Song Sampler of the Day: “Never Forget You,” “Help Me Close My Eyes,” & “Revolution”

Another great Song Sampler of the Day, coming right up. One of these might be one of the more unique songs I’ve posted on Harmony Avenue. First off, though, it’s…

“Never Forget You” by the Noisettes!

I’m not too familiar with the Noisettes at the moment (as is often the case with artists whose tunes I feature in Songs of the Day), but I definitely would like to get to know their music a little better. (Mildly amusing tidbit: I first came across their work when another song by them, “Atticus,” was playing on our Pandora station at work, and I really was intrigued by it…at which point it was promptly skipped, since no one else thought it sounded any good. Sigh.) This is a very retro-tinged song…a way to describe it best might be Motown gone modern. It’s deliciously catchy, yet with a sneaky sort of depth that elevates it above the level of bubblegum. Lead singer Shingai Shoniwa (who apparently is British, but with Zimbabwean heritage) ties everything together nicely with a textured, impassioned vocal. (My sister said it reminded her a bit of Amy Winehouse.)  I’ve definitely been coming back to this song quite a few times.

Next up, by way of Sweden, it’s…

“Help Me Close My Eyes” by Those Dancing Days!

This song, by all-female Swedish indie pop group Those Dancing Days,  is somewhat stylistically similar to “Never Forget You,” in that it’s musically upbeat, but lyrically bittersweet. (Wow, I used both alliteration AND rhyme in that sentence. Since I’m posting on a music blog, not writing a Dr. Seuss book, that probably wasn’t for the best…) However, it’s definitely a bit more dance-oriented than the aforementioned tune. (Not that you’d hear it very often at a dance club or anything, but it’s fairly beat-driven.) It’s subtly intoxicating, haunting, and all those kinds of wonderful things that indie pop music should be.

And last but not least, an intriguing entry into the Harmony Avenue Song of the Day oeuvre…

“Revolution” by Dr. John!

Dr. John is a legendary New Orleans musician with credits and honors as diverse as five Grammy Awards, induction into the Rock and Roll Hall of Fame, contribution to the soundtrack for Disney’s “The Princess and the Frog” (he sang the opening tune, “Down In New Orleans”), a collaboration with Hugh Laurie on his recent musical debut, and membership in the first incarnation of Ringo Starr’s All-Starr Band. His very cool new record, “Locked Down” (which I haven’t gotten around to checking out fully yet, but I’ve heard a bit of so far), produced by Black Keys member Dan Auerbach, is in some ways influenced by all of those things (and more)…but at the same time, none of them. The vibe of this song (and of the album) is very hard to describe in terms of genre. In terms of atmosphere, on the other hand? Words that come to mind for me: funky, gritty, honest. Things get down and dirty here, but thanks both to Dan Auerbach’s innovative production, as well as Dr. John’s unique artistic vision, this tune stays incredibly, vividly accessible. I’m not usually attuned to this vein of music as much as I should, but songs like this just might change that.

Artist Mini-Spotlight: Kimbra

Quite often while brainstorming posts, I want to highlight artists that only have an album or so out, whose music I’ve only recently discovered, and usually I end up doing this by way of a Song of the Day post. (There have been a lot of them lately, hmmm. Harmony Avenue should not live by Song of the Day alone…) However, a lot of the time, there’s a good deal of songs by said artist that I enjoy, yet not enough to expand into a full-blown Artist Spotlight post. Enter a new spinoff of the Artist Spotlight I’m trying out, the Artist Mini-Spotlight. (I floated making this a combo post like I did with the Song Sampler a day or two ago, but I thought it would be nice to give each artist their own space, since it’s a bit of a different situation than a song.) This will likely be shorter than most Artist Spotlight posts, provided I don’t get too long-winded (yeah, I’m already losing that battle), and will feature some of my favorite tunes by said artist, and good introductions to their music. Without further ado, the inaugural mini-spotlighted artist…

Kimbra!

