There’s a section of road on NC highway 601 that I drive between Charlotte and the Carolina coast where I do some of my best thinking. Sometimes, it’s an excuse to go on long, rambling stream-of-consciousness rants on my twitter; other times it is more ‘serious’ thought. I never know what it will be, of course, until I’m knee-deep in it; at that point, I’m at the mercy of the road to take me where I’m going. I was driving back this evening and on the two-hour stretch I wandered into listening to eels’ Electro-Shock Blues and Daisies of the Galaxy albums. Electro-Shock Blues has always been a very, very important album to me; when it was released I dug deep into its 16 tracks (remember when albums were long?) and read all I could about the man called e and what had put him in the place to write this masterwork. I thought I understood it and at the time I probably got the bullet-point summary that was talked about in the reviews and write-ups. Mark Oliver Everett (that man called e) was struck with several major family traumas near simultaneously with him becoming a bona-fide rock sensation after “Novocaine for the Soul” made it big; as any great artist would do he funneled that grief and pain into his craft and produced what I feel will always hold up as a classic.

It had been several years since I listened to Electro-Shock Blues in full, and tonight it seemed determined to hit me like a sack of rocks. When I had first internalized this album, I had yet to experience death or even serious illness; at this point in my life I’ve seen enough to have the general idea. e’s words resonate with me much more strongly now and there were more than just a few lyrical sucker punches that shocked selective memories out of the last 13 years. That which dug the deepest was from “Dead of Winter” – so I know you’re going pretty soon / radiation sore throat got your tongue / magic markers tattoo you / and show it where to aim / and strangers break their promises / you won’t feel any / won’t feel any pain. I was blindsided and my eyes were definitely far from dry as I finally understood what and who e had written about. It’s not unlike getting a joke a decade later when you’ve had the experiences that make it relevant. And while there’s no targeted lasers involved in the big C that has cannoned into my family I can’t help but feel that these 16 tracks have been put back into my life right now with intent. Be it my subconscious ready to deal with What Is Going On or just some common serendipity, the point is there and I can’t ignore it.

The real denouement of the album comes just after “Dead of Winter” with the subject track of “The Medication is Wearing Off.” There are lyrical and melodic threads in the song repurposed from eels’ “Novocaine” that put the album in perspective; death versus growth, numb from the pain versus letting the feeling back in – being forced to acknowledge the end of that act and the start of the next. “Medication” is not unlike how I feel now. The parts that I’ve been keeping numb to all of This are thawing out and I’m understanding a little more about how to move forward. Everything is OK for now, but I know there’s a lot more to face down the road.

I think that the most important thought of all comes in the final track, “P.S. You Rock My World” – layin’ in bed tonight I was thinkin’ and listening to all the dogs / and the sirens / and the shots / and how a careful man tries to dodge the bullets / while a happy man takes a walk. / And maybe it’s time to live.

I like that sentiment. There’s a power in it, in any time but especially now. So as always, no matter how much time has passed – plug in, and turn it up…

The medication is wearing off / gonna hurt, not a little, a lot
Keep on tickin’ / you’re not lickin’ me 

earmrkt:shortlist20 Spotify Playlist!

Add the playlist to your Spotify player and follow along as it changes each week!

As this is the first installment, I will include the entire shortlist20 in this post as well as a brief comment as to why each track was chosen. Each weekly update will have a similar post for the added/removed songs.

HERE WE GO!

earmrkt:shortlist20 – Week of August 29th, 2011

Active Child – You Are All I See // This Jersey native’s debut features a beautiful mix of etherial vocals and delicate harps supplemented with sweeping synths not too far removed from M83 or School of Seven Bells. This opening title track is a strong intro to the sounds you’ll hear on the LP. As you dig deeper, don’t be afraid of the mild R&B & soul influences that are making a big impact in the indie scene right now.

Austra – Beat and the Pulse // It’s easy to bring to mind the dark dance of Depeche Mode or New Order while listening to this cut from Austra’s 2011 Feel it Break LP. Add in singer Katie Stelmanis’ piercing vocals and a church bell synth that gets my skin tingling and you’ve got a shoe-in for my shortlist20.

