First off, is anyone still paying attention? Sorry for the delays for those of you that are… Alright, so I know what you are thinking, and YES, I promise to finish this damn countdown. This past week was my first week of nursing school, and as a result, I have been crazy busy. However, that isn’t an excuse, it’s just what’s been going on, so without further excuse, let’s get the rest of this countdown done; I mean, it’s already 2010 for crying out loud, and I haven’t even told you about the best music of 2009!!
11: William Fitzsimmons – The Sparrow and The Crow
William Fitzsimmons falls into a category of artists that I have randomly discovered by beard; that is, I saw a picture of the artist (who has a beard), and thought to myself, “hmm… I must check this guy out” (because, well, I love a guy with a beard). Well, as with many other artists I have discovered by the way of the beard, I am glad that I did check William’s music out, because it is incredible. Much like fellow album favorite list member, Hayden, William is an amazing folk musician. William is decidedly more delicate and more quiet and relaxed than most of his folk peers, but the result is an album filled to the brim with delicate and intricately crafted songs about love, longing, and loss; all of which completely captured my ears and my heart. He also does incredibly right by pairing his beautiful voice with female vocals on the track I Don’t Feel It Anymore (Song of the Sparrow), making it one of my favorites on the album (William has a habit of pairing with great female vocalists; he paired Rosi Golan on her amazing track Hazy, from her (also amazing) album The Drifter and the Gypsy). Overall, if I could describe this album with three words, they would be tender, heartfelt, and beautiful. William may have drawn my attention initially with his looks and his beard, but he captured my heart with his beautiful music. This album is a collection of truly perfect folk songs; songs that are delightful, and peacefully wonderful to listen to. Standout Tracks: Please Forgive Me (Song of the Crow), Maybe Be Alright, I Don’t Feel It Anymore (Song of the Sparrow), Even Now, Further From You, Just Not Each Other.
12: Bat For Lashes – Two Suns
Definitely one of the more “out there” choices on my favorites list this year, Bat For Lashes certainly backs up her status as an alternative artist. She does her best to throw out anything formulaic and embraces the strange and unusual (to quote Lydia Deetz) in her music; making for a truly mystical and amazing aural experience with Two Suns. The album itself harnesses the haunting and achingly beautiful vocals of Natasha Khan (aka, Bat for Lashes), and transports you to musical landscape filled with undulating rhythms and fanciful tales of fantasy and adventure. While I will openly admit that I didn’t “get” Bat For Lashes the first time around with her debut album, when Two Suns came out, the lead single Daniel (which shares both name and imagery with the character of the same name, who simply needed to learn how to “sweep the leg”) captured my attention completely, and I instantly wanted to hear more of this amazing siren. Well, I gave Two Suns my undivided attention, and it washed over me and enveloped me with it’s beauty and grace. I was lucky enough to catch Bat For Lashes live back in August, and my love for all things Natasha Khan only intensified upon seeing her live show. This woman is amazing, and her vocals are nothing short of impressive; and with the quirky music to back it up, it’s no wonder that Two Suns finds itself on a myriad of best of lists for 2009. I love great surprises, and this album was filled to the brim with just that; musical surprises full of wonder and amazement. Standout Tracks: Moon and Moon, Siren Song, The Big Sleep, Travelling Woman, Daniel.
13: Elizabeth and the Catapult – Taller Children
Finding this album was one of those incredibly rare times when you stumble so blindly on something so beautiful, well made, and down right amazing, that you almost can’t believe that you found it the way you did. Specifically, it was the beautiful album art that drew my attention, but after one listen, it was the music behind that cover that really blew me away. To say that I wasn’t prepared for what Taller Children held upon my first listen is a major understatement. Elizabeth and the Catapult have mastered the realm of pop music that is perhaps my most favorite (the piano-driven singer-songwriter side), and in making this album, have given me a new group to seek out and cling to each thing that they offer from this moment on. From delicate, and expertly crafted perfection of songs like Apathy, to incredibly delightful upbeat melodies and downright dancehall fun of songs like Complimentary Me and Race You, Taller Children is a journey through what I consider to be the best thing about music. The album is a delightful listen from beginning to end, and nary a misstep occurs from the moment they begin. What’s also great about this fantastic record, is that it actually picks up steam, and manages to get better on through till the end. This album was a massive find in 2009, and one that I won’t be putting away any time soon. In fact, one of my biggest regrets of 2009 was missing their concert; I hope that I can remedy this misstep in 2010. Standout Tracks: Apathy, Just In Time, Rainiest Days of Summer, Golden Ink, Complimentary Me.
