Song of the Day: “Little Lovin’”

A new Song of the Day (back to its old spot in the late evening…guess some things never change?), coming right up. Via the a’ight remake of “Footloose,” it’s the captivating tune…

“Little Lovin’” by Lissie!

So I didn’t think much of the “Footloose” remake (then again, years ago when I watched bits and pieces of the original with my dad, I didn’t think much of that either), which I didn’t technically sit down to watch, but was in the room while it was being viewed by the rest of my family, so I basically saw the whole thing anyhow. Anyways, what caught my attention the most was this gorgeous song by folk rock singer Lissie, someone who I had heard of a bit before now, but whose music hadn’t reached my ears until I heard it in the movie. Lissie (whose real name is Elizabeth Maurus) delivers a fearless, haunting vocal, and the song is full of both relentless energy and chilling depth. It’s a song I can’t get enough of right now, pretty much.

More exciting posts are to come. Thanks for reading and listening!

My Favorite Albums of 2011, Part II

I’m back! Seeing as is the list about, y’know, 2011, I had to make sure to get this posted before the year is out. Also, I’ve made an executive decision and increased the number of albums on my list to 20. (There was a late-breaking addition.) This means that this post will be even longer (11 albums, 4 EPs, and some end-of-the-year words…whew!), but we’ll make it work. (In other news, by the end of this paragraph, the number will increase to 25, and by the end of this post, it will be so large you can’t even count it.) Now, on to the rest of my favorite albums list…these fine records, I consider the best of 2011.

Rachael Yamagata — Chesapeake

(Full disclosure: This is the late-breaking addition that pushed my list to 20.) What is “Chespeake”? It’s an understated, very unassuming album, full of songs that grab on first listen, certainly, but don’t show all their different textures until after repeated listens. Rachael has really opened herself on “Chesapeake,” and the result is a warm, honest collection of songs that showcase her at her very best. Her songs in the past have often been introspective and haunting, and they certainly are here, but there’s a certain underlying uplift to the proceedings that really helps her songwriting come to life. And when she does hark back to her previous work with raw ballads like “Full On,” she ends up creating exquisite, devastating works of art. “Chesapeake” is without question Rachael Yamagata’s finest work yet, and it’s a fascinating, engrossing glimpse into her artistic vision.

Amos Lee — Mission Bell

“Mission Bell” is in some ways a convergence of influences. You can see touches of jazz, folk, soul, country, Americana…a little bit of everything, really…within its songs, and Amos Lee is the kind of songwriter and performer that knows just how to tie all of it together. The album is fearlessly intimate but wonderfully expansive, and it has a world-weary quality that gives it great depth and texture. It also doesn’t hurt that Amos has a fine roster of guests (including country icon Willie Nelson, on an album-closing reprise of the opening track). His singular voice is used to great effect, and overall, it’s a beautiful musical portrait that stays with you long after the first listen.

k.d. lang & the Siss Boom Bang — Sing It Loud

It’s no hyperbole to make the statement that k.d. lang is one of the most incredible vocalists of all time…her instrument is rich, gorgeous, expressive, soaring, heartbreaking, and uplifting, all in one. This record is one truly worthy of that incomparable voice. Paired with a full-time backing band for the first time in quite a while, she delivers her best album in years, arguably the best of her career. “Sing It Loud” is an intoxicating, breathtaking recording, and k.d. and the band unite beautifully to create a collection that feels timeless. It’s raw and organic, but at the same mysterious, refined, and elegant. It’s a new direction for her in some ways, going back further to her country roots than any of her recent work has…but it’s a direction that if there’s any justice in the world, she should definitely keep exploring, because if it results in albums like this, as a listener I want to be there exploring with her.

Ben Sollee — Inclusions

You don’t get many artists like Ben Sollee, and I mean that literally…he’s a singer/cellist. (I don’t think you’d even need all of one hand to count how many of those there are out there in the music world.) Artistically, though, he’s even more unique…he’s unclassifiable genre-wise, but his songs work. They work wonderfully. They’re dynamic and fresh, and soaring in a very rare, understated way. There’s a lovely quality to his music that’s kind of hard to define, but it makes perfect sense once you take a listen. They’re the kind of songs that just get better and better as time goes on, and that’s the sign of an album that truly endures.