Battles – Ice Cream (f. Matias Aguayo) // The precision of Battles’ first LP Mirrored is alive and well after the departure of ex-singer Tyondai Braxton and this first single from 2011′s Gloss Drop shows me a side of Battles that was just waiting to have fun. I never thought that a track from Battles would be a hot indie summer hit, but well – there it is. Bonus points for the disorientingly fun video!

Belle & Sebastian – Like Dylan in the Movies // An old, old cut from the group’s 1996 If You’re Feeling Sinister. I listened to their entire discography on an eight-hour drive just recently, and was excited to rediscover their earlier work. While B&S has developed a confidence and pop sensibility in recent years that has allowed them to produce some incredibly great material, listening to the early album and Stuart Murdoch’s imperfect and heartfelt delivery of each word is an undeniable treat. With the reissue of Sinister and several other early albums on LP this month, I can only hope that many more listeners dig back into their catalog!

Dan Deacon – Snookered // I somehow missed out on Dan Deacon’s Bromst back in 2009, and I feel bad for that now. Deacon’s take on the electronic scene produces some interesting and unique sounds, and this track made me smile with the opening bells and beeps alone. The track, like many others on Bromst, builds a deep and layered sound without ever being over-cluttered to my ears. I can’t wait to see a Dan Deacon live show this fall!

Foo Fighters – Bridge Burning // Good work, Dave Grohl. Good work. After 2007′s Echoes… left me feeling that the Foo had lost their edge, Dave & co’s Wasting Light from this year surprised me with probably their most unapologetically rock album since the 90′s. This opening track has it all for me – Dave screams, the guitars flail, and somehow the chorus still resolves to the trademark vocal harmonies that earned The Colour and The Shape a place on my favorite rock albums list. Welcome back, Foo Fighters!

The Joy Formidable – Buoy // They’re touring with Foo Fighters and Social Distortion currently, and they can hold their own on a rock stage with the two legends. That’s impressive enough – and then you toss guitarist/singer Ritzy Bryan in the mix. It’s awesome to hear a female-fronted rock band that doesn’t fall into the 90′s Chick Rock bucket. This album simply rocks, it is unapologetic about it, if this isn’t in you’re play queue right now you’re doing it wrong.

Lamb – She Walks // Lamb is one of my all-time favorite bands. You can imagine my dismay when this trip-hop/jazz/electronic duo called it quits after 2003′s Between Darkness and Wonder. You can also imagine my joy when word surfaced in 201o that they were reforming and that 2011 would bring a new album simply titled 5. This track off 5 is still my favorite – a spacious and reflective piece that makes the missing eight years worthwhile. The rest of the album is stellar as well with tons of sonic ground new and old being covered and realistically their first use of electric rock instrumentation (“Build a Fire”) showing that they haven’t missed a step. A bonus track, “Back to Beginning,” includes their first guest vocalist – Damien Rice.

MuteMath – Odd Soul // MuteMath is one of my all-time favorite live bands. I’ve seen them on each tour, and every time they blow me away with their unstoppable energy and extremely tight musicianship. Recorded they’re just as good and hover somewhere in the space between underground respect and mainstream fame. This advance track from their third album is a big shift in style with a heavy blues influence to their electronic-tinged rock. The good thing is that the song holds up as a MuteMath track and still stands apart from the Black Keys and their imitators. I’m interested to hear the album in full and see where they’ve ended up – and eagerly anticipating seeing their live show again. The song wouldn’t be complete with a video – check out the interactive Odd Soul video mixer!

The Naked & Famous – Young Blood // This New Zealand five piece is making big waves across the international scene right now after the wide distribution of their debut Passive You, Agressive Me. I picked it up on a whim in the spring and it has not left my travel CD case since. They’re much in the vein of Passion Pit meets Sleigh Bells with extremely catchy hooks, call and response vocals, and crisp synth and drum production.

