The Prayers and Tears of Arthur Digby Sellers - The Mother of Love Emulates the Shapes of Cynthia (2005)

I acquired this not too long after it was released and it is still one of my favorite records to this day. A splendid union of perfections and imperfections, "The Mother of Love Emulates the Shapes of Cynthia" houses astute and pensive lyrics that ride a highway of soft vocal melodies to a musical amalgamation of guitars both electric and acoustic, vibraphones, strings and even a drum machine here and there. The opening track, "The Eventual Intimate of So Much Nostalgia," is unassuming and calm at first, but by the time the listener knows what's going on, they're already down the rabbit hole and on to the next track, one of my personal favorites, "Concerning Lessons Learned by the Aliens." "Archaeopteryx" is a number filled with a fun amount of programmed elements, which leads into "Ammunition for a Bolt," a song delightfully reminiscent of The Faint's earlier work. "Above the Waves" contains one of my favorite lyrics, "We are the cavemen in the Garden of Eden. Frail, fucked up fossils - obsolete and useless. Now that we design our days, how will you stay above the waves?" If bands like Bright Eyes and Cursive are ingredients to the indie kid's starter kit, this album is for some of the more advanced pupils, but nevertheless remains a vital part of the record collection. And yes, their name IS a reference to The Big Lebowski, in case you were wondering.

For fans of: The Physics of Meaning, Belle and Sebastian, Eels, Now It's Overhead

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Eels - Daisies of the Galaxy (2000)

Third time's the charm. Counting Crows did it with "This Desert Life," Death Cab for Cutie did it with "The Photo Album," and Eels did it with this album. After the malaise of its predecessor, "Electro-Shock Blues," which E recorded in the wake of both the diagnosis of cancer in his mother and the suicide of his sister, this record is a gust of something lighter and more upbeat. As E himself put it, "If 'Electro-Shock Blues' was the phone call in the middle of the night that the world doesn't want to answer, then 'Daisies of the Galaxy' is the hotel wake-up call that says your lovely breakfast is ready." The record opens with "Grace Kelly Blues," which alternates between the feel of a marching band's hymn and an optimism that only slide guitar, light drums and acoustic strumming can offer. The album does hit a somber moment though, in the track "It's a Motherfucker." The song, while beautiful and slow, wastes no time getting to the point in the opening line, "It's a motherfucker being here without you." The most famous track from "Daisies of the Galaxy" isn't actually part of the album at all, but is included as a bonus track. It's called "Mr. E's Beautiful Blues," made famous, in part, to its inclusion in the film where the guy accidentally sends his girlfriend the tape of him having sex with the other girl so his friends pack up the car and drive halfway across the country to retrieve it. Yeah, that movie. The song lays amusing musings over an uplifting G, C, D progression whose optimism culminates in the chorus, which repeats, "Goddamn right, it's a beautiful day." Give this a listen and you know something? It will be.

MUSIC NERD MOMENT: The piano used on "It's a Motherfucker" is the same one used on Neil Young's "After the Gold Rush" album.

For fans of: The Flaming Lips, Sparklehorse, Grandaddy

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Laura Veirs - Saltbreakers (2007)

There's an overpaid, overrated, shutter shades wearin', microphone stealin' (and most likely legally retarded) rapper out there who has somehow found it fit to brand himself with the title of "lyrical wordsmith." Laura Veirs should sue the pants off him, or at least deliver a swift uppercut and take back what's hers. On 2007's "Saltbreakers," Veirs lays meticulous eloquence down on a bed of swirling folky instrumentation. My personal favorite example of this is on the album's third track, "Drink Deep." She sings, "...and the fire closed his eyes, tipped his flame hat and slipped through the dire rye. We wandered romantic, we scattered dark branches with the singing green stars as our guide." Recurring themes of oceania and stars guide this record into the harbor in the ears of the listener and there it stays for a good long time.

