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 Sampler of the Day: “Comme des enfants,” “Death By Perfection,” & “Reset”

So I have less than a month, officially, until I’m due to leave on my mission and depart for the Missionary Training Center in Provo, Utah. Crazy, I know. But that means I have 29 days (according to the handy little countdown widget on your right) to keep the Harmony Avenue party going, and I have tons of artists & songs I still want to share. My solution (for now, at least)? I’m going to experiment with some ways to expand my posting repertoire, while still sticking to the (hopefully) simple ways I’ve done things on this blog since the beginning. (P.S.: Helpful feedback on what’s working and what’s not is always appreciated. A blogger can’t do it all on his own. ) And thus, I introduce to you…the Song Sampler of the Day! It’s the Song of the Day we all know and love, but thrice as nice at the same price! The first song in this trio of musical delight? A tune in French called…

“Comme des enfants” by Coeur de Pirate!

Coeur de Pirate is the stage name for young French-Canadian singer/songwriter Béatrice Martin. (“Coeur de Pirate is French for “pirate heart.”) I first heard another song of hers on our Pandora station at work, and I had been meaning to check her music out further, but before I did, I saw her name pop up again, this time while perusing Musicnotes, one of my favorite sheet music sites. This song was on the front page, so I took a listen to the audio sample of the sheet music, was intrigued, listened to the 90-second clip on iTunes…and boy, was I hooked. Such a beautiful song, and the kind that’s appealing and lovely regardless what language you speak. (I’m personally not the best at French, and I’m much less familiar with it than I am with, say, Spanish, though I do kind of admire it from afar. And we’re singing a song in French, from the opera “Carmen,” for the East Valley Mormon Choral Organization’s upcoming concert. It’ll be very fun.) Light and airy, yet haunting and riveting, this song is, as English-speaking people say in a clichéd fashion, thinking they’re all French…très magnifique.

Next, take a gander (with your…ears?) at…

“Death by Perfection” by Maia Sharp!

I actually don’t have a way to embed the studio version here. But you can listen to it rather easily thanks to NPR, by clicking on this link. The link also features a little story about the song (funnily enough, it was actually their Song of the Day…connections!), which is really insightful. Anyways, before I talk about that a tiny bit, Maia is an unbelievably talented songwriter and performer who has helped write songs for the likes of the Dixie Chicks, Bonnie Raitt, and according to the little NPR article, even Cher. The Dixie Chicks song, “A Home,” was co-written with her dad Randy Sharp, and was one of the standouts (for me, at least) from the Chicks’ stunning album “Home.” One of the songs she contributed to Bonnie Raitt’s last album, “Souls Alike,” is one of my all-time favorites…a stark, heartbreaking tune called “The Bed I Made.” She’s a gifted composer, but also a vibrant and dynamic performer. David Browne of NPR (who penned the article I linked to) states the essence of this song’s appeal best, I think: “A subtly ingratiating song, it makes its point with grace and nuance — in other words, a protest song for adults.” I just love the lyrics…Maia is skilled at putting things in unique ways, yet making them intensely relatable, and she’s also terrific at creating just the right musical setting for her lyrics. Plus, this song features a fine guest appearance by none other than Bonnie Raitt herself.

The last song in today’s trio? A breathtaking song that I have a favorite artist of mine to thank for introducing me to (more on that in a moment)…

“Reset” by Lucie Silvas!

Lucie Silvas is, from what I understand, a British singer-songwriter. This is the only song of hers I’ve heard. (I’ll soon have to remedy that.) I found about it via Jamie Cullum, one of my musical idols, and one who’s been previously featured on this blog. His brother, Ben Cullum, is a songwriter who’s co-written for Jamie and for other artists, and he made the following tweet about a song his brother had worked on:

@bencullummusic wrote a gorgeous song with @luciesilvas. It's going to be on One tree hill 2nite in the US. Listen here bit.ly/zcyYlC—
  (@jamiecullum) March 14, 2012

I saw it by chance while checking out his website for possible news about his upcoming new album (JAMIE JUST GIVE IT TO US PLEASE), and I went to listen to the song…sweet mama, is it good. It’s sweeping, and emotional, yet beautifully confessional and honest. (It also increases my desire/dream to someday co-write with Ben Cullum. He is terrific.) You’ll be hitting the play button quite often on this one.

There you have it! Harmony Avenue’s first Song Sampler of the Day. I have no idea how often I’ll be utilizing this combo format for Song of the Day posts, but it was worth an initial try at any rate. Thanks for reading, and I’ll be sure to make this final month of posting an exciting one!

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!

Cover Stories: Bob Dylan

It’s time to revive a feature I haven’t done in a while…in fact, besides the Christmas-themed edition a few months ago, there’s only been one Cover Stories post in this blog’s history (on a few terrific covers of Bonnie Raitt’s heartbreaking classic “I Can’t Make You Love Me”). This post is a little different from that one (and may indicate a shift in direction regarding this feature in general, but we’ll see), in that it focuses on an artist, rather than a song. Which artist? Oh, just a little-known singer/songwriter. You probably haven’t heard of him. His name is Bob Dylan.

Despite Dylan being probably one of the most legendary musicians of all time, I have to admit I’ve never quite taken to his music…or at least, his original versions…at first listen. However, thanks to the numerous times his songs have been covered, I’ve really come to appreciate his songcraft…the man is an absolutely brilliant songwriter. And through those covers, I’ve been able to appreciate Bob Dylan a lot more. For all those who decry covers, they can really do wonders in helping build a bridge from the old to the new. I’m sure I would have come to my senses sooner or later regarding Dylan’s incredible body of work (which I know I’ve only scratched the surface of) regardless, but hearing other artists’ stellar takes on his songs certainly helped speed up the process.

Two of the first Dylan covers I ended up falling in love with were songs that on initial listen, I wasn’t aware were covers in the first place: Adele’s passionate “Make You Feel My Love,” and Madeleine Peyroux’s gorgeous, nuanced reading of “You’re Gonna Make Me Lonesome When You Go.” I discovered pretty quickly that these two recordings weren’t Adele or Madeleine originals but rather tributes to Bob Dylan, but when I first came across them, I wasn’t aware of their origin, being the young, less experienced music listener I was then. Both these covers do a beautiful job of honoring the source material while putting their own stamp on the song…Adele imbues “Make You Feel My Love” with her now-trademark raw vocal power, but keeps the proceedings bracingly intimate, backed by little more than a piano and a string ensemble. It’s a beautifully emotional performance. You’ve likely heard Adele’s studio recording of the song by now (and if you haven’t, you’ve possibly been living under the largest of rocks, and should remedy that immediately), so here’s the music video of the song, a departure from traditional song video clips in that it consists of Adele actually singing the song live, rather than lip-syncing to the recording. (The effect is quite powerful.)

Meanwhile, Madeleine Peyroux (a fine jazz-fueled vocalist whose work has taken a very nice singer/songwriter-oriented turn as of late) brings things down even more with her version of “You’re Gonna Make Me Lonesome When You Go.” Her phrasing is captivating here, and the result is a song that rides the balance between heartbreak and acceptance wonderfully. It’s a bit slower than Dylan’s original, but that brings out some of the nuances in the song in the best ways.

Another Bob Dylan cover I heard around that time was a version of “Lay Lady Lay” by Norwegian musician Magnet and Irish singer/songwriter Gemma Hayes, that ended up appearing on the soundtrack to “Mr. and Mrs. Smith.” I hadn’t heard this cover in a few years, before I listened to it once again just now prior to embedding it in this post, but I still really enjoy it. The vocals are very fragile and almost nonchalant in a way, but the track as a whole creates an intoxicating atmosphere that really plays to the song’s strengths, I think.

Jazz vocalist Kate McGarry, an innovative and engaging interpreter, covered “The Times They Are A-Changin’” on her 2008 album “If Less Is More…Then Nothing Is Everything.” (I finally got around to putting the song in my iTunes library a day or two ago. No idea why it took that long, to be honest.) Her percussive, almost frenzied take on the song brings out its urgency (and for me, highlights just how applicable it can be to today’s cultural climate, despite the fact that Bob Dylan wrote it for another era of change altogether) wonderfully. I couldn’t find a way to embed the studio version, but here’s a stellar live performance of the song by Kate and her trio. It’s first up in a 3-song set here:

Finally, there’s a recent charity project that has added many fine Dylan covers to the musical landscape: Amnesty International’s 50th anniversary compilation, “Chimes of Freedom,” featuring a large host of artists singing songs from Bob Dylan’s sizable catalog, and in many cases paying tribute to an undeniable influence. Much like Amnesty International’s last high-profile tribute collection, “Instant Karma” (which took on the songs of John Lennon), there’s quite a few unexpected gems to be found here…particularly in the case of two much-maligned pop-artists.

Ke$ha is one of my least favorite artists by a long shot, and she’s the last person I would expect to do well with a Bob Dylan cover…and that’s why her version of “Don’t Think Twice, It’s All Right” shocked me so much. It’s heartstoppingly raw, and hearing the usually AutoTuned-to-death Ke$ha in such a naked, stark setting certainly catches you off-guard. (Reportedly, the vocal was recorded on Ke$ha’s laptop without any professional recording equipment, in a demo-type setting, and rather than re-recording it, they ended up using that first take, feeling it was more powerful that way. You can even hear her crying in some parts.) Singing a cappella for a good chunk of the song, and accompanied only by soft, almost ominous strings for the balance of it, Ke$ha has quite honestly never sounded better. In this cover, she relies on the undertone of sadness and heartbreak inherent in the song (something that Dylan’s original only touched on), and the result is almost spine-tingling. It’s a cover that certainly has the potential to be polarizing, but I for one was thoroughly impressed. The imperfections, the flaws, the unpolished nature of it only make the song better, I think, rather than worse. If only Ke$ha would stick to this kind of music. (Unfortunately, with how well she’s doing currently, I doubt she will…it’s sad what it takes to be a successful female pop artist nowadays.)

The other cover that surprised me? Another take on “You’re Gonna Make Me Lonesome When You Go,” by none other than Miley Cyrus. Her vocals have never struck me as particularly strong in the past, but as demonstrated on this song, she really shines in an acoustic setting. The studio recording is very nice, but really caught my ear was her performance of the song on “Ellen,” accompanied by only a guitar. I’ve never seen her actually dig deep into the meaning of a song as much as she does here, and it’s a wonderfully refreshing change of pace. She acquits herself exceptionally well, and much like Ke$ha, it would be much better for her artistically to stay in this setting (and also much like Ke$ha, she likely won’t).

Three other standouts from the album? Ximena Sariñana’s subtly haunting but beautifully uplifting version of “I Want You” (I love how she really brings out the longing in the song), Diana Krall’s spare, piano-driven take on “Simple Twist of Fate,” and Oren Lavie’s deliciously atmospheric reading of “4th Time Around.” I hadn’t heard of any of these songs before these 3 fine artists took them on, but now I’m quite curious to hear Dylan’s originals. (See how covers do good?) Hear them all for yourself here, then be sure to check out the rest of the compilation on your favorite musical outlet, and support Amnesty International while you’re doing so…it’s a great organization. (Note: I could only find a truncated version of Oren’s cover to embed. However, it’s a great way to get acquainted with his cover, and if you want the whole thing, then you can go buy it…a course of action which I highly recommend.)

Whew, that’s a lot of Bob Dylan covers (and that’s not even the smallest part of the tip of the iceberg). I’m sure there’s quite a few more great ones out there. If you have any recommendations, feel free to share in the comments. Thanks for reading and listening!

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!

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 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.

Holiday Song of the Day: “I Believe In Santa Claus”

It’s Christmas Eve night, so for once, I’ll keep it short and to the point. Here’s an absolutely beautiful song by Courtney Cotter, a talented singer-songwriter from the Mesa area (who I know from high school). I highly recommend you pay special attention to the lyrics  of the song…it’s a very profound message, and one that helps me, at least, really feel the true spirit of Christmas. So here’s tonight’s Holiday Song of the Day…

“I Believe In Santa Claus” by Courtney Cotter!

A Merry Christmas to all of you wonderful readers, whoever you may be. Thank you for visiting, and stay tuned for some fun end-of-year festivities to come.

Song of the Day: “Robots”

Alas, aside from the last lingering remnants of my “Sing-Off” recaps, I haven’t posted much else lately. Here’s a Song of the Day to whet your whistle (and for those of you who feel a bit oversaturated with holiday tunes, it’s a normal one this time around), and coming hopefully today or tomorrow, I’ll be making a Sketches post highlighting my all-time favorite Christmas albums. (This post will serve as a replacement for the round of holiday album reviews I had planned.) But for now, let me share with you…

“Robots” by Dan Mangan!

I was introduced to this song thanks to a coworker’s iPod that was playing at work. (This is the great place where I work, btw.) It’s a fairly enigmatic tune, but still incredibly emotionally resonant nonetheless. According to a comment on this song’s entry on my favorite lyrics site, SongMeanings, Dan once said in an interview that this song was inspired by having to live without a broken cell phone for a few days. Not sure if this is completely accurate, but it does make sense, and whatever this song was written about, it’s a gorgeous ride nonetheless. I especially love the last part, where the lines “Robots need love too/They want to be loved by you…” are repeated quite a few times, with a chorus joining in with Dan to sing the song out. It’s a beautiful mix of melancholy and celebration.

See you soon with more posts, both Christmas-themed and otherwise. Thanks for reading!

My Music: “Look No Further”

So I just watched “The Sing-Off” finale, and it was indeed a treat. But before I get to my recap (which I shall commence writing right after I post this), here’s a new cover I recorded just today. It’s a stark, low-key ballad from British singer/songwriter Dido, who’s probably best known for the song “White Flag,” which was so big a hit it’s still playing on most adult-contemporary radio stations to this day. (Funny story about that song: For about 2 years I kept hearing it and loving it, but it being before the widespread advent of lyrics sites, and also due to the fact that I couldn’t quite understand the chorus whenever it came on the radio, it was a long time before I finally discovered what it was called.) This song is off her most recent album, “Safe Trip Home” (highly recommended), and its name is “Look No Further.” It’s admittedly a bit in my lower range for the most part, but it’s such a beautiful (and simple) song that I couldn’t resist singing it. Hope it strikes your fancy…and stay tuned for a “Sing-Off” recap coming later tonight. Thanks, as always, for checking my blog out.