Neutral Milk Hotel –  In the Aeroplane Over the Sea // It’s an interesting time for fans of NMH – just twelve months ago there was barely a whisper of the whereabouts of the reclusive musical legend Jeff Mangum. This year, a few surprise acoustic shows have opened the floodgates to a revival of Mangum and an impending reissue of the NMH catalog through an incredibly extensive vinyl-only box set. Could this and Mangum’s upcoming solo tour mean that we may yet see a return of the band in full? It’s more likely now than it’s ever been before.

SBTRKT – Hold On (f. Sampha) - Coming in on a wave of soulful and dark electronic producers alongside Jamie xx, James Blake and The Weeknd, SBTRKT wastes no time on his self-titled debut. The sparse instrumentation on this track featuring vocalist Sampha is a great introduction to the sounds and production of the nebulous subgenre. SBTRKT’s debut covers a lot of ground with several guest contributors (including Little Dragon on the standout “Wildfire”). It’s an interesting scene that I can’t wait to develop.

The Smiths – How Soon is Now? // Every now and then I simply have the urge to play this track on loop about a dozen times on headphones. It’s an essential standout of a huge catalog to me, almost alone due to the disorienting oscillating rhythm and piercing slide guitar parts. Johnny Marr’s guitar work on this track is unparalleled and I know the vibrato gets stuck in my head for days at a time.

St. Vincent – Surgeon // Annie Clark has made a huge name for herself in the last few years. After tours with Sufjan Stevens and the Polyphonic Spree, the one-two punch of her acclaimed Marry Me and Actor LPs took my world (and most of the indie scene) by storm. Now a top-tier name in my book, there’s a lot of eyes on this fall’s 3rd LP Strange Mercy. Her smooth yet incredibly distinctive sound blends pleasant chamber pop with unexpectedly unsettling tension, not unlike the feeling that The Knife achieved on Silent Shout. I know I’ll be at my record store on release day.

Stateless – Ariel // Stateless is an oddity I haven’t really been able to place into a specific genre yet. That’s refreshing, no doubt, and it keeps me guessing through the whole of their Matilda LP released earlier this year. I’ve heard the words folktronica and trip-hop tossed around, and there are hints of R&B, chillwave and straight-out rock all through the album. It’s a treat for the ears with a blend of the familiar and the foreign. My advice: pick three tracks at random from the album and try to pin it down. At the least, you’ll hear three great songs.

Still Corners – Cuckoo // Dream pop is hot right now. Washed Out’s Within and Without is a great reference point for what you’ll get out of Still Corners; but with a more restrained and haunting sound. This second single of theirs has me excited; their debut LP Creatures of an Hour will see release this October.

Tame Impala – Solitude is Bliss // It took way too long for Tame Impala’s debut Innerspeaker to see legitimate physical release in the US. The psychedelic Australian four-piece’s debut album spent almost a year waiting for US distribution, but now it’s like getting reacquainted with an old friend. They bring to mind a relaxed and calm counterpoint to freaky psychedelic rockers White Denim, and Innerspeaker makes a great companion to White Denim’s D. 

Unknown Mortal Orchestra – Thought Ballune // My brain tries to fit Unknown Mortal Orchestra as a puzzle piece adjacent to the freaky wooded electronica to Black Moth Super Rainbow that somehow wraps next to the psych-pop of The Beatles circa Rubber Soul or Revolver. It’s a weird space to be certain but it feels right – the sounds on their self-titled debut sound simultaneously as if you found a tape from the 60′s that was sent there from the not too distant future.

Washed Out – Amor Fati // Now that Animal Collective’s Merriweather Post Pavilion is firmly in the rear-view mirror, I’ve been seeing a swell in artists that have been developing the full-on synthpop revival. Washed Out moves in another direction from Animal Collective than say, Yeasayer or Delorean with a very focused and organized sound. Listening through the album is not unlike drifting along a synthpop river. It’s smooth sailing right until the last note.

