Artist Spotlight: Hem

So I haven’t done an Artist Spotlight since last year. Which means you got a break from them…but I have TONS of artists I still want to share, so let’s bring sexy the artist spotlight back, and shine it today on a band (Harmony Avenue’s first spotlighted group since Local Natives)…

Hem!

So what exactly is Hem? A band with quite a simple name, and a simple…yet stunning aesthetic. Their music is a beautiful mixture of folk, Americana, rock, country, even tiny bits of jazz here and there…fronted by the golden-voiced Sally Ellyson, and gorgeously backed by strings and orchestral instruments. And guess what? You might have heard a bit of their music, provided you were watching TV a few years ago and a Liberty Mutual commercial came on (built around the heartwarming concept of strangers “paying it forward” and doing good deeds for each other in succession), backed by this song, called “Half Acre” (from the band’s debut album, “Rabbit Songs”):

Like quite a few of Hem’s current fans today probably can say, this is exactly how I found out about their music. I saw the commercial and heard a 30-second snippet of the song…and I really, really wanted to hear more. I had no way to find out what the song was and who sung it at the time, but probably close to a year after I first heard it, for some reason I decided to search around the Internet for the song, and found my answer…and from then on, I was absolutely, 100% hooked.

Here’s another tune from another Liberty Mutual commercial. It’s called “The Part Where You Let Go,” and is on an EP called “Home Again, Home Again.”

So I could basically just show you a bunch of their songs and call it a day…because like many great artists’ work, Hem’s music speaks for itself. IT’s gorgeous, heartfelt, lovely, simple, tender, warm…yet not “sleepy” or “boring” by any stretch of the imagination. It’s full of life and color, and the music practically dances into your ears. It’s comforting, but not bland…it’s heartwarming, but not treacly or overly sweet. It’s the perfect balance of heart and invention. Here’s three terrific tracks from their second LP, “Eveningland” (which is my favorite album of theirs so far, though all of them are terrific). Their names are “Pacific Street,” “My Father’s Waltz” (which might make you cry), and “The Fire Thief,” respectively. (Note: I believe the version of “Pacific Street” I found on YouTube is a bit truncated. Sorry if that’s the case.)

(The video for “The Fire Thief” also features a song off their covers/B-sides album “No Word From Tom,” called “Oh No!” So there’s a bonus for y’all there. )

One more song before we part. First, a passionate cut from their most recent full-length album (“Funnel Cloud”) called “Not California” (complete with official music video!), which apparently was partly inspired by lead songwriter Dan Messe’s wife being obsessed with shows like “The OC” and “Laguna Beach.” The song is called “Not California.”

Also, I couldn’t find anything to embed here, but Hem also branched out and provided the music for the summer 2009 Central Park production of “Twelfth Night,” featuring Anne Hathaway and Audra McDonald, among others. It’s lovely and sets the stage beautifully for…well, whatever the play was like. (Sadly, I was not able to see it in any form, but they did release the soundtrack.)

But wait! There’s more! As a special bonus (or punishment? ) to you faithful readers, here’s a little something from yours truly. Enjoy, be sure to subscribe, and many thanks for coming to my blog in the first place. Keep listening!

Song of the Day: “Never Leave Your Heart Alone”

Today’s Song of the Day? How about a little gem from circa 2003…

“Never Leave Your Heart Alone” by Butterfly Boucher!

Those of you readers who watch “Grey’s Anatomy” might be familiar with this tune, as it was apparently used in an episode once. (Never seen the show, but I’ve sometimes considered watching it just for the music. They pick some REALLY good stuff. ) It’s a stunningly lovely tune, driven by piano and background vocals. I can’t really get enough of it. I’ll have to check out more of Butterfly Boucher’s music…I’ve had her version of “Changes” with David Bowie (the song’s original artist) from “Shrek 2″ for a while, but besides that, I haven’t really heard much of her stuff yet, and judging from this song, she definitely sounds incredibly promising.

See you later on down the road with a new Artist Spotlight or two. Many thanks for reading!