14: Hayden – The Place Where We Lived
While I will admit that this album didn’t resonate quite as strongly with me as his previous effort (and top ten favorite of mine from last year), The Place Where We Lived is another fantastic offering from this too often ignored Canadian folk master. While artists like Bright Eyes and Iron and Wine dominate the folk scene here in the US, it’s a major wonder of mine, why Hayden isn’t also heralded for his contribution to the music scene. His aching vocal, and tender, well written vocal journeys, wrapped nicely in a country-twinged folk package are a sheer delight, and could be directly compared to his aforementioned fellow musicians. That being said, I am glad that Hayden released another fabulous album this year, as more exposure is sure to get him the attention he deserves. If you were a fan of his previous work, this album should be a no-brainer for you, but if this is your first go-round, you shouldn’t be disappointed in the least; Hayden is a very talented musician, and this is just more great folk-rock to add to his already impressive musical resume. Standout Tracks: Let It Last, When The Night Came and Took Us, Living Grows On Us, Message From London.
15: Lily Allen – It’s Not Me, It’s You
As much as I loved Lily’s wonderful debut, Alright Still, I had a bit of worry about her follow up the first time I heard the lead single, The Fear. While I really liked it, I felt it was a more electronic, and decidedly more dance-y direction for her to take, and I while I did like it, I was worried Lily may have lost her edge. Well, my fear (ha!) was quickly quelled once I had a proper listen of the whole album, as what I heard was classic Lily, and quite fantastic throughout. The jaded lyrics, sung by her sweet voice, mixed with delightful melodies and arrangements made this a great album I definitely enjoyed through most of 2009. While she certainly took some different directions with this album, and relied on familiar melodies and several of the sounds of the music of yesterday (the intro to Fuck You is practically note for note the Carpenters (They Long To Be) Close To You), I think that she was able to put enough of a fresh spin on each track that she made it her own. Perhaps most of all, I have to applaud the fact that Lily always tells it like it is, and whether she’s condemning a less-than-there lover, or slamming a horrible previous US president, one thing is for sure; she certainly knows her way around a clever lyric, and is no stranger to delivering her delightful brand of vicious wit without batting an eyelash. I will note, that it is practically criminal that she didn’t include the amazing B-side Fag Hag on this album, as it would have clearly been the biggest standout favorite for me. Standout Tracks: He Wasn’t There, Chinese, The Fear, Him, Fuck You.