If you’ve been listening to the radio lately, you might have already heard her voice. She’s the featured artist on Belgian-Australian artist Gotye’s deliriously catchy little-indie-hit-that-could, “Somebody That I Used To Know.” (Her appearance is a high point of an already pretty darn terrific song.) I, like a growing number of people at this point, had heard and fallen in love with the song, when a good friend of mine (the same one that recommended I check out Andy Grammer’s music, as noted here) suggested I look up her solo work. I found out she had an album, “Vows,” released in New Zealand and Australia (her home country and its friendly neighbor, respectively), and took a few listens to some of the songs…and oh baby, I was hooked. She has such a stunning, expressive, vibrant voice that it seems like she can do pretty much anything with. If you were impressed by what you heard of her on Gotye’s single…you are in for a treat. It gets even better.

Something I’ve noticed about Kimbra (besides her terrific music) is that so far, her music videos have been firing on all cylinders. Not since the days of Feist’s triple-threat of “1234,” “My Moon My Man,” and “I Feel It All” have I seen three video clips of  this caliber. They’re quirky, beautifully shot, engaging, dazzling, and tons of fun. I could of course introduce you to Kimbra strictly by audio, but I think it’s better if you check out her amazing visual aesthetic as well.

First off, “Settle Down,” her first single. There are shades of Bjork-style influences throughout (her use of vocal loops and harmonies is wonderfully innovative), but overall, it’s really a song that can’t be classified. The way she builds and tosses and turns…it’s intoxicating. In the best way. Here is the song, with its (literally) fiery music video attached:

The second single (P.S.: these singles sadly have only been released outside the U.S. for now, though her debut is set to bow in the States on May 22, and she does have an EP in the U.S. iTunes store), “Cameo Lover,” is insanely catchy and, to use a highly technical phrase here, pumping. I’m pretty sure I’ve listened to it the most out of all the Kimbra songs I have. There’s a bit of a ‘girl-group’ sound in here…but once again, Kimbra ends up turning it on its ear, and the result is something quite unique. The music video, featuring some infectious dancing by Kimbra herself (accompanied by a throng of female backup dancers), matches the song’s brilliance very nicely:

And because it’s her only other song with a music video, and I’m on a music video kick, the slinky, throwback-esque “Good Intent,” which shows yet another side of Kimbra’s musical vision:

In case you’re wondering whether she’s any good live…here’s a great clip of her singing another song off her debut, “Two Way Street.” If this is how she is in a studio, I can only imagine how terrific she is onstage:

To close it all off, a fun 80s-R&B-tinged number, “Call Me.” (No relation to the Blondie song of the same name…well, maybe a little.)

By the way, she’s only 22. (A fact I found out today while looking at her Wikipedia article as brief preparation for this post.) My mind, it is forever boggled. (She’s only got 2 years on me and is making this kind of incredible music? Wowsers.) Thanks for reading and listening!

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!

Song of the Day: “Black Gold”

Tomorrow, February draws to a close, so there’s no better time than the present for a new Song of the Day (the first since Arizona’s birthday/that one day where there’s a bunch of love and happiness and stuff). I have about 2 months left to post here, so I’ll be sure to make much more frequent visits to Harmony Avenue from now on. (Cross my heart. Which reminds me of “Up”: “Cross your heart?…CROSS IT! Cross your heart!” ) Here’s a terrific new single from last year’s Best New Artist Grammy winner, who recently appeared on Sunday’s Oscars broadcast, with a theme particularly appropriate for this month, though applicable throughout the year…

“Black Gold” by Esperanza Spalding (feat. Algebra Blessett)!