(P.S.: I’m floating the idea of changing the background theme for this blog, though I still really love this one. Stay tuned to see if I actually go through with it. )

Sketches: Yellow

My first Sketches (AKA the part where I blog about something random and music-related, in an informal fashion) post in a while, beginning with a video:

As I might have stated on this blog before, I’m a HUGE covers guy. One of my favorite types of music to look for is that of one artist covering another artist’s song (preferably one that I know). So when I saw this video of Sara Bareilles singing “Yellow” (the early Coldplay hit) on my YouTube homepage the past week or so (one of the handful of random YouTube subscribers I have…or something…had “liked” the video), and a few nights ago I had some time to watch it, I was expecting something nice…Sara Bareilles is one of my favorite artists, and “Yellow” is a beautiful song. I had a feeling she’d do a good job with it.

My expectations were modest ranging to fairly high…and yet I was still blown away. It was simple, heartfelt, breathtaking, and…it just felt special. I listen to a lot of great covers all the time, but for some reason this one stood out.

I’ve been thinking since then about why in particular it had such an effect on me. Music certainly isn’t a mindless endeavor for me…I mean, hello, I have a blog dedicated to it…and I do think about what I listen to a lot, but I think a lot of times it’s subconscious. Anyways, one of the things that really struck me about her version of the song was how the vocal seemed to come from the heart. Yes, that’s a quality I see a lot of good musicians have…soulful vocals that aren’t just words and notes, but truth and expression. (It’s also a quality I’m trying to work on myself as a musician. Right now, I often feel I sing too much like a robot. ) But it’s a quality that should be treasured, and Sara really let me as a listener (and viewer, in the case of this video) that this song truly meant something to her. (The little anecdote at the beginning, about how the record that “Yellow” comes from…AKA “Parachute” by Coldplay…meant a lot to her during her time studying abroad, helped hit home that aspect.)

Something else that really hit me hard was the simplicity of the arrangement. The piano line essentially consists of only driving quarter-note chords…throughout the entire 4-minute song. Of course the chords change, and Sara builds some stuff in the left hand as the song progresses, and the dynamic rises and falls as it needs to…but it’s pretty bare-bones stuff. Yet, rather than make the performance feel flat or empty…it makes it stronger. It builds beautifully, and the fact that someone can do that with just a piano and their voice…wow.

Simplicity. I think that’s something that sometimes gets taken for granted in music. In fact, sometimes it even goes unappreciated. An example: Katelyn Epperly on the “American Idol” semifinals last season (embedded below).  Her performance of, coincidentally, another Coldplay song (in this case “The Scientist”) was very similar to Sara’s…slow, deliberate, driven by a very simple piano part…and just as powerful and meaningful. It didn’t go over entirely well (the judges were lukewarm; she was voted off the show just a week later), and I’m still not quite sure why. Simplicity, with the right song and the right artist, can bring a song to life, and that’s what Sara and Katelyn both did. Now, you just can’t go to the piano, sing a song, and call it great music. Not every tune works with that treatment, and of course, if an artist was to try to make a career out of just that, they wouldn’t get much of anywhere artistically (not to mention commercially, but that’s a whole other story). But when it’s done right, it’s almost like magic. (Sorry to use a bit of a cliche, but that comparison feels pretty accurate to me. And J.K. Rowling. ) It’s a haunting effect, and one that helps make music great.

K, so hopefully I didn’t get too preachy/rambly/pointless. (Let me know in the comments if any of those sentiments occurred. ) In other Harmony Avenue news…my Grammy predictions were kind of off. But I got some of them right. P.S., I’m still riding a huge, huge high off the Grammy wins of Esperanza Spalding and Arcade Fire, among others. The fact that those two were able to win in those incredibly competitive, high-profile categories is a huge step forward for music in my eyes. I think I might be doing an Artist Spotlight on Esperanza in the near-future, so stay tuned for that. (I’ve absolutely loved her music for a while, and the Grammy nom and subsequent win helped remind me how terrific she is.) Thanks for reading, make sure to subscribe, and I’ll see you later on in the week with yet again more blogging and more music.

Grammy Predictions & Picks, Part II

So this second installment of my Grammy predictions and picks, thanks to some big, time-consuming (but fun) events in my little corner of the world this weekend, is exceedingly last-minute. So last-minute, in fact, that I believe the pre-televised Grammy ceremonies (where the bulk of the awards, especially the non-big-ticket ones, are given out) have already occurred/are occurring at the moment I’m writing this. I’ve only seen two of those categories’ winners, and neither of those categories are being covered here, so rest assured I’m not making fake “predictions” just to look good. So very hurriedly…let’s do some more Grammy discussin’.

Best Female Pop Vocal Performance

A nice cross-section of talent this year…we’ve got ourselves some Norah Jones and Sara Bareilles, as well as superstars (for better or for worse) like Lady Gaga and Beyonce. And oh dang it, I was looking through the category Wiki page just now and I accidentally saw the winner, so I can’t really predict anyone, can I? (Because of this, btw, I will probably refrain from looking at any category histories at this point to help my predictions, so I might be winging it a little bit from here on out.) Anyways, interestingly, the live version of “Halo” by Beyonce is nominated (probably because the studio version isn’t eligible for this year, and last year around nomination time it must have been still growing). I’d go for that, Norah, or Sara if I was a Grammy voter. As for the actual winner, I shan’t spoil it here.

Best Male Pop Vocal Performance

If the female category for pop vocals is a “nice cross-section,” the male category is kind of…all over the place. But in a good way. I can’t say I dislike any of the songs here (even the Adam Lambert one, admittedly, and I am NOT a big fan of him at all, dating from his AI stint). As for who I think will win/already won? I’m going to go with some other predictors and say that the Grammy voters will go the sentimental route and give a posthumous award to the legendary Michael Jackson for “This Is It.” (Seeing as it’s probably one of the last chances they’ll have to give MJ a Grammy, I doubt they’ll pass it up. Heck, I probably wouldn’t pass it up either.) Bruno Mars could be a spoiler, though. He’s nominated for quite a few other things (a lot of them producing/songwriting), and “Just The Way You Are” is the kind of song that’s both popular and kind of old-school (AKA huge Grammy bait). I’ve grown rather fond of the tune, so that’s one of my personal picks, along with “Haven’t Met You Yet.” Another nominated song in the category, “Half of My Heart,” is also on my iPod, and I rather like it, but I’m kind of scratching my head at why it was nominated here in the first place, seeing as it’s more of a duet/collaboration than a solo performance by John Mayer. (Taylor Swift contributes prominent vocals to it.)

Best Dance Recording

I have to admit, I was totally not planning to cover this category at all. (P.S., I don’t have time to cover all the categories I could conceivably write about/have knowledge of, so I’m basically going to skip to the jazz ones after this. ) But last week, I finally decided to check out the music of Robyn…and I fell in love. Mad musical love. So I’m going to throw conventional wisdom to the wind and predict that the Grammy voters will be kind and awesome and give her terrific “Dancing On My Own” an award. (Either that, or La Roux, who similarly rocks, or Goldfrapp, who I admittedly haven’t heard too much of, but have loved what I’ve heard by her so far.) It’s soulful, easy on the ears, great to dance to, and heartbreaking all at the same time. And as talented as Rihanna and Lady Gaga can be, methinks that Robyn could really do wonders with the extra recognition.

Best Rap Solo Performance

Kidding!

Best Jazz Vocal Album

I could write for hours and hours about this category, but I only have about less than ten minutes (and I have at least one other category I wish to cover), so here’s the skinny. (Sort of. ) My predictions are twofold…I’d say Dee Dee Bridgewater‘s energetic, innovative tribute to Lady Day, “Eleanora Fagan (1915-1959): To Billie With Love From Dee Dee” (now THAT’S  a title) has the best chance to win, seeing as it’s by a prestigious previously-nominated artist, it goes outside of the box (but in an accessible way, for the most part), and it’s a tribute, which in the past, if  memory serves me right, Grammy voters have simply eaten up. (An example off the top of my head is Patti Austin winning a few years ago for “Avant Gershwin.”) However, here’s where the second part of my prediction comes in…I think Freddy Cole (AKA Nat King Cole’s younger brother, something I did not know until recently) and his fine (albeit a little low-key) Billy Eckstine tribute, “Freddy Cole Sings Mr. B,” could be a definite spoiler here. The Bridgewater album is terrific, but some more traditionally-minded voters could be turned off by her unique approach to Billie’s classic songs (they shouldn’t, but it’s a possibility). Freddy, being pretty close to jazz royalty and all, would be what said traditionally-minded voters would flock to next, I’d wager. As for what I’d pick if I were king a member of NARAS? Definitely Denise Donatelli’s outstanding “When Lights Are Low.” Geoffrey Keezer’s arranging is superb (more on that in a second), Denise is in fine voice, and it’s even a little close to home, as I’ve sung/worked (!!!) with the husband & wife who do background vocals throughout the record, Kerry Marsh & Julia Dollison. It’s just a beautifully put together album (though I may be a bit biased ). The other two entries, “Ages” by Lorraine Feather, and “Water” by Gregory Porter,  sound great too. I was especially intrigued by the former, and it could be  a sleeper win if the votes get split in weird ways. However, as stacked as the vocal jazz category is this year, I hate to say their chances are slim. (Can’t we just give the Grammy here to everyone? )

Best Instrumental Accompaniment Accompanying Vocalist(s)

Yeah, so this isn’t one of the big Grammy categories at all…but I’ve been very interested in it for a while (I even know the 2011 nominees by heart), mostly because I’m a big arrangement buff. (I have a mental list of favorite arrangers. No joke. ) This category is pretty dang stacked this year. First is “Baba Yetu” (a track by the Soweto Gospel Choir that interestingly enough, was used for a video game trailer if I’m not mistaken). The orchestral arrangement is sweeping, and I dig it a lot, but it did seem a little by-the-numbers. So that one’s out. Next is “Baby” by Bobby McFerrin, from his absolutely breathtaking album “Vocabularies” (which should have been nominated for Best Jazz Vocal, but instead got shoehorned into Best Classical Crossover…sigh). It’s a stunningly beautiful song…but it doesn’t quite belong in this category, in my opinion. The vocal arrangement (and the song itself, of course) is worthy of a billion awards…but the song is almost entirely a cappella, so I think NARAS just shoved it into the wrong category. That leaves three heavy-hitters…”Based On A Thousand True Stories” by Norwegian artist Silje Nergaard and arranged by the brilliant Vince Mendoza; “Don’t Explain” by the aforementioned Denise Donatelli & arranger Geoffrey Keezer; and the Herbie Hancock-led and co-arranged “Imagine” project. I’d say Herbie & Larry Klein have the best chance to win (seeing as he’s been a Grammy fave in the past). Vince Mendoza is a multi-time winner in this category, and his arrangement brings “Based On A Thousand True Stories” to life, so I wouldn’t count him out either. I’ll be quite happy if either of these two win, but my very, very favorite would be Geoffrey Keezer’s work on “Don’t Explain.” He turned it from a Billie Holiday chestnut to a fresh, dynamic showcase for Denise’s terrific vocals. Plus, to my knowledge, he’s not a past winner, so he’d be getting his first Grammy.

So that’s all, folks. The Grammys are already airing (at least in my time zone), so I’m running late/irrelevant anyhow. Now I’ll go to check how many of my predictions were right, yo. Look out tonight or tomorrow for a new Sketches post (complete with video!), be sure to subscribe, and thanks for reading!

Grammy Predictions & Picks, Part I

Here we are…the weekend before arguably the biggest music awards event of the year…the 53rd Annual Grammy Awards. I’ve been planning to do a little who will probably win/who should win-type post for a while, so here it is…well, part one, at least. I’ll be taking on a few of the big-ticket categories, as well as some more specialized ones (mostly jazz). And at least in the case of this part, I shall be writing this quick like a bunny, since I’m a bit pressed for time. Caveat: My predictions are not incredibly well-founded, but I’ll do my best. And feel free to disagree with my choices in the comments. We need a little good-natured controversy around here.

Album of the Year

The Grammy voters have gone all over the place with this category in the past…everywhere from jazz to hip-hop to folk to country-pop. One thing that’s sometimes held true in the past is that they tend to go for the dark-horse choice. Examples: “Raising Sand” winning the ’09 trophy; “River: The Joni Letters” taking the ’08 prize over Amy Winehouse and Kanye; OutKast earning the top honor in ’04. Thus, I’m going to get a little bold (and OK, full of wishful thinking…) and say that Arcade Fire‘s outstanding “The Suburbs” will be the voters’ choice for Album of the Year in 2011. Eminem definitely is a huge contender, seeing as he had a whirlwind year both critically and commercially in 2010 (one of his greatest detractors says through gritted teeth), and the Academy could finally decide to give Lady Gaga more recognition than she’s received in the past, but Arcade Fire’s album seems like the kind of quality, slightly offbeat entry–that nevertheless pleased tons of critics and fans alike–that has won in the past. “The Suburbs” is both what I think will win, and what I want to win.