Using jangly guitars, banging beats, and sounding like a well-made mash-up of Chrissie Hynde and the White Stripes, Band of Skulls take heavy influences from classic rock and completely rock out on this fantastic album. Perhaps it is the pairing of the male and female vocals that really draws me in, because I never got into the White Stripes, as the musical formula is very similar; at least, the distortion effect on their guitars is really close to the one Jack White uses, and they also use heavy drumming to back up the whole shebang. That being said, while they do stick to a similar musical formula as the White Stripes, I think that Band of Skulls have made their own consistently amazing album with Baby Darling Doll Face Honey, as there really isn’t a bad track on it; and when I say, “not a bad track”, I really mean, “they’re all quite brilliant, actually”. After one listen, I went back time and time again to rock out to this fantastic ode to classic rock (as well as clear hat tip to the White Stripes), and I am glad I discovered them through their amazingly catchy lead off single, I Know Where I Am; which is definitely one of their best. Looking back, I am really glad that I went and listened to the whole album, because like the lead single, it too, is down right great. Standout Tracks: 
On her follow up the to the amazing album, The Story, Brandi does right by not deviating from the folk-country rock that she creates oh so well. However, this time around, she ups the ante, and instead of sputtering out after the half-way mark (as I felt her last album kind of did), she stays strong throughout the entire album. On Give Up The Ghost, Brandi’s vocals are more raw and real, and the yodel of her voice is more pronounced and peppered throughout. Overall, this album is a solid one, and Brandi has proven to be quite the talented musician; she is certainly building something more and more beautiful on that foundation she laid with her previous two albums. This time around, she distances herself from those that she could be so directly to in the past (namely, the Indigo Girls); showing growth and attention to a nuanced detail that really signals that she is coming into her own. With this distancing, she highlights her own strength and individuality as an artist, and the result is a wonderful album that should definitely win her many, many new fans; and die hard fans of her previous work should certainly be more than pleased with this direction and growth. Standout Tracks: That Year, Dying Day, 
As a long time fan of Westlife, all I can say, is that if this album doesn’t make you a fan, then you probably never will be. However, for those of us that love beautiful songs about love, I can definitely say that these boys have done it again. Following what was (in my opinion) their best album, Back Home (well, other than their Greatest Hits Vol. 1), I had high hopes for another near-flawless Westlife album. However, worry set in when it was announced that the first single would be a cover of Daughtry’s What About Now (which is the ONLY reason that this album didn’t place higher, and receives four stars from me). While it is a great cover (probably better than the original, which isn’t surprising seeing as the do covers VERY well), their cover of the song, the inclusion of it on this album, and especially the decision to make it the lead off single from the album, are all just extremely unnecessary in my opinion. Westlife has relied on covers so much in the past, and I rarely understand why after listening to the rest of the album. The same holds true with Where We Are; after listening to the rest of the album, it is clear that it stands firmly on its own as a solid album, full of great songs (most, if not all, soaring over What About Now in their quality). Basically, the only thing left to say here, is what’s been said already; it’s a great album of love songs, and if you are a fan of Westlife, you certainly know what to expect, and you will NOT be disappointed. Even working with the predictable Ryan Tedder doesn’t ruin the Westlife formula, and that’s really saying something right there; if it works, it just works. Standout Tracks: Sound of a Broken Heart, How to Break a Heart, 
The first time I heard Angel Taylor’s Chai Tea Latte, I was blown away. This song is perfect. The juxtaposition of saccharine sweet lyrics (chock full of coffee and personality themed double entendres) with an incredibly beautiful melody and achingly tender vocals had me buckling after one listen. After falling for that song, I was clamoring for more material from Angel, and when she subsequently released Love Travels shortly after, I was not disappointed. The rest of the album is full of her piano driven pop that is just a pleasure from the beginning through to the end (with her strongest tracks opening and closing the album; smart move on her part). My only complaint, is that there are moments where she bears a very strong similarity to one of my favorite female singer-song writers, Sara Bareilles, and that striking similarity (especially the track Not Even Human, which is undoubtedly, one of Taylor’s best) takes something just a little something away from her originality. However, that being said, if you love Sara Bareilles, you will probably then love Angel Taylor as well; so really, it’s a win/win if you think about it. Overall, Love Travels is a beautifully orchestrated piano-pop album, filled to the brim with delightful melodies about love and longing. Standout Tracks: 