Yelle – Safari Disco Club // Yelle was a novelty to my ears at first. Not unlike Annie or Robyn, the french trio led by Yelle (aka Julie Budet) produces infectious an unapologetic pop music. The debut Pop Up was fun and raw with a few strong singles (“Je Veux Te Voir,” “A Cause de Garçons”) but dragged on other tracks. This year’s release of Safari Disco Club is the best pop follow-up I’ve seen in a long time and has me enraptured from start to finish. The self-titled track is my favorite, an infectious pop gem with vocal and synth warping that I swear is an addictive substance. I don’t even need translations on this album to know that I love it. Check out the just-as-weird dual video for this and the second single “Ce Veux-tu.”

Snug Harbor
Charlotte, NC

Cement Stars are from Charlotte, NC and can be found on the internet here.

The Short of It: While A Badly Broken Code is definitely the hip-hop record it claims to be, the smooth melodies and attention grabbing instrumentals peppered throughout give it a unique flavor.

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My attention was drawn to A Badly Broken Code through a recommendation of the fourth track, “Dixon’s Girl”, which stands alone on the album in its bordering on a 50s lounge feel.  Because of this I was surprised to find out Dessa’s debut LP was, in fact, a hip-hop album from the Doomtree collective. While the track I had initially heard had a definite flow to the verses, i would never have made the mental leap from them to the beats in “Dutch” or “Bullpen”, which practically dare the listener to defy them by remaining still, or even seated.

What I should have realized was that “Dixon’s Girl” was a perfect microcosm for the rest of A Badly Broken Code.  It is constructed around those hip-hop verses, as are almost all the tracks, but the smoothness that originally threw me off can be found again through out, most notably on “Go Home” and “The Chaconne”.  The latter features Matthew Santos, who can be found providing the same velvety quality to Lupe Fiasco, including “Superstar”.  The playful instrumental introduction and backing on “Dixon’s Girl” has companions in the gorgeous strings on “Matches to Paper Dolls” and “Into the Spin” (provided by Jessy Greene), and the Minotaur Shock wood wind sample on “Memento Mori”.

Lyrically, Dessa is just variegated as she is musically.  While she is certainly not afraid to tell a serious tale, touching on childhood melancholy and illness on “Children’s Work”, forgiving a former lover on “Mineshaft II”, and taking the blame for a partner on “Alibi”, I couldn’t help but chuckle and make sure I had heard correctly when she dropped a reference to the Chicago Manual of Style into “Dutch”.  It’s just not a work one hears mentioned on many albums.  Then again, most hip-hop artists don’t come from backgrounds that include a graduate degree in Philosophy either.

I do have to admit that the vocals on “Dixon’s Girl” (particularly at the beginning) feel like they are mixed in a bit low, though I’m sure it was done on purpose.  The fact that that is my biggest complaint about A Badly Broken Code should be taken as praise in and of itself.

Recommended Tracks:

Alibi
Dixon’s Girl
Matches to Paper Dolls

Last night i was driving home from a low key night of movies and beer at the house of some close friends. It was well past the time when the local highway I was on stops being busy and I had my stereo on shuffle. Just as I was turning into my neighborhood Baby came on.

I remembered the first time I really listened to that track, and to all of Rayguns are Not Just the Future. I had heard it online when it first came out the month before, but as is often the case, i was occupied with other things and hadn’t really payed much attention. The first time I really listened to it was when Indie Jake was moving to Charlotte from our college town. I had come down from Jersey and was driving his car, which was loaded with stuff, since he was driving the moving truck. At the time I was rather enthused with The Bird and the Bee’s self-titled album, but I was assured that this new album was worth listening to and so, after a spin through the self-titled I popped it into his cd player and started to genuinely listen.

On that drive, that started 500 miles from my home and ended 200 miles later, in a car full of my best friend’s life, the assurance of someone who would always be there and for whom I could be there for touched a soft spot in my heart and I couldn’t help but smile. The song didn’t speak about some rose colored version of dedication, one that is never tested, hardly. The figures break bones and start fires. They screw things up. I screw things up. But even those screw ups were made beautiful.