Florence + The Machine — Ceremonials

The rare album that feels both unendingly grand and ambitious, yet at the same time incredibly authentic and introspective, “Ceremonials” is a towering achievement. It’s a record you have to really dive into to get the full experience, but it’s a dive that’s definitely worth taking. Kicking off with a rousing opening track (followed by the gloriously anthemic “Shake It Out”),  song after song after song, it hits hard and deep, with Florence’s booming voice lifting up to the heavens, the lyrics setting the mood, and the instrumentation going in all kinds of fascinating directions. Only at a few points does she let the music run away from her…while “Ceremonials” is wild and experimental, it’s a very organized type of chaos at work here. Florence and her band know exactly what they’re doing, and the result of their efforts is a singular, spectacular kind of album that’s unlike anything else out there.

Elbow — Build A Rocket Boys!

How exactly does a rock band expand on huge success? After bursting into prominence with their last album, the revelatory “The Seldom Seen Kid” (which even garnered them a prestigious Mercury Prize in the UK), Elbow went exactly where they needed to with their next record…they went home. It’s not as if they ever left, but on “Build A Rocket Boys!”, they feel truly at home. The songs are warm, straightforward, and above all, absolutely beautiful. A prime example: “Lippy Kids,” in many ways one of the emotional centerpieces of the album, feels like frontman Guy Garvey’s love letter to what being a teenager is, and he delivers it with such nuance and tenderness that it very nearly breaks your heart. The use of the Halle Youth Choir on a few tracks is an inspired choice…they help the songs soar even more than they already do on their own, adding beautifully to the mix. There are countless moments of musical brilliance throughout, and it’s even further proof that Elbow is a band constantly creating incredibly well-crafted music that’s genuine, honest, and full of emotion.

Ximena Sariñana – Ximena Sariñana

This self-titled album is Ximena Sariñana’s second, and her first in English (only one track, “Tu y Yo,” is in her native language, Spanish)…and it shines. Taking a new approach with sonically adventurous, forward-thinking producer Dave Sitek, it’s a different vibe than her debut record in some respects, but the marriage of the acoustic and the electronic is a happy one, and her powerful yet delicate voice is a perfect fit. From the sunny opening track, “Different,” to the gorgeous ballad “Tomorrow,” to the light/dark exercise that is “Wrong Miracle,” the album’s closer, this is a highly enjoyable, top-notch record through and through.

Bon Iver – Bon Iver

Unfolding in quiet, explosive bursts, Bon Iver’s eponymous second album (there seems to a be a pattern here…hmmm) is, quite simply, beautiful. The band burst onto the scene with little more than singer Justin Vernon’s heartstoppingly fragile voice and his guitar on “For Emma, Forever Ago”…this time around, the sonic palette has exponentially grown, and the many new instruments are weaved into the album like a stunning tapestry. There’s absolutely no one genre you can pin “Bon Iver” to…all that can be said is that it is, without question, wonderful, wonderful music.

Company of Thieves — Running From A Gamble

On “Running From A Gamble,” Genevieve Schatz has her day. Lead vocalist of Company of Thieves, she tears into the songs with reckless abandon, singing with fire and spirit when the chorus swells, and bringing her powerful pipes down to a whisper when things get quieter. It’s a masterful set of vocals, but that would mean little if the band she’s a part of…and the songs she sings…weren’t up to scratch. They are, and then some. Company of Thieves has created a tour-de-force of lyric, melody, and sound. “Running From A Gamble” is gorgeously thought-provoking, engagingly fierce, and an enjoyable, breathless musical ride. You really can’t get much better than this.

Sondre Lerche — Sondre Lerche

Usually when artists title an album after their own name, it signals a debut or an early work (see the two albums above…I didn’t even realize until just now doing this post that I had three eponymous albums on it). For Sondre Lerche, however, this is his sixth studio release. What it most likely is meant to mean in this case is a rebirth…on this record, Sondre doesn’t do a complete 180, but his music is in some aspects filtered through a different lens. It’s more acoustically driven, more organic, a little more stripped down. At his essence, Sondre is a skillful, innovative songwriter, and it shows through brightly here. His songs are haunting, lovely, and lyrically inventive, even playful at times. Which is the way they’ve always been (Sondre’s music is remarkably consistent)…but here, the listener gets a front-row seat.