For fans of: Madeline, The Decemberists, Jenny Lewis

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Saves the Day - Stay What You Are (2001)

I know that nowadays, the term "good pop punk" is an oxymoron, but back in 2001 when second-wave emo was at its peak, this album was a pop-ridden addition to the neo-classics. Most memorable songs have an unforgettable opening riff that people recognize instantly. This record's opening track has an unforgettable opening NOTE. All one needs to do is pluck that D, and somewhere, ten kids will drop everything and sing, "This song will become the anthem of your underground..." The song, "At Your Funeral," is an upbeat ode to a friend that will no doubt one day soon be lost to drugs. Singer Chris Conley poses the question to the song's subject, "If I flooded out your house, do you think you'd make it out? Or would you burn up before the water filled your lungs?" The song ends with Conley repeating, "..and at your funeral I will sing the requiem. I'd offer you my hand, it would hurt too much to watch you die." On "See You," the chorus repeats, "'Cause I don't think that I have got the stomach to stomach calling you today," bringing in the teenage awkward of pop punk of the early decade that continues in the song "Freakish," where Chris croons, "Well here I am. I don't know how to say this. The only thing I know is awkward silence." This album reminds you that pop punk doesn't need a keytar, or shutter shades or Auto-Tune or a member whose instrument is listed as "programming."

For fans of: The Get Up Kids, Alkaline Trio, Midtown

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Sean Hayes - Flowering Spade (2007)

If one were to cut into the arm of Music herself and take a look at what is flowing through her veins, one would find the same things that make up this record. Using this album, singer/songwriter Sean Hayes has reached a place that until hearing it, I didn't know existed. Hayes' vocals are a pleasant anomaly; unintrusive, yet lovingly disarming. Flighty harmonies accompany stand-up bass, blues-tinged folk guitar and light, brushed drums while accented by banjo, accordion and lots of other wonderful additions. On the opening track, "All for Love," Hayes sings to the object of his affection, "I'll be your monkey, I'll dance and sing. I'll be your fool, your lonely king." "Sufidrop," boasts a marriage of a banjo and hand claps that is undeniably delightful. The jazzy danciness found on "Hip Kids" is second to none. My favorite track hands down has to be "Elizabeth Sways." Finger picking a banjo, he croons, "When Elizabeth sways her hips, the whole world goes 'Mmmmmmmm'." I challenge anyone not to groove to that song. I've been wondering where this album has been all my life, but I'm not mad because now I have it and that's all that matters. Doesn't make sense, you say? Well, it's like Lester Burnham said, "You have no idea what I'm talking about, I'm sure, but don't worry. You will someday." PROTIP: Someday will come sooner rather than later if you give this album a listen.

For fans of: Damien Rice, Bonnie 'Prince' Billy, William Elliott Whitmore

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Eulogies - Here Anonymous (2009)

The sound of this band is really an amalgamation of sounds. The vocals of Peter Walker are a quilt woven together from the fabrics that make up the voices of Win Butler and Alec Ounsworth, most notably in the track "Eyes on the Prize". The bass lines of Tim Hutton take a cue from Julian Koster and Nicholas Harmer, while Chris Reynolds and Drew Phillips' drum and guitar tracks show simliarities with Jason McGerr and Chris Walla, respectively. It's a shame that Tim Hutton parted ways with the band during the recording of this album. Nikki Monninger of Silversun Pickups makes a guest appearance on the track "Two Can Play," an airy duet in which the vocals roll over the bass line and light drums as fog rolls over a highway. This record was co-produced by Hrishikesh Hirway of The One AM Radio, and if this is the end result of just the sophomore effort, I can't wait to see what the future holds.

For fans of: Arcade Fire, Death Cab for Cutie, Clap Your Hands Say Yeah, Earlimart

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The Magnetic Fields - Get Lost (1995)

The best way to describe this record would be to compare it to the Pale Blue Dot. It is exceptionally lo-fi, but within its 39 minutes and 58 seconds of length dwells a vast and epic world of song. When interviewed by The Onion's AV Club in September 2005, alternative rock musician Bob Mould was reminded of an interviewer who once referred to him as "the most depressed man in rock," to which Mould responded, "He's never met Stephin Merritt, obviously." Mould couldn't be more correct. Merritt's lyrics on this album reach an unprecedented point in melancholia, which is further accentuated by the sounds that echo from the valleys within his bass vocal range. Amidst a waltz of watery guitar Merritt laments, "Arms have charms, but I've no hope of falling in love," during "With Whom to Dance?." "All the Umbrellas in London" is saturated with synth while Merritt bemoans, "All the umbrellas in London couldn't stop this pain, and all the dope in New York couldn't kill this pain." "Save a Secret for the Moon" has Stephin providing a commentary on a love that might not be acceptable by society's standards and muses, "When you love someone, you can't always tell the sun. It will be twilight soon, save a secret for the moon." That song is the closest thing that the album has to an upbeat track, and the synchronicity of Merritt and Claudia Gonson's vocals is something now revisited in bands like The Postal Service, where the vocals of Gibbard and Lewis work together swimmingly. On a coincidental sidenote, in 1999 under the "¡All-Time Quarterback!" moniker, Ben Gibbard released a cover of "Why I Cry," yet another downbeat gem found on this album. "Smoke and Mirrors" and "Love is Lighter Than Air" are also very, very noteworthy. This album makes its home among many top ten lists, and rightly so. Give credit where credit is due, and boy, is it due!