Back in my own car, on a much shorter drive I started thinking about the leaving of my own that I am coming up on. I thought about the friend whose house I had just left. Who has taken my weepy phone calls and made his own to me. Who is like family. Who has already offered to help me move ten and a half hours away.

I though about the new possibilities of literally every kind that await me and of the truly irreplaceable friends I have on both ends of this move. I felt hopeful. It touched a soft spot in my heart and I couldn’t help but smile.

Plug in, and turn it up…

It’s New Year’s Eve 2009, 8:36pm and I am in an SUV barreling towards Alexandria, VA. The people I’m with right now I didn’t even know two months ago, yet I feel like I’ve been with them for years. I’ve always wondered if that’s strange about me – no matter where I am or who I’m with, it never feels disorienting. Do other people find themselves wondering who this “Jake” is? Surely it’s strange? But that’s not the point. This is about a song, like all Audiobiograpy posts. So back to it.

On New Year’s Eve 2008 the song in question and its respective album featured prominently in my life. I was right on the cusp of a major life upheaval and competely uncertain where I was, what I was doing or where I was going. So I flailed, spun out of control for several months. But in late December, I was jolted back to steady by a song, and the girl that was associated with it.

I know, another story about a relationship. You’re tired of hearing about it. But hear me out.

So on New Year’s Eve 2008 I had it all figured out. My new job was awesome, my new city was awesome, my new girl was awesome. The word awesome would never go out of style. I knew with 100% certainty that in a year, I’d be in Blacksburg with Alex at Cabo for the Boogieburg New Year’s party. In the spring, Alex would move to Charlotte and we’d be set.

I’m a genius, aren’t I. We all know that was 100% going to happen.

Truth is, Alex and I split up halfway through the year and I spiraled again. By Halloween, I was making bad decisions. Somehow I got it in my mind to drive home from Blacksburg to Charlotte at 3am. The whole drive home, I resolved to myself that it was over. I couldn’t be by myself anymore. And I was – I hadn’t met a single person in Charlotte and knew I never would. My job made sure of that, as I travel constantly. No time to make connections. I knew I’d be gone in three weeks time and would go back to Northern VA, my independence shot and self-reliance failed.

Again I was wrong.

So I was leaning back in my seat just now and the song in question came on. Usually I choke up when I listen to it. But this time, it was different. Comforting, even, which I never thought I’d say.

So flash back to now. I’m in a car with six people I didn’t know two months ago. We’re going to my old stomping grounds of Northern VA, to a convention at a hotel I’ve even been to several times. But right now, I have no idea what the next 72 hours are going to be. I don’t know what 2010 is going to be. And when I weigh that against what I knew 365 days ago, I can only really draw one conclusion.

Right now, I am exactly where I need to be.

Annie – Don’t Stop

The Short of It:  Annie delivers a solid sugary pop record that both indie kids and mainstream fans can enjoy

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Secretly, I enjoy quality pop music. It’s a tough thing to admit in company – either the Indie Card gets revoked, or people get upset that you don’t love Miley Cyrus’ latest track (I hate having that conversation). Being in the middle is a difficult scenario. As such, I can understand why there isn’t more buzz surrounding Annie in the states. Sure, she’s from Norway and her songs have more musical depth than 39 of any given top 40. But at it’s core, Don’t Stop is a pop album, and that fact makes it hard for the ‘scene’ to accept Annie.

Her first album, Anniemal, took some time to grow on me. The strength of lead singles ‘Chewing Gum’ and ‘Heartbeat’ overshadowed the rest of the disc for me. I skipped to those two songs and missed gems like ‘Anniemal’ and ‘The Greatest Hit.’ So I approached ‘Don’t Stop’ having learned that lesson and played through the album on repeat on one of my long drives.

