Sparrow

Like a trip to the candy store, The Early Years will trap you in a world of pastels and cotton candy. Its light, uplifting, sugar-soaked melodies border on twee without being overly simple. While the flavor is decidedly sweet, you don’t have to worry about digesting too much — with The Early Years, you’ll only get half of the love/hate relationship that you may have experienced with cotton candy after a long day at the carnival. Love reigns supreme, so have as much as you want.
Sparrow’s signature sound can be traced way back to the mid ’90s, when lead singer Jason Zumpano played drums for his namesake band, Zumpano, which he co-founded with A.C. Newman. Shimmering guitars, pulsating drums, bouncing verses and sweeping choruses dominate much of The Early Years. Still, Sparrow’s new material, however Zumpano-like, best reflects the drummer-turned-singer’s growing abilities as a songwriter. Zumpano makes his talents known not only behind the mic, but on piano, Rhodes and, naturally, drums. The result is a quieter, more mature set of songs that conquer in their own modest way.

Touting a fine musical pedigree, Sparrow blends the warm, Cali-tinged melodies of the Beach Boys and The Byrds (at their poppiest) with the quirky vigor of musical contemporaries like The Shins and, not surprisingly, The New Pornographers. Opener “Flower” mixes these elements with astonishing ease. A resurgent trumpet introduces Zumpano’s swaying vocals over throbbing piano chords. It’s instantly appealing on first listen and, like much of The Early Years, will remain so after numerous playbacks.

Although this isn’t exactly power-pop with a capital “P”, there’s still enough energy here to keep it from going soft. Like wild-eyed children in the midst of a sugar rush, the songs jump up and down with giddy excitement. “This Is How It’s Done” follows the more laid-back opener with a dash of hyperactivity. Jittery vocals swagger around a brisk rhythm for an exuberant two minutes of toe tapping.

The vibrant harmonies between Zumpano and vocalist Lucy Brain are particularly impressive. Though not necessarily a main focal point, they add an extra spark to many of the songs — particularly in the title track’s addictive (but repetitive) hook, “How do I get from here / ‘Cause if I don’t then I will surely lose my way.” It’s a perfect pop song, complete with jangly guitars, crisp rhythms and a jubilant violin.

The album’s latter half expands on the tight, catchy song forms introduced in its early tracks. More prominent string arrangements are featured nicely in “I Wouldn’t Mind” and “All Two By Two”. “Gone” is buoyed by a pounding piano, searing violin and staccato cello. The somber orchestration and Zumpano’s yearning vocals tear a page or two from The Moody Blues’ manuscript.

When it’s all said and done, Sparrow could easily be criticized for the narrow range of their songs — the bulk of their material features predictable verse-chorus-bridge structures. Still, it would be difficult to deny Sparrow’s achievements when they follow the best-laid plans of their predecessors — they seldom go astray.

– Lisa Green