Feist — Metals

Let’s put it out there right now: “Metals” is a triumph. A hands-down, no-holds-barred triumph. It’s a very different album than “The Reminder” (Feist’s previous album that spawned the joyfully ubiquitous “1234″). In fact, it’s a bit unlike anything Feist has ever done. It’s revelatory and quietly sweeping in a way that most artists only dream of. Feist’s voice is in peak form, and her writing on this disc is absolutely stunning, plus the production is striking and unique in a way that enhances the songs in absolutely all the right ways. “Metals” is a tale of heartbreak, of acceptance, of everything in between…but above all, it’s a tale of humanity. So many moments in the album stand out. The a cappella chorus of Feist’s vocals at the end of “A Commotion”…the way “Graveyard” explodes into a cathartic sing-along…the slow, steady, breathless build of “The Circle Married The Line”…the underlying fierceness behind “Undiscovered First”…all that and more. Without question, this is pure, unadulterated musical magic.

But wait, there’s more! Four fine EPs I’d like to briefly highlight this year.

Courtney Cotter — Home I Roam

Courtney is a friend of mine, so it’s possible anything I write about her music is somewhat biased. That said, this is a terrific collection of songs. She’s grown since her last album (her debut full-length, “My Happy”) in wonderful ways, and all 6 of these songs (plus one from “My Happy,” the amazing “Unsaid”) are strikingly mature, beautifully warm, and impeccably crafted, and Courtney’s beautiful voice is the icing on the cake. The only downside to “Home I Roam”? It ends too soon.

Christopher Miller — Hair and The Hell

I was introduced to this album by a Facebook post by a friend, and I’m very grateful for the recommendation. This EP may be only 4 songs long, but what it lacks in quantity, it makes up for in quality. The songs are evocative and lively, and Christopher has a very developed writing voice that shines through very well. My personal favorite on the EP is “Ben Just Shy,” which boasts a terrific, infectious hook.

Alyse Black — The Honesty EP

Honesty is in the title, and it’s in the music as well, as Alyse Black goes back to basics and gives us 7 cozy, beautifully spare songs that are both confessional and uplifting. Her music really draws you in, and this EP is a fine display of her gorgeous vocals and outstanding songwriting skills. It’s well-crafted, incredibly genuine, and a celebratory act of pure expression.

Lucy Schwartz — Keep Me

Moving forward without losing any of what makes her so terrific in the first place, Lucy Schwartz delivers a fine EP with “Keep Me.” Between the stop-you-in-your-tracks piano ballad “You Are You Are,” the quietly sweeping title track, and the moody, atmospheric “Domino,” Lucy has outdone herself once again, creating rich, engaging songs that, while small in number this time around, provide countless hours of highly enjoyable listening.

Now I’m done. That kind of took a while…I guess that’s what happens when you add 1 or 2 albums at the last minute, eh? It’s been an absolutely wonderful 2011 blogging here at Harmony Avenue. This year, this blog went farther than I ever imagined it could, and I’m happy to actually have at least a few regular readers (I think), and lots of visitors, and the response to my “Sing-Off” recapping was terrific. Thanks to all you who commented, read, enjoyed, and especially those of you who shared, my posts this year. (Any compliments received have been MUCH appreciated.:)) Now, to a piece of news I don’t think I’ve announced here formally yet, mostly because any regular readers I have probably know it already: I’ll be leaving on a full-time mission for my church in May (to Peru!). That means in 2012, I’ll only be having a few months of posting. My plans for Harmony Avenue after that are a bit up in the air right now, but there are a few options I’m considering while I’m gone for two years and obviously can’t keep this blog up whatsoever, so I’ll keep you posted on those. For now, thank you all so much for helping make my blogging-related activities in 2011 an absolute blast. Happy New Year!

Two Songs of the Day: “Young Love” and “Fine Line”

My usual recap of “The Sing-Off” (which, let’s face it, tends to take over this blog a bit when it’s on, though I’ll hopefully be able to remedy that now that I have some more free time) will most likely come tomorrow morning as once again I won’t be able to watch it live (darn lack of DVR!) and I’ll have to catch it via Hulu again, but getting back to our regularly scheduled programming, here’s two songs of the day, coincidentally by two British acts. One of them will probably be new to you, and as for the other, if you haven’t heard of them, you haven’t just been living under a rock, you’ve been living under a rock AND you hit your head on it on the way in. First off…

“Young Love” by Mystery Jets (feat. Laura Marling)!