*** In 2008, this album was released in vinyl format for the first time. On this release, the track listing was altered and completely changes the scope of the record (in a very good way). In fact, I recommend arranging the track listing to match the vinyl format and then give it a listen. The vinyl release track listing is as follows:

1. With Whom to Dance?
2. Smoke and Mirrors
3. All the Umbrellas in London
4. Why I Cry
5. Save a Secret for the Moon
6. Don't Look Away
7. Love Is Lighter Than Air
8. Famous
9. The Desperate Things You Made Me Do
10. You and Me and the Moon
11. When You're Old and Lonely
12. The Village in the Morning
13. The Dreaming Moon

For fans of: Joy Division, The Human League, Future Bible Heroes

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Where the Wild Things Are s/t

This is the soundtrack from the movie "Where the Wild Things Are." The music is by Karen O, and is accompanied by "The Kids," which consists of members from Yeah Yeah Yeahs, Deerhunter, The Dead Weather, The Raconteurs and a kid's choir. A great thing about this album, aside from actually using audio clips from the movie, doesn't really feel much like a soundtrack. I certainly suggest you check out this album.

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Florence + the Machine - Lungs (2009)

I was completely blown away by this record. Like, REALLY blown away. Compared to this album, that twister at the beginning of The Wizard of Oz was just a cool breeze. No joke. "Lungs" is the debut album of London-born singer Florence Welch and her band of noisemakers playfully dubbed "The Machine." To say that Welch merely sings would be like saying that the Atlantic Ocean is just some puddle. She manipulates melody into a highway on which a cavalcade of emotions commute from her mouth to the listener's ears. Suffice it to say, this ain't no silly pop record. I'm going to come right out and say that this is hands down, one of the best albums of 2009. Bold statement, you say? Well don't take my word for it. See for yourself.

For fans of: Imogen Heap, Regina Spektor, Sufjan Stevens

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Hot Club de Paris - Drop It 'til It Pops (2006)

This experimental math-rock trio from across the pond is just what the doctor ordered. These guys make no intention of hiding their influences, as they take the heart's delight of sweater-wearing, bearded indie kids and put their own Liverpudlian spin on it. On this, their debut record, they exhibit a powerhouse display of interweaving melodies and harmonies, fluid riffs that pack notes into a measure like a clowns into a car and sing-along chants and yells for audience participation. Sounds like fun for the whole family, yeah? Fuckin' a, yeah.


For fans of: Owls, This Town Needs Guns, Born Ruffians, American Football

***The band has requested that we remove the download link, and out of respect to them, we have done exactly that. We can however, direct you to their MySpace profile where several tracks are available for your streaming pleasure. If you like what you hear, buy the record!

http://www.myspace.com/hotclubdeparis

Styrofoam - Nothing's Lost (2004)

On May 5th, 2007, Ben Gibbard, lead singer of Seattle band Death Cab for Cutie played a solo show at The 9:30 Club in our nation's capital. At one point in the set, he spoke of how a few years back, he collaborated with a guy named Arne, and proceeded to perform a song which he described as "an open letter." Intrigued by the lyrics, I went home and looked them up. The aforementioned "Arne" was in fact Arne Van Petegem, a Belgian electronic musician otherwise known as Styrofoam. The "open letter" was the song "Couches in Alleys," a song from Styrofoam's album "Nothing's Lost" the subject said song is one of Gibbard's biggest influences, Jack Kerouac. In it, Gibbard opens with, "Hey Jack, it's me. I don't mean to bother you, but something's been on my mind," and confides in the late author, "I know your demise, and I fear what will happen when the road fails to flow under me." The lyrics, while soul-baring and vulnerably honest, are really only words (poetic as they are), which do not become a proper song until merged with the indietronic bliss of Van Petegem's music. This album, which features other wonderful guest vocalists such as Andrew Kenny (The American Analog Set, The Wooden Birds), Valerie Trebeljahr (Lali Puna) on the tracks "Front to Back" and "Misguided," respectively, is a glitchy, harmony-filled, synth-laden delight. It should be noted however, that its title is a bit misleading. You see, the name of the record is "Nothing's Lost," but this simply isn't true, as it is the listener who becomes lost in the rush of sound that comes billowing forth from this 2004 release.

For fans of: Dntel, Telefon Tel Aviv, The Postal Service

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Aphex Twin - Come to Daddy (1997)

If I had to liken this record to anything, it would be a gourmet pizza. Cut into eight slices, each of them with different topping, but each as delectable as the last. "Come to Daddy (Pappy Mix)" is one of Richard D. James' (more commonly known as Aphex Twin, among other monikers) most widely known songs. The next track, "Flim" is actually one of my favourite songs of all time (Personally, when I listen to it, I imagine different shades of the colour blue. Give it a listen. Post what you think of when you hear the track in the comment section below.) The album also includes "Come to Daddy (Mummy Mix)" and "Come to Daddy (Little Lord Fauntleroy Mix)," neither of which sound anything like the Pappy Mix. "Bucephalus Bouncing Ball" is also very noteworthy. Don't mind the rude requests of the voice at the end of "Funny Little Man," he's harmless. "IZ-US" rounds out the EP with jazz style drums and mellow synth. This album changed music for me back in high school, it could do the same for you, maybe? Only one way to find out...

For fans of: Squarepusher, Dntel, Boards of Canada

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Madeline - White Flag (2009)

I’d been highly anticipating this album, and I gotta say, it was well worth the wait. I’ve been a fan of Madeline since 2006’s “Kissing and Dancing” and she doesn’t disappoint. The album opens with “Sorry,” a tale of a relationship failed, and the listener is captivated by the slow and steady river of melody. The albums folkier tracks, “Telephone Daydream” and “This Train” are a lot of fun. One feels like they’re in a saloon in one of those old-timey pictures. Lyrically, my favorite track is the subtle, yet dancy number “You Can’t Break My Heart” which has its home near the end of the record. Proud and defiant, she tells the subject of the song, “You can’t break my heart, because it’s made of wires, glass and little icicles. These are not tears I cry. No, darling, I have champagne flowing from my spectacles.” The electric piano in the penultimate track, “Dirty South (Tie One On)” is pleasantly reminiscent of material off of The American Analog Set’s classic record, “Know by Heart.” Do you, per chance, like female vocalists whose material is unsullied by the excretions of today’s mainstream? Then this album is for you.

For fans of: Feist, Jenny Lewis, Maria Taylor

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De La Soul - 3 Feet High and Rising (1989)

This is one of the the definitive albums of the Golden Age of hip hop (for those of you who are unfamiliar with that term, the Golden Age of hip hop took place from 1986 to 1992, so named because, as Rolling Stone put it, "...every new single reinvented the genre."). It's also of one the greatest debut albums of all time. You know what? I'm just going to come out and say that this is one of the greatest records of all time. Produced by Prince Paul, this album contains the group's most famous single, "Me Myself and I," along with pure gold in tracks like "The Magic Number" (anyone who ever watched Schoolhouse Rock as a kid will love that one), "Ghetto Thang," "Jenifa Taught Me (Derwin's Revenge)," "Eye Know" and "Tread Water," as well as fun little numbers like "Take It Off" and "Can U Keep a Secret." Bottom line? If you feed this to your stereo, it will love you forever.

For fans of: Handsome Boy Modeling School, A Tribe Called Quest, Gorillaz

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Damon & Naomi - The Earth Is Blue (2005)

This record has been sitting in my collection for a while and until recently I'd forgotten why I bought it. This album is something that one takes off of work so they can drive 3 hours to the coast to jump in and swim around in. The opening track, "Beautiful Close Double" sets the mood and all of a sudden the listener is lying on their back, floating on the surface of this record to where its current takes them. One feels a wave of familiarity along with the refreshing cool of something new during the sixth track, a cover of "While My Guitar Gently Weeps." Come on in, the water's fine.

For fans of: Azure Ray, Lavender Diamond, Now It's Overhead

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