This album came out of complete left field for me. I first heard of the Eulogies back in August, when I saw the super cute video for the great first single Two Can Play from their sophomore album Here Anonymous (which is actually a sweet duet featuring Nikki Monniger of the Silversun Pickups). After I fell in love with that delightful song, I wanted to hear more, and I am glad I did; Here Anonymous is a fabulous alternative rock album, driven by sweet melodies, slick arrangements, and delightful vocals. They really remind me a lot of Peter Bjorn and John, with the added sweetness and delight of bands like The Weepies and She & Him, in the way that they layer each track, and how they weave in such catchy choruses to carry almost every song on the album. This album was a great random find for me in 2009, and I’m surprised I’m not seeing it on more year end lists; this band deserves a lot more attention, especially when you consider the overall greatness of Here Anonymous. Standout Tracks: 
This album was probably one of my biggest surprises in 2009; considering that I had never even heard of Biffy Clyro before the midpoint of the year. I love it when I stumble onto new bands, and when I first heard The Captain, I knew I had stumbled onto a great one (a find that I happily bestow credit to BBC Radio 1!). Perhaps my favorite thing about Biffy Clyro is the complexity of their melodies and song arrangements. They do the “typical” rock and roll thing, but they craft their songs in such a way that you never know which way it is going to go; there are so many intricate elements in the layering of instruments, and the arrangement can often turn on a dime (they continually utilize unique time signatures that can change within a song). Not only do I love the way in which they make music, but the lead singer’s voice and especially his accent are both down right beautiful. On Only Revolutions, Biffy Clyro have made many songs that are clearly built with a careful attention to detail that is nothing short of impressive; I can’t even imagine how difficult some of these songs must be for them to play. The result is an album that utilizes essential elements of guitar-driven rock and roll, and twists them into something unexpected, nuanced, and extremely enjoyable. Standout Tracks: God & Satan, 
While I did enjoy several songs from his previous album, The Magic Position, for some reason, it never really resonated with me on as deep a level as The Bachelor did this year (this is a major theme in my life for some reason). However, I never forgot about Patrick, because of his seemingly endless attention to detail and innovation with both his music, as well as his entire persona; there is something about him that I completely respect, because of the way this is reflected in his seemingly care free attitude. He is truly an artist that pays attention to every inch of his music, and broadcasts his personality both in his sound, as well as his appearance. Though he may be avant-garde in nearly every aspect of his style, I find that on The Bachelor, he has also made himself accessible; this album is chock full of extremely well orchestrated pop songs that forcefully push the boundary of pop music today. Patrick captured my attention fully with this album, and I love the unexpected elements peppered throughout the record; such as the brilliant (albeit sometimes creepy) use of Tilda Swinton narrating on several tracks. Overall, he has crafted an almost fairytale-like album, filled with twisting, popping, and dancing narrative-driven music; all of which beg to be devoured and savored to their last drop. Patrick is truly an innovative artist, and The Bachelor is a reflective, and brilliantly innovative album; which you would never know by the badly photoshopped art that serves as the album’s cover. Standout Tracks: Damaris, 
Definitely more subdued and stripped down than their first debut, this album steers clear of the uber catchy pop sensibility of tracks like 5 Years Time, and instead, focuses clearly on well developed folk. The result, is some of the most beautiful songwriting to be put to music in 2009. Specifically, the track Blue Skies, is one of the most beautiful songs I have ever heard, and it is definitely one of my favorites from 2009 (it came in at #6 on my singles chart for this year). Overall, the album has a very solemn and raw feel to it, and the band really crafts what seems like a soundtrack to a beautiful film about love (which is most likely what they were going for, seeing as they did a film to accompany the album). I must say, that this album was a complete surprise for me, because I wasn’t really able to get into them other than their first single, the aforementioned 5 Years Time, so I am glad that this album really resonated with me. Some of the songs on here are just breathtakingly sweet, delightfully delicate, and utterly beautiful. Standout Tracks: 