This song is by British indie band Mystery Jets, and I actually found out about it in a roundabout way…I was looking up “Way Back Into Love” (kind of what serves as the theme song from a very fun film, “Music & Lyrics,” which starred Hugh Grant & Drew Barrymore) on Wikipedia for some reason (is there ever ANY explainable reason I look up something on Wikipedia? Probably not), and the article mentioned something about the chorus for this song might have borrowed/stolen the melody from “Way Back Into Love.” Luckily, the article also mentioned that “Young Love” featured an artist I absolutely adore, Laura Marling, and upon reading that I knew I had to check the song out. (My curiosity combined with my Laura Marling love to lead me to that point.) It’s a catchy, lively song that combines some nice elements of both the modern and the old-school, and it’s made even better by Laura’s amazing appearance towards the latter half. (It’s already a great song on its own, but Laura’s effortlessly alluring vocals put it over the top.) The melody in the chorus does admittedly sound a bit similar to “Way Back Into Love,” but none of that gets in the way of what ends up being an utterly infectious, terrific song. (Also, this reminds me I need to check out more of Mystery Jets’ music.) Now, to a fairly recent song by an English music legend…

“Fine Line” by Paul McCartney!

At the time I discovered this song, I was already somewhat familiar with Sir Paul’s 2005 comeback album of sorts, “Chaos and Creation in the Backyard,” but I hadn’t listened to anywhere near all the songs on it, which is why this firecracker of an opening track passed me by until a few months ago. I think this was another song that came out thanks to a random Wikipedia search (I was maybe looking up Paul McCartney singles, perhaps? I’m not sure), funnily enough. (I also heard it playing at work a few days after I had downloaded it, which was an interesting coincidence.) This album signaled an artistic rebirth in many ways for Paul (it was a critical and commercial success and continued to show he had lots of life beyond his work with the Beatles), and this song is a sign of that revitalization. Paul sounds great, the songwriting is top-notch, and it’s just an energetic, addicting tune.

See you soon with more posts, including (but not limited to) my Episode 5 “Sing-Off” recap. As is always the case…thanks for reading!

My Music: The Park

Here’s a quick post in honor of Feist’s new album (her first in four years!!) coming out tomorrow worldwide. A while ago me, my sister, and her/our friend (hope that’s remotely close to proper grammar) did a summer series of covers. Here’s a gem from Feist’s last album (which was “The Reminder”), called “The Park.” My version is from a different viewpoint than Feist’s original, and hopefully I communicated that OK. Enjoy!

P.S.: My “Sing-Off” recap for the week will be a little late this time around, due to previous engagements.

Song of the Day: “Hoppípolla”

I hope you all had a wonderful Fourth of July. I really need to get back to regular posting…anyways, here’s a gorgeous Song of the Day…

“Hoppípolla” by Sigur Rós!

So about a year ago or so, thanks to a viewing of “How To Train Your Dragon” (an excellent film, by the way) with my family, I fell madly in love with the music of Jónsi, the lead singer of (you guessed it) Icelandic band Sigur Rós. He had contributed a song to the movie, which played during the end credits, called “Sticks and Stones,” and while the rest of my posse didn’t pay it much mind at the time, I was hooked. I checked out his recently released solo album (called “Go”), and from then on it was musical love.

Except I forgot one thing. As I said before, Jónsi is the lead singer of a band…and I had neglected to check out any of said band’s music. Sigur Rós had actually caught my eye in a somewhat unusual way a few years prior…their most recent album, “Með suð í eyrum við spilum endalaust,” features a rather revealing cover, and while seeing it on the iTunes front page, and recognizing the name of Sigur Rós, I decided to briefly check their music out, mainly due to curiosity. I must not have stayed long, because I didn’t end up downloading or searching out anything else of theirs.

That all changed, though, a few days ago. After seeing a random song of theirs in passing on my iTunes sidebar (iTunes seems to be the key to a lot of my music discovery lately…), and taking a brief listen to it, a few nights ago I decided to take another look at their music, spurred by my admiration of Jónsi’s work. I don’t know how it came to be the first song I listened to, but “Hoppípolla” was my official introduction to Sigur Rós (I think it might have had something to do with the fact that I looked up the band on a favorite sheet music website of mine, and the song was one of only two the site had for sale), and it grabbed me almost instantly. It starts off with a simple piano line, then grows with guitars and strings…and takes off into something truly special. About halfway through the song, it starts to build even more, and after a sweeping orchestra melody kicks in…it’s pretty much musical heaven. Full disclosure: I started crying while listening to this song for the first time. That’s certainly not something that happens often with me, and when it happens, it’s something to be excited about. Even though the lyrics are in Icelandic (and, for the latter, part, “Hopelandic,” the ethereal made-up language that Sigur Rós utilizes very often), this song touched me in a deeper, almost unexplainable way than just any normal tune does. It’s music of intense beauty, creativity, and happiness, and it’s something that most certainly should be shared.

