Podcast: Toad the Wet Sprocket – New Constellation

So I’m trying something new this week. Instead of having a written review of Toad the Wet Sprocket’s new album, New Constellation (which has yet to be officially released), my friend Chris and I decided to try a podcast instead. If I get enough positive responses from this I may do it more in the future, but I need your feedback!

New ConstellationAnyway, here’s a little background on the album. This is the first album of all new material from TTWS since 1997. Having already recorded the album with their own money, they started a Kickstarter campaign to fund promotion and distribution of the album (since they are doing this without a label). Having donated some money to the campaign, both Chris and I received advanced digital copies of the album a few weeks ago, which is how we were able to review it before it has officially come out.

In the podcast we talk about the album and a lot of other things regarding TTWS, especially about what has been going on with the band since they broke up in 1998. I’ll be honest and say that what you hear is what we said, meaning not much editing went into the final product, and we did it with one mic (if this becomes a thing I will invest in better audio). Also, it’s quite long. About 45 minutes…all about Toad. You’ve been warned.

I hope you enjoy what you hear, and please leave some feedback about whether you’d like this to be a thing in the future.


-J. Frisch



6 thoughts on “Podcast: Toad the Wet Sprocket – New Constellation

  1. Pingback: I DID A PODCAST | TwistedCritic

  2. in regards to the Mutual Admiration Society album being so low-key compared to the MAS shows, keep in mind MAS toured in 2003/2004 in support of the album, but the album was recorded in early 2000 in 3 days at the end of the “Abulum” sessions before Ethan flew back to england. it languished on the shelves at Nickel Creek’s label until 2004 because they felt it would impair the sales of Nickel Creek’s album “This Side”

    so a lot of people webt into that record expecting it to sound like the tour, which it did not. ultimately this led to them creating Works Progress Administration, which was going to be a second Mutual Admiration Society album until Chris Thile backed out when Nickel Creek split up

  3. oh, and Gavin MacKillop charges $60,000 just to walk in the studio door. they couldn’t afford him and Mikal Blue is a long time fan and was key in getting them to make a new record to begin with, so they went with him. and they wanted this album to sound like something they would make in 2013 had they never split and had been recording for years.

  4. Hello! Thank you very much for taking the time to make a review on the latest and unexpected CD of one of my favorite bands.
    I think that even after having listen just three or four times to the CD, my view is more optimistic.
    I had been following the work of Glen, wearing my Toad-fan-heart a little broken and several of his collaborations seemed great to me, as “Let it fall” with Sean Watkins and the whole work with Plover (which you failed to mention and it’s a shame, cause it really is a great work).
    Anyway, we’ll have to see what this album will be able to achieve in the head and heart of Toad fans and even in Toad’s themselves. Admittedly, I miss that feeling of epiphany I had with “Listen” or “Don’t fade” no to mention the goosebumping of “Something’s allways wrong”, “Windmills” or “All I want”, but I still believe that the new CD will take root .
    Thank you very much for the effort, I think the podcast format makes it easy listening, but i think It can stand some editing (and avoid the yawns) to make it a little shorter and straight.
    Hopefully my optimism will be contagious and we eventually see a review of this early review.
    Greetings from Guadalajara, México.
    Iván Rodríguez

  5. Great review! I’m a longtime Toad fan and I pretty much agree with your in-depth analysis. There are good songs here, but the glossy production you guys talked about is what brings it down for me too. Randy’s drumming sounds almost programmed at points and the harmonies are a bit too perfect. Definitely too much Pro-Tools tweaking going on in post-production. This all makes sense when you look at Mikal Blue’s production credits: Jason Mraz, Five for Fighting, One Republic, Colbie Caillat. I’m surprised they went with such a mainstream pop producer, but I guess that’s what they’re aiming for.

    It’s still great to have them back as a fully-functioning band. I saw them live recently and I definitely recommend going to see them, the songs breathe a lot more in a live setting.

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