While this is definitely the hardest album on this countdown, I have to say that it was the “softer side” of Alexisonfire that initially captured my attention; well, sort of. Last year, my number one album of the year was Bring Me Your Love by Dallas Green’s City and Colour project; and Dallas just happens to be one of the lead singers of Alexisonfire. Because I adore him, and City and Colour so much, I had to check out Alexisonfire’s new album Old Crows/Young Cardinals when it came out in June. What surprised me most, was that, even though it is stylistically very different from City and Colour, I really enjoyed it. To say that post-hardcore is not my kind of music is a drastic understatement, so I was just as surprised as any of you reading this probably are, because not only did I really like this album, but I knew almost instantly that it would be amongst my favorites for this year. This album is consistently well crafted from start to finish. The blaring guitars, banging drums, and very well written lyrics are driven by the emotive and powerful rock and roll that is echoed in the vocal delivery, as well as the musical arrangement. I also like the they show their softer side (and more of Dallas’ City and Colour-like influence) on a couple tracks, like Burial; which is the track that I would credit as making me initially take notice of this album. Burial may have made me piqued my interest, but it was the energetic all out rock and roll of tracks like the amazing Young Cardinals that had me blasting this from my speakers for months, and enjoying the album in its entirety, more and more, with each listen. My love of this album just goes to show, that if you open yourself up to something new, you might end up really liking it; and in the case of Alexisonfire, I most certainly do. Standout Tracks: 
To describe this album in three words, I would use the following: tenacious, energetic, and fresh. VV Brown drifted onto my radar when I heard her massive single, Shark In The Water, and I immediately knew I had stumbled onto something major. Once I had a proper listen of her debut, Travelling Like the Light, my suspicion was confirmed; VV Brown is a very talented musician. If I could compare her musical style to anything, I would say that she is probably best described as a mash up of Janelle Monae and the Pipettes; both of which are musical acts that I truly adore. VV’s take on pop, using big band elements, fresh beats, and her oh so beautiful voice is certainly a wonderful addition to the music I fell in love with in 2009; and it is yet another reminder of just how much amazing music comes from Britain. VV does share a lot in common with the aforementioned Monae, not only in appearance, but in her freshness, as well as her way of using simple, tried and true elements in her music. One thing is certain, however, both ladies are talented in their own right, and there is more than enough room for both of them on my ipod. Standout Tracks: 
Matthew’s stripped down, beautiful acoustic folk-rock really took me be surprise; when I stumbled on his song, Easily Bruised, I really wasn’t expecting to find an entire album that was so equally wonderful. Vocally, Matthew bears some similarities to Ryan Adams, Bob Dylan, and Bruce Springsteen, yet he crafts his own tender precision with each song on Ghost Notes. Matthew’s musical style blends the delicate elements of folk, peppered with hints of a country twinge throughout the album; which, combined with the beautiful imagery in his lyrics, makes Ghost Notes a truly beautiful collection of songs. I think that it is his stripped down side that highlights his talent best, as some of the slowest, and most delicate songs on the album are above and beyond his best; such as the amazing track, and perhaps my favorite from the album, Where the River Bends. I will say right again, that this album was a pleasant surprise, and a great random find for me this year; I am more than pleased I heard it, as I knew right away it would definitely be amongst my favorites from this year… and as you can see, it certainly is. Standout Tracks: 
I first became aware of the Dutch singer Anouk when I heard her amazing song Lost a year or so ago; but it wasn’t until For Bitter or Worse that I can actually say that I truly got into her music. I noticed that she was releasing a new album this year, and after hearing the AMAZING lead single, Three Days in a Row, and the sheer vocal talent that she effortlessly throws about in that song (especially the incredibly crescendo at 3:16 seconds… um, can I get a WOW?), I knew I had to do myself a favor, check out the rest of this album. I’m glad that I did, because overall, For Bitter or Worse is fantastic. Anouk’s strongest attribute is her gritty, impressive voice, but she also weaves beautiful melodies with well written lyrics throughout the album, and together, they make for a truly weathered and very professional sounding rock album. After hearing this album for the first time, the only question I was left with, was WHY on earth is this woman not massively famous in the United States; or even globally, for that matter? Talent is clearly not the issue here (that voice!), and as such, it is certainly a wonder as to why Anouk isn’t more of a household name outside of her home country; she makes music that is nothing short of impressive. Regardless of how famous she ends up being here in the States, I can tell you one thing; with this album, she has definitely made a fan out of me. Standout Tracks: Lay It Down, 