Esperanza’s new album, “Radio Music Society,” comes out next month, and from what I’ve heard so far, it looks to be a beautifully innovative fusion of jazz, R&B, pop, and lots of great bits of pieces of other genres. This lead-off single, featuring stellar R&B vocalist Algebra Blessett, is a great demonstration of that dazzling sense of musical experimentation. As stated on Esperanza’s website (and as displayed in the heartfelt music video), this song is a message to African American boys, and is meant to give them hope and a sense of inner strength. However, the song isn’t limited to just one group of people…it features a positive, uplifting message that anyone, of any walk of life, can identify with. It’s a beautiful, joyous piece of music with lots of wonderful moments (I love in particular when a children’s choir comes in during the latter half), and if the rest of Esperanza’s new record is as terrific as this, it’s going to be one wonderful album.

More great music is to come in the next month or two. Stay tuned, and thanks for reading!

Song of the Day: “Love Is You”

What’s today? Well, first off, it’s Arizona’s centennial birthday…my home state is 100 years young today! OK, and it’s also a little-known holiday a few people celebrate or something…Valentines’ Day, I think they call it? There’s a link to a lovely Arizona video at the bottom of this post (unfortunately, embedding is disabled), but for today’s Song of the Day (for once, it’s actually posted before the evening! sort of), I’ll focus on Valentines’ Day and post a beautiful song for the occasion…

“Love Is You” by Chrisette Michele!

I first came across this song about 3 or 4 years ago (another song by Chrisette, “Your Joy,” was a free single on iTunes), and it’s become one of my absolute favorites. With just a piano and some elegant strings, Chrisette delivers a heartfelt, tender message that’s perfect not just for Valentines’ Day, but really any day. It’s absolutely gorgeous.

And as promised, here’s a tribute to the beauty of Arizona (the song is a bit cheesy, but it’s heartfelt, and the pictures are stunning)…happy birthday, my beloved Grand Canyon State! (Just click on the link.)

http://www.youtube.com/watch?v=j7xedmvJTzk

Thanks for reading, and have a great Valentines’ Day/centennial!

Artist Spotlight: Sia

Hello again. It’s been a bit, hasn’t it? (As usual.) Looking over my past posts, I didn’t realize that I hadn’t done an Artist Spotlight for a while…in fact, the last spotlight post I made was back in October, during Anniversary Week, with the candlestick…ahem, I mean, about the astoundingly talented Laura Marling. The time is ripe for the first Artist Spotlight in 2012, so here it is, by way of Australia…

Sia!

Sia (whose full name is Sia Furler) is definitely a special kind of artist. She started off her career doing mostly singer-songwriter-oriented music, but has since dipped her toes in pop and dance music as well. And her voice…wow. It’s such an expressive, unique, singular instrument. I know it’s a bit of a cliche to say “you’ve never heard anything like it,” but really, with Sia it just might be true.

I first came in contact with her music in 2008, around the time her third studio album, “Some People Have Real Problems,” came out. I’m not sure exactly how I discovered that particular album, but I took a few listens to it and now here we are. I also have a few cuts from her previous studio album, “Colour The Small One,” on my iPod. The first, “Breathe Me,” may sound familiar, as it was used in the series finale of “Six Feet Under,” and has also popped up in commercials here and there. The second, “Don’t Bring Me Down,” is a hauntingly fragile song backed by lush strings. (I can’t find a way to embed the album version here on the blog, but you can check it out here.) Notice how Sia’s voice sounds in these songs…it’s a bit of a different vocal approach than the one she would use in her later music.

Of course, it was her next album that started it all for me, as I mentioned above. She really lets her voice free in these songs, it seems like, and the songs themselves are beautifully written. Take a listen to three standouts, the heartbreaking “You Have Been Loved,” clever kiss-off “The Girl You Lost To Cocaine,” and tender “Day Too Soon” (which is a song I’d either love to sing or have played at my wedding someday…the lyrics are perfect):

And here’s one more track from that album (I had to keep myself from sharing more…), complete with music video. It was free on iTunes one week, and I of course jumped on that offer. It was a song I hadn’t heard before I watched the video…and I was blown away, both musically and visually. It’s terrific:

Her latest album, “We Are Born,” came out in 2010, and it was an interesting shift in direction for Sia. It’s a collection of, essentially, dance pop…but done brilliantly as only Sia can. If I had my way, I’d share the whole album, but as usual I’ll keep myself to a few of my favorites…firecracker album opener “The Fight,” the disco-themed “You’ve Changed,” the peppy “Bring Night,” and the stark, beautiful “I’m In Here,” which harks back to Sia’s earlier work:

OK, so I may have embedded enough media here to paper my wall (if walls could be papered by streaming med…y’know, I’m just going to quit while I’m behind), but I have a few more songs to share with you before we go. (It’s really hard choosing my favorites with Sia, as is the case with pretty much any of my favorite artists. Just be glad I’m not dumping a bunch of clips on you and calling it a day. Anyways, Sia’s music isn’t just limited to her albums…her voice has also cropped up over the years on various soundtracks and cover projects. Notably, she contributed a gorgeous number to the “Eclipse” soundtrack (yep, she sang in a “Twilight” movie…), called “My Love.” She also did a terrific cover of Radiohead’s classic “Paranoid Android” on a Radiohead tribute album. And, oh, she’s collaborated with two people you just might have heard of lately…French producer David Guetta and rapper Flo Rida (yes, that fool behind “Low” and “Right Round”), on “Titanium” and “Wild Ones” respectively. To say she elevates both tracks to new heights would be a huge understatement. Hear all of those great Sia appearances here (like I wouldn’t embed them after all that):

And now I shall escape before I end up embedding any more songs. At least you have a lot of music to dive into. I’ll be back in a bit with a new Song of the Day, and later on with some more posts. (Famous last words? ) Thanks, as always, for reading and listening!

Front Row Seat: Janelle & Ellie At The Nobel Peace Prize Concert

Hey, remember that new feature I teased about in my last post? The one involving live performances? ‘Tis here. (And I even came up with a cheesy name for it! It wouldn’t be a Harmony Avenue post without one…) Normally I plan to make this about one particular live performance, but for a few reasons, this post won’t highlight just one video…but five. They’re all from the same night…the 2011 Nobel Peace Prize Concert, which took place back on December 11 in Norway. Two of my favorite artists took the stage, and delivered absolutely outstanding performances: Janelle Monáe and Ellie Goulding. Rather than narrow their songs down to just one or two, I’m going to share them all. Happy New Year.

First off, Ellie did a lovely job with her cover of Elton John’s “Your Song,” enhanced beautifully by the on-stage orchestra. She also gave the best live version of her amazing song “Starry Eyes” that I’ve seen yet…the size of the orchestra and the unique setting really seem to energize her, and she’s absolutely in top form. Here are both of those songs:

Not that I like to compare artists too often, but I think Janelle Monáe did even better with her fiery 3-song set. First, she took on the Jackson 5′s infectious classic, “I Want You Back,” and handled it with aplomb:

Then (or perhaps before…I’m not exactly sure how the program order went, seeing as I, y’know, wasn’t there), she sang a two-song medley featuring a pair of my favorites of hers, “Cold War” and “Tightrope.” To say she brought down the house would be an understatement. I’m pretty sure even some dignitaries in the audience are dancing by the end…

And well, that’s pretty much it. I might tinker with this feature a bit next time it pops up, but for now I’ll just keep it plain and simple. After all, a picture is worth a thousand words (which makes 5 YouTube videos worth…quite a lot of words?). Thanks for reading.

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!

My Favorite Albums of 2011, Part I

The time has come for my last posts of the year, and they’re two posts I’ve been excited for a while to make. This year I’ve curated a list of my 19 favorite albums (yep, I know I said 15 earlier, but the times, they are a-changin’) of 2011, plus a few fine EPs I’ve loved the past 12 months as well. Because of the large number, I’ll be splitting it into two jam-packed posts. First off, a ground rule I set for myself: Each album on this list is one that I’ve listened to in its entirety at least once (and in pretty much every case, much more than once). This means that a few outstanding records regrettably got left off my list, because I haven’t been able to hear them completely (money and time issues are to blame). I’d like to highlight “American Road” by The Tierney Sutton Band, “The Gate” by Kurt Elling, “Helplessness Blues” by Fleet Foxes, and “Barton Hollow” by The Civil Wars as four albums that would be on this list had I the resources to have listened to them in depth by year’s end. (Hey, as you can see below and in the next post, I had a whopping 19 other albums to keep me occupied, along with tons and tons of other partial albums and individual songs to keep me company on iTunes.) Now, on to the first 9 entries in my favorite albums of 2011 list. Note that they are NOT ranked…choosing between music I love is pretty dang impossible for me, so there’s no way I would have been able to arrange these albums in any satisfactory way. The order isn’t exactly random, but where an album falls on the list means very little, aside from the fact that, y’know, I love it.

Vanessa Carlton — Rabbits on the Run

While many know Vanessa Carlton only as the girl who sang “A Thousand Miles,” I’ve loved her for a while for much more than that…I regard her sophomore album, “Harmonium,” as criminally underrated, and her somewhat experimental third album, “Heroes & Thieves,” as pretty nice as well. However, with “Rabbits on the Run,” Vanessa has unequivocally crafted her finest recording yet. Listening to the album, it feels like she’s finally found the artist she’s always wanted to be, giving us a collection of uniformly terrific, honest, engaging songs that never feel anything but genuine. “Rabbits on the Run” is the rare album in today’s world recorded on tape, and that production choice lends it a unique, intimate quality that enhances Vanessa’s voice and songwriting beautifully. The addition of a children’s choir on a few tracks is a perfect touch, as well. It’s a real treat from beginning to end, full of warmth, depth, and spirit, and it’s terrific to see that after years of wandering, Vanessa Carlton has finally discovered her musical home.

Peter Gabriel — New Blood

It’s hard to follow an album as ambitious as “Scratch My Back” (AKA a covers album of songs largely from this decade, performed only with a full-scale orchestra, sans drums), but with “New Blood,” Peter Gabriel has done more than just follow his previous work…he’s expanded on it. Using his own catalog this time instead of the work of others, Peter brings a new, stunning dimension to the songs of his past, creating timeless recordings that create a gorgeous new world for the listener. The arrangements, once again by master musician John Metcalfe (with some assistance by Gabriel himself), are superb and breathtaking. Guest artists Ane Brun (a sublimely haunting vocalist who sings in lieu of Kate Bush on “Don’t Give Up”) and Peter’s own daughter, Melanie (who sings a lovely duet with him on “Downside Up”) add immensely to the proceedings, providing background vocals throughout. “New Blood” is a tour-de-force recording that gets better and more rich with each and every listen.

Ellie Goulding — Lights (US release)

I’m kind of cheating with this album, because although it was released in the United States this year, I was already familiar with it before 2010 had ended. (It was released in the UK in March 2010, a full year before it bowed in America.) But I had to find a way to highlight this album somehow, so I’m exploiting the technicality for all it’s worth. With “Lights,” Ellie has created something altogether fresh and new, something that’s increasingly hard to do in the music world today. It’s hard to describe her music…the “folktronica” and indie pop labels would both fit here, but even then, they don’t even scratch the surface. Ellie’s voice is pure and beautifully fragile in the best ways, and her music is full of life. The songs on “Lights” are often ones you can dance to, but they have tons of emotional weight as well. Ellie Goulding has created a thoroughly engrossing debut album with a beat, but also with a beating heart.

Coldplay — Mylo Xyloto

Thanks to their huge level of success, Coldplay has become arguably one of the pop/rock world’s most polarizing bands. They have their legions of fans, but in a big way, it’s become ‘cool’ to hate them. By all accounts, this album should prove each and every one of those haters wrong. It’s in many ways a departure from their previous recordings (even the sonically expansive “Viva la Vida or Death and All His Friends”), and as a result, it feels like a new Coldplay in a few respects…but at the same time, the same group we’ve known and loved for years on end. It’s been billed by the band as sort of a concept album, and while the story isn’t always clear while listening, there’s an underlying, intangible narrative that shines brightly throughout. The songwriting is impeccable, the band is fully engaged, and while the music is often calm and serene, it’s anything but sleepy or lazy. It’s an album that takes a listen or two to start fully revealing its many treasures, but it’s also an album that’s more than worth the wait.

Laura Marling — A Creature I Don’t Know

Laura Marling could all too easily be an artist defined by novelty. She’s only 21 (a year older than I am, which never fails to boggle my mind), and already she’s won quite a few accolades, seemingly endless critical praise, and a huge amount of fan respect. Her music is outstanding, but what’s more, it goes beyond her age. Listening to “A Creature I Don’t Know,” you don’t think of Laura as a 21-year-old wunderkind…you think of her as a true musician. Her songs are beautifully mature, fearlessly witty, and bracingly introspective, and thought-provoking to boot. Her voice is wonderfully evocative, a rich instrument that paints thousands of pictures with just one note. With “A Creature I Don’t Know,” Laura has created a work of living, breathing art, one that just keeps giving and giving.

Sachal Vasandani — Hi-Fly

When most people think of jazz albums, “innovation” probably isn’t the first word that comes to mind. However, innovation is the key to great jazz music, and it’s a quality that rising star Sachal Vasandani displays in spades. He and his band (along with veteran musician John Clayton, who serves as producer on the album) come up with new takes on songs (and equally terrific original compositions) that are forward-thinking, engaging feats of reinvention. However, they don’t forget to include just as much emotional resonance. These songs hit home in the most powerful ways…whether they be in the form of a gorgeous cover of the late Amy Winehouse’s “Love Is A Losing Game,” or a rollicking duet on the classic song “One Mint Julep” with vocalese legend Jon Hendricks, or a heartstopping remembrance of the recent Japan tsunami with “Flood.” It’s music to think about, music to celebrate, and most of all, music that truly moves.

Brandi Carlile — Live at Benaroya Hall with the Seattle Symphony

Usually, live albums are a nice complement to an artist’s body of work, and in some cases can be quite good, but most of the time they usually don’t stand out on their own as something truly remarkable. Brandi Carlile’s live recording with the Seattle Symphony is, without question, an exception to that rule. Performing a great selection of her own material (along with a few great covers) with, as the title states, a symphony, her energy practically leaps off the headphones, speakers, or whatever you’re using to listen to the album. She’s full of fire (her voice sounds just as soaring out of the studio setting, if not more so) and brings a perfect balance of charm and mischievousness to the table. The orchestra adds a beautiful dimension to her already amazing songs, and with some of her onstage banter included as well, you’ll feel like you’re right there in the concert hall. Despite the fact that it’s a largely unadorned live recording, “Live at Benaroya Hall” stands as one of Brandi Carlile’s best albums.

Foster the People — Torches

They may be famous for the sneakily ubiquitous crossover hit “Pumped Up Kicks,” but on this album, Foster the People prove they’re no one-trick pony. “Torches” is a collection of pure pop gold, featuring track after track of endlessly infectious, insanely well-crafted music that’s the kind you want to get stuck in your head. It’s electronically driven, but it never feels pretentious or inauthentic, yet at the same it’s strikingly modern and inventive. Pumped-up kicks may be their calling card, but with “Torches,” Foster the People prove that effervescent, intoxicating songs with complexity and depth are most certainly their forte.

Adele — 21

Adele, seemingly out of nowhere, has become the artist that unites, that speaks, that touches. It’s harder to find someone who doesn’t like her music than someone who does, and the impact of her songs is widespread. (This is probably the first time in recent memory that pretty much every member of my family agrees on an album, for starters.) “21″ captures that universal quality. Sure, it has the now-megahits “Rolling In The Deep” and “Someone Like You.” Sure, it’s full of heartache, acceptance, regret, pain, tension, release. But what’s more, this album truly has something for everyone, something hidden carefully in its notes and melodies and lyrics and instrumentation that speaks to all, while at the same time never selling out, never cheapening its storytelling, its musicality, its utter brilliance. What Adele does with “21,” just as she so perfectly did with “19,” is achieve a perfect marriage between singer and song. She is the music, and that deep connection translates beautifully to the listener. She achieves the seemingly impossible…creating music for the masses that feels as personal as if she was singing straight to you.

Part II to come tomorrow, on New Year’s Eve. Thanks for reading! Feel free to comment, discuss, disagree, agree, and more below.

My Best Songs of 2011

Alas, it’s the end of the year. The time when many “best of” lists are posted. Just like last year, I have utilized my handy dandy iTunes play count (and numerous Top 40/Top 100/Top 200-style auto-playlists) to formulate a list of songs I’ve downloaded this year that I’ve listened to constantly. To add to the fun, just for kicks I searched out the songs from 2010 in my Top 200 Most Played that didn’t make it onto last year’s Best Songs. They’re included in their own list below. As I noted last year, a few of these weren’t released this year…I just caught on to them within 2011. (In fact, this is true of more than a few entries on this list…this year I went old-school. Comparatively, anyhow.) Here they are…my top 23 songs of the year.

1. No Cars Go — Arcade Fire (#7, 45 plays, added Apr. 15)
2. How Come You Never Go There — Feist (#12, 42 plays, added Oct. 3) (check out my Song of the Day post on it here)
3. Never Leave Your Heart Alone — Butterfly Boucher (#13, 41 plays, added Feb. 10) (also a past Song of the Day, found here)
4. Cold War — Janelle Monáe (#19, 40 plays, added Apr. 25)
5. Tú y Yo — Ximena Sariñana (#22, 39 plays, added Jan. 5) (yet another Song of the Day alum, its post is here)
6. New York — Paloma Faith (#43, 35 plays, added Mar. 11)
7. Crown of Love — Arcade Fire (#50, 33 plays, added Apr. 15)
8. Queen of Hearts — Company of Thieves (#62, 32 plays, added May 17)
9. Rebellion (Lies) — Arcade Fire (#83, 29 plays, added Apr. 15)
10. Hoppípolla – Sigur Rós (#89, 29 plays, added Jul. 3) (these Songs of the Day are popping up like daisies on this list…find it here)
11. Every Teardrop Is A Waterfall — Coldplay (#92, 28 plays, added Jun. 3)
12. Sophia — Laura Marling (#99, 28 plays, added Jul. 25)
13. Stone Cold Sober — Paloma Faith (#102, 28 plays, added Jan. 2)
14. Lippy Kids — Elbow (#110, 27 plays, added Mar. 11)
15. Shake It Out — Florence + The Machine (#112, 27 plays, added Oct. 17)
16. Young Love — Mystery Jets feat. Laura Marling (#122, 26 plays, added Aug. 21)
17. Someone Like You — Adele (#124, 25 plays, added Feb. 20)
18. Mixtape (with the BBC Heritage Orchestra) (Live) — Jamie Cullum (#132, 25 plays, added May 16)
19. Rollerblades — Eliza Doolittle (#151, 23 plays, added Jan. 6)
20. Tallulah — Company of Thieves (#173, 21 plays, added May 17)
21. Love Is A Losing Game — Sachal Vasandani (#182, 21 plays, added Jun. 20)
22. Avenue — Agnes Obel (#187, 20 plays, added Sep. 28)
23. Cry Baby — Cee-Lo Green (#190, 20 plays, added Aug. 10) (subject of a Music Video of the Day earlier this year…watch it here)

An interesting note before I dive into the songs from last year that got left out of the 2010 list because they were late bloomers…”Mixtape,” a song that was no. 30 on last year’s post, found its way onto the “best of” list yet again in 2011, this time via an amazing live version he did with the BBC Heritage Orchestra during a BBC Proms performance. (I posted the video in my Artist Spotlight on him earlier this year.)

Now, the songs I downloaded in 2010 that grew on me enough this year to now be part of my Top 200 Most Played playlist on iTunes. There’s one group you may notice makes a strong showing…more on that in a minute.

1. Bulldozer — Bess Rogers (#17, 40 plays, added 12/29/10) (Song of the Day post here)
2. Deep Blue — Arcade Fire (#28, 37 plays, added 9/6/10)
3. Rolling In The Deep — Adele (#35, 35 plays, added 12/4/10) (yep, I had it a YEAR ago…)
4. We Used To Wait — Arcade Fire (#59, 32 plays, added 8/31/10)
5. Under The Sheets — Ellie Goulding (#63, 32 plays, added 12/16/10)
6. The Suburbs — Arcade Fire (#91, 28 plays, added 8/20/10)
7. Niño Hojas — Natalia LaFourcade (#101, 28 plays, added 12/4/10)
8. Wake Up — Arcade Fire (#125, 25 plays, added 10/28/10)
9. Kaleidoscope Heart — Sara Bareilles (#142, 24 plays, added 9/6/10)
10. Bluebird — Sara Bareilles (#143, 24 plays, added 9/6/10)
11. Guns and Horses — Ellie Goulding (#152, 23 plays, added 12/16/10)
12. Pocket Philosopher — Mandy Moore (#155, 23 plays, added 8/31/10)
13. Ready To Start — Arcade Fire (#159, 22 plays, added 9/6/10)
14. Scared of the Dark — Courtney Cotter (#160, 22 plays, added 6/27/10)
15. Every Time You Go — Ellie Goulding (#161, 22 plays, added 12/16/10)
16. I’m Not Calling You A Liar — Florence + The Machine (#162, 22 plays, added 10/14/10)
17. Swimming — Florence + The Machine (#175, 21 plays, added 10/14/10)
18. Machine Gun — Sara Bareilles (#183, 21 plays, added 9/6/10)
19. Big Jumps — Emiliana Torrini (#196, 20 plays, added 7/19/10)

Could you spot which group I fell madly in love with this year? Perhaps this post back in April might help you out. Yep, 2011 was the Year of Arcade Fire for me. I had gotten their album “The Suburbs” back in the summer of 2010, and loved it, but didn’t pay too much attention to it (evidence: the fact that not a single Arcade Fire song made it onto last year’s Best of list)…that all changed when I went on impulse to see them in concert earlier this year, and afterwards I immediately bought every single one of their songs that I didn’t already own.  I’ve listened to them a heck of a lot since April, and it shows on my most played songs, for sure. Eight songs from the two lists above are by Arcade Fire. Other artists that make multiple appearances: on the 2011 list, Paloma Faith, Company of Thieves, and Laura Marling each have 2 (Laura’s second is as a featured artist); on the list with leftovers from last year, Ellie Goulding and Sara Bareilles appear 3 times, and Florence + The Machine appears twice (in addition to an appearance on the 2011 list). All in all, it’s been a fantastic past two years of music.

My end-of-2011 posting isn’t done yet. Stay tuned for not one, but TWO separate posts highlighting my favorite albums of 2011. (And I picked them all by myself. Take THAT, iTunes!) You’ll find some big tickets, but also some hidden gems, and a few unexpected choices. At least one post will be on its way tomorrow, hopefully two. (If not, Part II will go up New Year’s Eve at the latest.) I’m excited to share my album picks with you, and for now, thanks for stopping by, and see you again soon.