As always, thanks for reading! Up next on my writing queue is a new Artist Spotlight, on indie songstress Alyse Black. See you soon with that (hopefully “soon” this time will actually be “soon”), and keep on the lookout for some new posts, new features, and new ways to help make this blog better.

Song of the Day: “To Build A Home”

So…16 days have passed by. Without a post. For shame, Brandon, for shame. This tonight, and an Artist Spotlight tomorrow. Plus I still have a lot of interesting things cooked up for later. For now…today’s/tonight’s Song of the Day? How about…

“To Build A Home” by the Cinematic Orchestra (feat. Patrick Watson)!

 

This is a gorgeous tune by a British group called The Cinematic Orchestra, which actually usually does instrumental music, from what I understand. According to Wikipedia (because Wikipedia knows all? ), they often have a more jazz/electronic vibe. I haven’t checked out their music much, but since Jamie Cullum name-checked them, and this song is so terrific, perhaps I should. Anyways, it’s a very sparse, yet driving piano-based ballad (with some tasteful, beautiful strings) with vocals by Canadian singer/songwriter Patrick Watson (who I’d actually already heard of, and I have 2 of his songs on my iPod to boot). Of all people to introduce me to it…my sister actually told me about this, which is kind of crazy, since she’s totally into more mainstream music than I am. (Apparently she’s in a ‘contemporary music’ mood right now, so she’s been getting into a LOT of artists/music I love much more than whatever we agree on in the field of music normally. It’s kind of amazing. ) It’s sweeping, heartbreaking, and uplifting all at once. It’s rather hard for me to get enough of it.

See you soon with fresh posts, and lots of great music! My next post (if things according to plan) will be an Artist Spotlight on the aforementioned Jamie Cullum. You’re gonna love him, I know it. Thanks for reading, as always!

Song of the Day: “I’m Gonna Make It Better”

So I’m officially obsessed with Arcade Fire. Like completely obsessed. I’ve listened to their music about 80% of the time I go onto iTunes or my iPod since Wednesday. I can’t stop. Ever. Or at least for now. Anyways, as much as I’d like to post about them forever, since I don’t want this blog to become a one-trick pony/Arcade Fire lovefest, and there’s always tons of great music out there, let’s make today’s Song of the Day…

“I’m Gonna Make It Better” by She & Him!

I love She & Him (made up of actress Zooey Deschanel & guitarist/singer M. Ward), mainly because I have a somewhat intense celebrity crush (just for fun) on Zooey (picture below in case you’re somehow unfamiliar with her, and because you can never have too many photos of Zooey), and she’s proven to be just as adept at music as she is at acting and being a cool person in general. This is a track from their latest album, “Volume Two,” that I somehow missed my first time going through the album and finding my favorites. It’s a charming, understated song with some delicious harmonies, and a terrific guitar solo by M. Ward. There’s a slight little undertone of longing/heartbreak (as is the case with a lot of She & Him’s music), but it’s so winsomely delivered (also the case with a lot of She & Him’s music) that you can’t help but love it/smile. It’s sunny, lightweight pop, but it has heart and soul that keeps it from being too sugary or sweet.

So to keep myself honest on track, how about I tease a few things I’m planning to post in the next little while? Let’s see…

• A few Artist Spotlights. Some artists I have on tap for those: Elbow, Alyse Black, and Jamie Cullum. Subjects subject to change, of course.
• An album review or two? I haven’t done one of those in a while.
• How about a new feature? There’s an idea I have involving spotlights on covers of songs. Stay on the lookout for that.
• I’ve also thought about a potential guest-blogger feature here. I’ll have to talk to some peeps I know that would be interested in that…and of course, if you’re reading this and you’d like to be featured here with a post on something music-related, let me know!

That’s all for now, methinks. Thanks for reading!

Sketches: Wake Up

(‘Tis been quite a long time since I last posted. I’m not entirely sure I have regular readers yet, but in case there are any of you out there, sorry for not writing anything for a few weeks.)

