain way of seeing the world.” The beauty of floating dandelion seeds is tempered with the cold truth that it’s an unwelcome weed. The overarching dichotomy of that sentiment is conceptually prevalent throughout the whole album and despite the dangers inherent in such a heady experience through pop music, Dandelion is especially effective.

With Brandon’s expert lyrical treatment, Dandelion is never mawkish or overwrought. After listening to it for several weeks, it has driven down deep and taken root at an emotional core. Much like its namesake, the album is quiet and unassuming yet persistent in its existence. Brandon takes us on a journey through life’s unwelcome challenges in the seemingly endless search for comfort, support, and health. Recurring elemental images of earth, water, wind, and most strikingly fire ground the album in a way that makes it infinitely relatable, as do the pleas to suns and stars for celestial safety and contentment. Spiritual? Perhaps, but the beauty of such powerful music lies in our personal reaction to it.

The underlying story to Dandelion relates directly back to Brandon’s own personal battle with cancer. Many of the songs were written and recorded during or because of that experience. But Brandon avoids turning Dandelion into a private therapy session. The feelings of helplessness and hopefulness are universal and Brandon’s talents make Dandelion a thoughtful yet accessible listen.

Dandelion is deep, but don’t get me wrong; this is pop music. The album is a testament to Brandon’s ability to literally strike a chord with listeners through melody. His strength lies in the finest touches: the Lennon-esque piano of Not Far Away, the Foldsian tune of Falling Forward, the acoustic beauty of the lullaby Halo evoking the simplicity of Mother Nature's Son, the glorious string arrangements in Turning Toward the Sun, and the smoldering menace of Fire Season, which is quite likely the best composition of his career to date and worthy of its nomination for a 2009 Hollywood Music Award. Even with this elaborate attention to the smallest details, there’s something slightly raw about Dandelion – it’s rough around all the right edges.

In the end, Dandelion reminds us that despite the recklessness of life, hope and love are pervasive. Relax and sail the four winds. All will be well.

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Dandelion will be released digitally September 29. A special limited edition CD will be available from his official website soon if you're looking for something a bit extra.

It's Not So Surprising

Ten out of ten tastemakers agree: My Old, Familiar Friend tastes spectacular.

That's not gross. That's truth.

Start with one whole Brendan Benson, throw in two cups of McCartney, three heaping tablespoons of Falkner, a dash of Wilson, and hold the White.

A recipe for a pop confection that exudes perfection - hyperbole be damned!

One blogger casually obsessed with pop music believes he might be currently too popping to the best release of the year.

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The Wonder of Wonders

A simple Twitter request garnered one response, but it was a doozy! A couple weeks ago I tweeted for any new music recommendations for an upcoming road trip. The one and only Brandon Schott replied I should pick up Tim Christensen's Superior. Who? What? Ok.

Hands down this is the best album I've heard yet this year. It is remarkably free of the trappings of any certain genre or era. Christensen fearlessly takes on power pop, folk, rock, pop and transcends his singer/songwriter/multi-instrumentalist label. In other words, it is absolutely timeless.

With such deliberate attention to melody, instruments, lyrics, and album flow, and with a simple voice that is both appealing and interesting, comparisons to the likes of Michael Penn are all too easy. Mike Viola's appearance on the title track is also not lost on someone who is casually obsessed with pop music. And naturally I'm not surprised that Brandon Schott is a fan. But after listening to the album several times through, I can't help but think Superior reaches as high as the Finnosphere, where Mr. Crowded House himself must smile with approval. In other words, Superior leaves me feeling as satisfied as I do after spending quality time with the House's high-water mark Woodface. Yes indeed, it is that good.

The pop blast of Hard to Make You Mine and the sentimentality of Wonder of Wonders anchors the spectrum of quality and variety in this one album, but I have become extremely partial to the haunting India. When you experience a deep visceral response to an album you know you're dealing with something extraordinary.

Superior is extraordinary.