Sparrow

Their press release claims that they are a “salon pop” group. Being an incurably curious person, I listened to Sparrow’s self-titled debut solely to find out what salon pop was. Basically, if you’re into well-crafted pop music a la Bacharach or Brian Wilson, you’ll like Sparrow.

Another one of Canada’s best kept secrets, Sparrow is fronted by drummer-turned-pianist Jason Zumpano. Zumpano, who released two albums on SubPop in mid-90’s with the New Pornographers’ Carl Newman, explored various projects (including a backing band on the burlesque scene in Vancouver) before forming the neo-classical instrumental trio The Sparrow in 2001.

Zumpano, who had only recently learned–or, more accurately, taught himself–piano, was hesitant to take on the role of a vocalist. However, his affinity for pop music could not be suppressed, so he dropped the “The,” picked up the microphone, doubled the lineup to a sextet, and revamped the songs (this must be where the salon comes in) for his Overcoat Recordings debut.

Zumpano’s layered harmonies and melodic hooks are on par with contemporaries such as Elliott Smith or Ben Folds, also channeling his influences including The Zombies, The Beatles and The Left Banke.

In an era where most pop artists release over-the-top albums stuffed with extraneous filler material and substandard songs, Sparrow’s self-titled debut is a lean nine-song collection, clocking in under 35 minutes. It’s catchy and enjoyable, yet remains intelligent and relatively understated–Zumpano could well be on his way to crafting the perfect pop song.

So, while I’m still not sure what salon pop is, I can tell you that I like it and I think you will too.