The opener ‘Hey Annie’ gives the album a slower start than Anniemal. As the album progresses, it’s a more paced and controlled listen, with a few calmer tracks to break the energy. There’s more diversity to the tracks as well, which works excellently at some parts (not as well at others). “Songs Remind Me of You” sounds straight out of the 80′s (with a video to match). “I Don’t Like Your Band” swings to the other extreme with near-chiptune production. “Bad Times” would have fit perfectly next to “My Delirium” on Ladyhawke’s self-titled debut.

The two stand-out tracks this time around both come early. The saucy and catty “My Love is Better” deserves to be played at every downtown club with its beat that never hesitates. This song would make her a household name – with the right promotion. Who wouldn’t want to sing along?

The other solid killer is “Don’t Stop.” I really hate to say that I skipped this song the first time after the first 10 seconds failed to grab my attention (I had heard good word about “I Don’t Like Your Band” and was anxious to hear it). When the album looped around I had stopped actively paying attention, and was stunned back into it at the first chorus. It lives up to its name – the energy doesn’t stop anywhere in the song but builds to the last chorus and simmers during the ending. It’s the kind of song that a DJ would throw in the middle of a set to keep the energy going – not a firestarter, but a rekindling. It’s an absolutely stellar song and one of my favorites of the year. The added bonus is the sequencing – the synth arpeggio at the end swells into reverb and sets up perfectly for the glitchy opening of “I Don’t Like Your Band.”

So the strength of the first six tracks have kept me from saying much about the latter half of the record. I hate to say that the rest of the album has a hard time keeping up. “Take You Home” reminds me of the dark bubbling of “Always Too Late” from Anniemal. It’s a very solid track to end a disc with… but unfortunately there’s another four tracks after it, and they fail to recapture the energy.

So is it a good album? Certainly. The winners on this album are solid gold hits – or they would be if Annie got the listeners that she deserved. More risky than Anniemal, and it pays off when she succeeds. I’m excited to see what she tries next.

Recommended Tracks:

Don’t Stop – Best Tracks of 2009

Amos Southend
Charlotte, NC

Check out the videos here:

Reset/Break the Same
Pins & Needles

Neighborhood Theater
Charlotte, NC

Check out the video here:

Handshakes
Dead Disco
Combat Baby (Special Accoustic Encore)

The Bird and The Bee – Rayguns are not Just the Future

The Short of It: One of 2009′s best-kept pop secrets – sugary, uplifting, real and addictive. Back that up with an angelic voice and you’ve got a winner on your hands.

A few years back when the first The Bird and The Bee album was released, there was only a small amount of buzz – sorry, had to – about it. The quirky debut fit well alongside trends at the time, but I feel it didn’t get its due notice. Maybe the album wasn’t serious or flashy enough to compete. Time passed, it faded, and then in January of ’09 a small care package of sugar dropped out of the sky. I was in West Lafayette for work during the winter, and I almost picked up Rayguns are not Just the Future on a whim.

I think it’s only fitting that I’m writing this review right now from a cruising altitude of 25,000 feet. The entire album, despite incredibly dense and rewarding production and semi-serious subject matter, elevates my mood upon every listen. The perfect joining of Inara George bubbly melodies and harmonies with Greg Kurstin precise drums and arrangements makes listening absolutely effortless and rewarding.

And then there’s the songs – oh, the songs themselves are near perfection. Advance track ‘Polite Dance Song’ set the bar high and The Bird and The Bee delivered en masse on Rayguns are not Just the Future. Specifically of note are dreamy date-maker “My Love” and blippy j-pop “Love Letter to Japan”. If you’re not smiling or at least content from these two, you might not have a beating heart.

Above all, in my humble opinion, is “Meteor.” This pulsating indie club killer left me breathless the first time I listened to it on my car stereo. The depth of sound and the pacing set the stage for a home run, and George’s melody propels this track into the stratosphere. I absolutely am dumbfounded as to how she can hit those notes without even sounding strained.

So here I am, eleven months later on an airplane somewhere over the Midwest. This is the first album I choose. To poach a line – we are yours, for as long as you will have us.

Recommended Tracks: