By Jeremy Hallock
By James Khubiar
By Observer Staff
By Kelly Dearmore
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By Rachel Watts
By Lauren Drewes Daniels
If you see a gentleman cruising around in a large sky-blue Cadillac with a smile on his face, listening to anything from Whitney Houston to Mike Dunn to Giorgio Moroder, chances are it's Noah Jackson.
You probably won't see him around that often, though, and that's the point. Jackson's propensity for doing his own thing and on his own terms is what led to the creation of his solo project, Lovelife.
"I don't really participate in the community, so I'm not sure where the music should go," Jackson says. "I'm just making music in my house."
This attitude could be either defined as reclusive or unadulterated, and both are probably accurate. After years of studio alone time, he has quite a collection of tracks that he's been sitting on in order to determine when and how they should be exposed to the public.
"I've been working on it for a long time, so I'd like to reach a large listening base," Jackson says.
His tracks cover a wide range of influences (not many of which are contemporary in any way), but his main aim is to make a synth pop project that's accessible and melodic, much of which draws from "early '90s boogie stuff."
In light of this approach, it is strange to think how one of his only major mentions in the press was a Hipster Runoff post that labeled him as nothing more than a Neon Indian rip-off. Even stranger was the fact that Jackson was barely even cognizant of the band's existence at the time he produced the track called "Jimmys," on which the entire review was based.
Of course, Jackson's participation in Ghosthustler probably fueled most of the Lovelife/Neon Indian comparisons, but he is not keen on how much acclaim his old band received for such a small sampling of material produced.
"It's kind of an irresponsible way to present artwork," says Jackson. "The music was on the marquee when we were hardly done working on it."
Jackson admits this hype-driven way of going about songwriting and releasing had a large influence on how he approaches his new project. Partially because of this experience, Jackson moved to the other extreme, compiling a sizable discography of unreleased tracks and waiting for the proper way to introduce them.
Now, however, he is ready to show the public what he's been doing and has a five- to six-track EP that he would like to get released in some way.
"I'm also thinking about just trying to put out singles and do some kind of maxi-single thing," says Jackson, "but it might just be better to give an EP away for free and sell an album."