Record of the Year

One of the oft-confusing twin categories that usually overlap a lot (Song of the Year, which honors songwriters, is the other one), Record of the Year goes to performers. It’s often hard to predict this category, as sometimes the NARAS goes for something pretty expected (“Use Somebody” and “Rehab”)…but just as often, the winner comes from out of the blue (“Please Read The Letter” and “Here We Go Again”). I’d say “F— You” has the right combination of “big song” and “unique song” status to catapult it to the top. One of the other nominees (except for perhaps “Nothin’ On You,” though I wouldn’t count it out) could easily take the prize, of course. My personal preference goes to “F— You” (though I’ve only heard it in its edited form, “Forget You”) or “Need You Now.” (I have both of them on my iPod.)

Song of the Year

Interestingly, though this category usually has a few less high-profile nominees than Record of the Year, one of the big-ticket items usually takes the honors here, judging from years past. I’ll say “Love The Way You Lie” as my prediction here. I’m not a personal fan of the song, but it takes on a weighty issue (domestic abuse) with a wide-appeal combo of rap & vocals. “Need You Now” and “F— You” are also in the thick of things. My personal picks are the same as Record of the Year, with the addition of Ray LaMontagne’s beautifully understated “Beg Steal or Borrow.”

Best New Artist

And here’s where things get a little messy. In years past, there’s maybe been one or two dogs I’ve had in this race., tops..but this year, the NARAS went ahead and decided to stack it with 3 of my absolute favorite artists (well, I have a lot of favorite artists, so it’s not like it would be a long shot for that to happen)…and then top the category off with 2 huge acts (the Bieber and the Drake) that have a combined 40% chance to break my Grammy-following heart. It kind of goes without saying that I’d prefer for the latter two boys (interestingly enough, both Canadians) not to take home this particular trophy. And thus, I flatly refuse to predict that either of them will win. (It’s my blog, I can cry if I want to. ) My prediction goes to Florence + The Machine, simply because she had a breakthrough year (“Dog Days Are Over” simply exploded, almost out of thin air, after doing so well in the UK), and she’s the kind of quirky, daring choice the NARAS loves to go with, mostly to look somewhat hip. As for who I want to win…it’s a huge step forward just to have Esperanza Spalding nominated in this kind of high-profile category, so I’d be fine with her either winning or not. As for Mumford & Sons, their sweeping brand of folk-rock is simply irresistible, and I’d LOVE for them to receive some more recognition here across the pond. And of course, Flo’s music is absolutely breathtaking. I can’t choose between the three, so if any of them win, I’ll be as happy as a clam. (I do have a feeling Florence & Mumford/Sons fans might be a bit more gutted, though, should either of them not take home the prize. Us jazz fans are [I hope I'm reading this sentiment right] happy enough to see the field break through here, and a win would just be cherry on top. Sadly, there’s probably not too many people who love all three artists basically the same, as I do, though I could be wrong.)

That’s all for Part I. Stay tuned for Part II (and possibly Part III, though probably not)! And be sure to state your opinion and challenge my picks/predictions, with style and class (ish), in the comments.

Album Review: Hu Hu Hu

New album review coming right up, without further ado.

Album: Hu Hu Hu

Artist: Natalia LaFourcade

Released: May 2009

Latin music can be a minefield for the English-speaking listener. There are a mountain of stereotypes; the language is foreign; the styles potentially hard to navigate. That’s not to say it’s difficult for someone who doesn’t speak Spanish to love Latin music…but the language and culture barrier can sometimes loom large.

There are, however, artists and albums in the Latin music world with fresh, original approaches that transcend differences between country and tongue. The kind of music that’s universal, new, and exciting. Natalia LaFourcade is one of those artists, and her most recent studio effort, “Hu Hu Hu,” is one of those albums. Bursting with life, exploding with individuality, and full of quality and beauty, “Hu Hu Hu” is an incredibly enjoyable recording, for any listener.

Natalia explores an interesting array of sonic textures in the album, all while demonstrating a firm grasp of who she is as an artist. Armed with a subtly quirky production and unique yet warm arrangements, she doesn’t go wrong anywhere in the record’s 13 tracks. “Cursis melodias,” with a driving, cheerful swing, starts the record off right. It’s full of joy and happiness, but also features enough quirky chord progressions and clever instrumentation (the piano particularly helps set it apart; this is a theme that pops up the whole album) to keep things from getting anywhere near sugary. “No Viniste” is subtle, sneaky, and assured, and “Siempre Prisa” builds from a soft, casual beginning to a beautifully cacophonous latter third. “Tiempo al viento” pulls a switch-up…it starts off as a lilting acoustically-driven ballad, and ends up as a refreshing piece of electro-folk. “Let’s Get Out,” one of the three English songs on the album, is one of the most energetic and fun cuts on the record (and Natalia’s highly endearing accent only adds to its appeal). Natalia and Latin ingenue Julieta Venegas share the mic on the title track, and the result is an alluring, subtle trip-hop-influenced treat full of close, delicious harmonies.  ”Ella Es Bonita,” the track that follows it, is a bouncy, confident, poppy joy ride.

Rather than coast during the latter half of the album, Natalia ramps things up even more creatively and musically. The gorgeous piano-driven “Nino Hojas” is both breathtakingly simple and quietly complex, building to a climactic chant-fueled chorus that practically explodes with life and cheer. “Running Too Fast,” the second English track on “Hu Hu Hu,” is a haunting yet endearing ballad featuring only Natalia’s beautifully fragile vocals, and an utterly lovely acoustic guitar line. “Azul” is sonically adventurous yet also focused and completely enjoyable, and “Hora de compartir” stands out as one of the best tracks on the whole album, thanks to some truly stunning unexpected chord changes and a cool vibe that keep it both grounded and exciting. The quiet piano and guitar lines that drive “Un Lugar Para Renacer” forward also make it a standout track, along with the beautiful choir of voices that help make the chorus come truly alive. Natalia closes the album off with another duet, this time with Mexican singer Juan Son on the joyous “Look Outside.”

Joy, happiness, love…these are three qualities that define “Hu Hu Hu,” but they do anything but hold it down. They bring it alive and make it sing…cliches, to be sure, but phrases that describe the album very accurately. “Hu Hu Hu” is a delightful listen, and one that should be put on repeat. It’s devastatingly intriguing, incredibly enjoyable, and uniquely uplifting. Whether the listener speaks English, Spanish, or another language entirely…Natalia LaFourcade is certainly an artist to cherish.

Song of the Day: “The Ladder”

So I’ve been gone for, y’know, more than 2 weeks or so. 16 days of silence. Many apologies for that, since from the beginning I’ve intended for Harmony Avenue to be something that I don’t leave alone for weeks and months at a time, but a project that I’m actually dedicated to updating and putting my heart into. And I’ve loved where this blog has gone so far, and I can’t keep moving forward if I end up having such a long break like that. Sorry to fill the void with yet another Song/Music Video/quick post of the Day, but at least it’s something until I return to regular (full-sized) posting. Tonight’s spotlight? How about a little…

“The Ladder” by Andrew Belle!

Andrew Belle’s terrific new CD, also titled “The Ladder,” recently came to my attention through an email sent to me by NoiseTrade (a great site I mentioned in an earlier post where lots of great artists post music that’s offered for absolutely free of charge) about how said album was being offered for 3 days (of course, for free) on the site. Sadly, that deal is no longer available, but you can still find a nice EP or two of his there (just click on the link and it should be pretty simple to come across). Anyways, I discovered when I started listening to the album that the 3-day deal wasn’t just a good deal…it was an INCREDIBLE one. Andrew’s music draws a lot from similar male singer-songwriters like Greg Laswell and the like, but it’s strikingly original as well, and very passionately delivered. It’s music with heart and soul and life, not just some cookie-cutter ‘pretty’ stuff you’d hear while shopping at some trendy boutique. This particular song is the jaunty title track that opens the record, and it’s one of my favorites off the album. You can check out Andrew’s website here. All his music is highly recommended.

So will I ever break out of this short-post rut? What I’m planning in the coming week:

• My long-gestating Grammy predictions/wishes post
• At least one new album review and/or artist spotlight
• A Sketches post about…something (I originally planned for it to be about men’s choirs, but I might just make it a little bit of this & that…TBD)
• And maybe something else entirely.

I’ll do my absolute best to make sure there’s not any long 16-day breaks again here on Harmony Avenue (well, at least until I leave on my mission in a few months, in which case there will unfortunately be, y’know, a 2-year break or something ), because I want to keep sharing my love for great music…and of course, as much of said great music itself as possible…for a long time. Thanks for reading, and I’ll see y’all posthaste with another new post.