So last night I went to see Arcade Fire’s concert in Phoenix. It was kind of a last-minute decision…I had no idea they were coming until Monday. Monday night I thought about it, and since I had the money for a ticket, and I’d missed all the great concerts I wanted to go back in the fall, it wouldn’t be such a bad idea to go to this one on kind of a spur-of-the-moment thing. Wednesday morning I bought my ticket, I hurriedly arranged transportation and everything, and thus yesterday evening I was on my way to see Arcade Fire.

I’m not a huge rock-concert guy. In fact…before last night, I’d only been to one, and it wasn’t entirely my choice of band (it was Rush, a band my dad absolutely LOVES and I’ve grown to love as well, even though I don’t really listen to a lot of their songs on my own that much). Rush is an absolutely terrific band, and it was a great night that night (even including the fact that we got stuck in huge traffic afterwards because there was a crazy shooting next door…), but…it was kind of more ‘spectacle’ than ‘musical experience’ for me. Like it was outstanding music (and there were a lot of cool moments…Neil Peart’s epic drum solo, for example), but the whole rock-concert atmosphere (beers, the outdoor thing, and potential drugs??) kind of took center stage a bit.

Which come to think of it, makes it kind of interesting that I threw myself so quickly into the decision to go to the concert last night, especially since I’ve only been a big fan of Arcade Fire for less than a year. (I decided to check out their latest album, “The Suburbs,” back when it came out last summer, and I fell madly in love, even though I had tried seeing if I liked their music years ago, and wasn’t impressed. Weird.) I guess I wasn’t entirely sure what to expect, since Arcade Fire’s music isn’t entirely conventional rock by any means.

Anyways, I got inside the building right at the time the concert was supposed to start, and after I wended my way through the crowd, I started to hear something familiar. A little something like this…

Yep, that’s right. Local Natives (coincidentally enough, the subject of the second artist spotlight here on Harmony Avenue), a band I already knew and loved, was opening for Arcade Fire, something which I totally had no idea about. Ultra score. They played about half of their debut album, and it was awesome. So awesome. The band totally got into it, and even though people were trickling in (and all the people not in the pit were sitting down), they still kept the energy in the room at a pretty fun level. The crowd loved them, and I was already having a blast.

And then later came Arcade Fire…and that’s where the magic started. I thought about making this more of a concert review-type post originally…but I couldn’t really think of a way to approach that angle without it turning into a lovefest. They started off with an interesting video opening featuring a musical number from an old movie, with a woman singing about May…and it segued into a song from “The Suburbs,” naturally “Month of May.” It’s one of their hardest-rocking, kind of cacophonous songs, and it started off the night on a very high-energy note.

And things just kept getting better from there. I totally have their setlist open right next to me, but I’m not going to just go through all the songs, but give kind of a more general feel, with some song mentions thrown in. The atmosphere was just…electric. Maybe it’s because it was indoors, or because I haven’t gone to rock concerts that often and thus this was a different experience for me, or maybe it was just adrenaline kicking in since I wasn’t on much sleep…but the energy in the room felt special, exhilarating. Win (Butler, of course one of the lead singers of the group) commanded the stage, but it never felt like he was doing something manufactured or affected. At the same time, though, even though Arcade Fire’s music is kind of introspective in some ways, he never came off as shy or depressing or introverted. It was the perfect balance of confident and free, and calm and unassuming. Meanwhile, Regine (Chassagne, the other lead singer and Win’s wife) had this kind of earthy, uninhibited free-spirit persona on the stage that was riveting to watch. During the songs she fronted (“Haiti” and “Sprawl II,” which closed the encore, were two of them), she would dance during the instrumental parts of the songs, and it would be a spirited, unique kind of movement that you really couldn’t take your eyes off of. When she was singing (whether lead or backup), you could see the wild passion in her eyes. It definitely added to the performances. The same went for the rest of the band…you could tell they were totally and completely into the music and the whole experience.

Like I said earlier…there was just a really cool atmosphere. Everyone was getting in the music…bobbing their heads, dancing, singing along (I couldn’t always tell if they were, since it was so loud, but looking at a few YouTube recordings afterwards last night, it was very clear a bunch of people knew all the words)…normal rock concert fare, but with a different undertone to it, almost. It was powerful and uplifting and just…wow.

