The Athens, GA quartet Modern Skirts got very good reviews on their debut in 2005, but the new album draws you in with their sunny harmonies, well-placed strings, understated keyboards and quirky lyrics concerning matters of the heart. The opening track “Chanel” will appeal to fans of  Field Music and the lighter side of Phantom Planet. The gentle single “Soft Petals” is a tuneful distraction with a melancholy hue to the spacious production. The standout here is the Ben Folds Five-like “Radio Breaks” a wonderful hook filled gem with a glorious piano melody. The next song, “Yugo” ambles along to a truly beautiful chorus that recalls Adrian Whitehead’s studied lush pop sweetness. Lead singer Jay Gulley has mentioned “It’s all about the song, not about trying to sound cool or show off on your instrument, it’s trying to get stuck in people’s heads.” And these tracks do stick. But at the albums mid point, it concentrates more on quirky novelty productions like the sparse Harper’s Bizarre feel of “Astronauts” and faux Billy Bragg-like “Motorcade.” Other songs here don’t approach the genius of the album’s first half, but aren’t bad at all, especially the emotional ballad “Mrs.” and the hopeful group hug that is “Eveready” with it’s combo of distorted guitar and piano solo. No doubt worth more than a casual listen.

The Tattle Tales specialize in fun modern pop-punk that follows in the footsteps of Green Day and Weezer, and Bowling for Soup. You can hear all the youthful exuberance in the opening track “Lucky Girl.” The track speeds along on a traditional pop structure with buzzsaw guitars and a nice twist ending in the lyrics.  The combo of guitar and synths on the following “Unconditionally” recall both The Posies and Velvet Crush, where tight melodies hover above the sonic landscape. “Austin Boys” starts softly with a ballad and after a minute explodes in harmonies and guitar textures for the chorus. Next to Rooney, this is the best you’ll get to “modern-styled” power pop I can think of. The sweet meter goes off the charts with “One Lawn Away” where alternating male and female vocals tell an modern version of that old chestnut “dreaming about the girl/boy next door.” Lest things get too sweet, heavy punk riffs come in next with “Oh, God” and “So Wanna Kiss You” lead by Anya. “Sweater” and “Evelyn” stick to the Weezer formula a bit closer, and aren’t as compelling, and “September Girls” drags on way too long. But that is easily made up by the wonderful “When I Get To Heaven,” with a hook that will stick to your brain like a cotton candy and Jellyfish-worthy chord changes. “Her New Company” pumps up the layered textures, much like Superdrag. Way better than most new pop for teens, or young adults with all the right influences that old fogies like me appreciate.  This is a great album that pop fans should support.