Seeing as I’d only heard a little more than one album of Arcade Fire’s music, there were a fair amount of songs I’d never heard that popped up throughout the concert. I was kind of surprised to see that every single song worked extremely well in a large venue setting…it filled up the theatre (which wasn’t, say, arena-size, but was still pretty large) and then some. Even though Arcade Fire’s songs aren’t quite happy-go-lucky, peppy material, they still brought a huge amount of electricity (sorry to use that term again, but it fits well) to the room. It was pure sonic bliss, and some of the best kind of music for a live concert setting. By the time they got to “Wake Up” at the end, one of their traditional closers…me and everyone else were so into the music you couldn’t have gotten us out of it. Everyone was smiling, clapping, cheering, belting out the lyrics at the top of their lungs…an amazing feeling. The three encore numbers they did afterwards were just as exciting.

So maybe this wasn’t any different than your typical rock concert, you could argue. I’m sure there are a LOT of bands that could create this same type of setting. Regardless of that, though, I think that an experience like this…one that I still can’t stop thinking about, one that was worth the money I spent on the ticket, the 2 hours I spent standing on my feet and moving to the music like the awkward person that I am, and so, so, SO much more…needs to be celebrated and cherished. I took a listen to the songs I’d heard for the first time at the concert afterwards on YouTube (the original studio versions)…and even though they all sounded amazing, after seeing and hearing all of those songs firsthand, in a sonically expansive live setting, it just wasn’t the same.

You can’t have musical moments like this every day. It’ll probably be a long time before I’m able to go to another Arcade Fire show, and when that happens, it will be completely different. So in essence, this was kind of a once-in-a-lifetime thing in some ways, which is kind of crazy to think about. I’m completely grateful that I got to have that kind of an experience, and to take a break from my usual concert-going fare (jazz and singer-songwriter-ness, mostly) was very refreshing. Even though the band doesn’t write much ‘happy’ stuff, per se…I couldn’t help but feel uplifted afterwards. It brought me joy, even if the music was deep and reflective.

I’ve been thinking about this post since last night, and it kind of turned out a bit different from what I planned it to be, but there you go. If you haven’t seen Arcade Fire live, I highly recommend it. (And if you haven’t checked out their music in the first place, I highly recommend that as well. Look past the “hipster band” label they’ve been slapped with and dive into their songs. They’re energetic and definitely rock-driven, but written with such care and beauty that they’re anything but boring or pretentious.) And now for something completely different…here’s a photo I took after the concert with the lead singer of Local Natives, the amazing Taylor Rice. Note how my eyes are so attractively closed, and the random Live Nation lady in the background as well. See you soon with another new post (I won’t leave this blog alone for so long anytime soon!), and many thanks for reading.

Song of the Day: “Helplessness Blues”

So I actually was planning for another Song of the Day, but I couldn’t find a simple way to share it directly on this site, as I always do. That means another outstanding song will have to do…

“Helplessness Blues” by Fleet Foxes!

It’s the title track from Fleet Foxes’ upcoming album (out in May). I sheepishly admit I’ve only heard a few of their songs (“Mykonos,” “Tiger Mountain Peasant Song,” and “White Winter Hymnal”), but all that I’ve heard of their music, I’ve absolutely LOVED. It’s so melodic and engaging and unique and beautiful…but in a subtle, alluring way, if that makes any sense. This particular track starts off all driving and urgent, with an insistent acoustic guitar rhythm, and then about 3 minutes in shifts into a dreamy shuffle-type beat. The melody is stunning, the lyrics are thought-provoking, and it’s just an absolutely terrific song. I’ll definitely be checking out Fleet Foxes a bit more now, thanks to this. (Bonus: You can download it directly from this SoundCloud clip! It’s also available on iTunes, which is how I listened to it in the first place…it was a free single there last week.)

In other news…we’ve reached 35 posts here on Harmony Avenue! And, interestingly enough, over 2500 all-time views. (Plus, at the end of this month, Harmony Avenue will turn 6 months old.) Those numbers make me happy, as I’ve never had a blog before with that kind of exposure. Seeing as it’s just little old me writing about music I love, I’m very grateful for each and every one of you taking time out of your day to take a peek at what I have to say (and share). Which brings me to a small announcement: For a while now, I’ve been planning to possibly change the theme for this blog (how it looks), and since I’ve reached a few milestones, within the next few days, I’ll most likely be going through with that plan. I’ll also be retiring the Song Shuffle Game feature (unless there’s some interest in it out there), since it hasn’t really worked out on paper the way I might have liked it to. Finally, I’ll hopefully be introducing a new feature or two in the near future. Stay tuned for all these changes! 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.