I fell in love with Peter Bjorn and John with their amazing album Writer’s Block. After hearing their new single, Nothing to Worry About, I was worried if that love would continue for their new album, because the song actually annoyed me at first. However, once I heard the song a few times, I found the PB and J in it that I loved, and I slowly, but surely came around. With the release of Living Thing, I will admit, that I wasn’t sold at first; missing this time, were the clever whistling and the insanely catchy indie pop that filled Writer’s Block, and in their place, was a noticeably harder, and more experimental edge to each song. However, much like the first single, I slowly came around, and ended up finding the root of Peter Bjorn and John at the heart of the album, and liking it as well. A few of the songs, like It Don’t Move Me, I got into instantly, because they are completely and utterly brilliant; and highlight just how talented Peter Bjorn and John are. It just goes to show, that there are bands out there that are capable of so much, that you never know what piece of their seemingly endless spectrum they are going to show you; and with Living Thing, Peter Bjorn and John have shown that they are definitely one of those bands. Standout Tracks: 
I’m going to start by saying how glad I am that Jack took a different direction for his aptly titled sophomore album, Everything Is New. While I enjoyed some of the rockabilly style he harnessed on his debut, it is definitely the more pop sensible Jack that I prefer. With this album, Jack focuses his effort on building true orchestrations, and in doing so, crafts elegant and grandiose pop arrangements on practically every track. While it is what many would consider a short album, clocking in at just shy of 34 minutes with 9 tracks, Jack has shown a great attention to detail this time around, and avoids the pitfall of having each song sound incredibly similar to the one that preceded it (as was the case with most of his debut). The elegance and beauty on this album highlights a really talented pop musician; one who has learned how to better utilize his rock and roll roots. For me, the deep (and at times, playful) beats, the horns, and the recorded-in-a-concert-hall feel that practically every track as to it, coupled with Jack’s tender, yet earnest vocals, make this album an enjoyable listening experience throughout. Standout Tracks: 
When I first heard Don’t Upset the Rhythm, I knew instantly that I had something to look forward to this year from The Noisettes. What followed, was the impressive Wild Young Hearts, an album that highlights not only a talented vocalist, but a band that draws on classic elements and playful melodies. The impressive and beautiful voice of Shingai Shoniwa will have you thinking you are listening to something straight out of 50s or 60s Motown, but the blaring guitars and thumping drum beats will remind you that you are actually hearing something fresh in 2009. This album follows the trend that Amy Winehouse reinvigorated with her 2007 effort, Back to Black, and continues the revitalization of that throwback sound today. What I loved most about this album, was the familiarity that permeated many of the tracks; like how parts of Never Forget You have a musical similarity to the theme song to Laverne and Shirley. While I fell instantly for the lead single, and quickly hopped on board with continued love for the album upon its release, I would definitely have to say that this is one of those albums that I should have spent a little more time with this year. Standout Tracks: Don’t Upset the Rhythm, Atticus, 
Starting off with the massive single, My Life Would Suck Without You, Kelly’s fourth album starts strong, and offers a much more radio-friendly album than her previous effort. Kelly’s voice is better than ever, and she soars in and out of rock-heavy break up anthems, and reigns it in for the tender ballads. Overall, the Kelly Clarkson that I fell for with Breakaway is back, and it is almost like the lackluster album between these two albums never happened. Kelly rightfully claimed a lot of chart success this year, and given the number of strong single-ready tracks left on All I Ever Wanted, I suspect that she will keep going strong in 2010 with the momentum off of this album. My only negative critique of this album concerns the tracks that fill the middle of the album, and distract away from the clearly superior, clearly single-worthy tracks. While these tracks can certainly be blamed for dragging Kelly down on my favorites list this year, I’m just glad that the chart-dominating Kelly Clarkson is back. Standout Tracks: 
I was trying to think of something to post about when it hit me; I haven’t done a SOTD in quite a while. Today I was listening to Amerie’s newest album, In Love and War (there are some really great tracks on there!), and it reminded me of the very poorly marketed RichGirl, and their AMAZING track, He Ain’t Wit Me Now (Tho). I can’t believe that it has been almost 6 months since I featured this track on the 5SF. Well, there is one thing that is for sure; it hasn’t diminished in its greatness in the slightest. This song is massive, and I still cannot believe that it wasn’t a hit for them. 
It’s time for some well placed gushing ladies and gents! This song is completely, utterly, and fantastically amazing. This is the new single from Will’s upcoming release, The Hits, and it is definitely one of his best songs ever; how fitting that it would be recorded for his first greatest hits compilation. Will nearly took the top spot in 
I was torn about posting a Lady GaGa song this week (since by now, everyone and their mother is sure to have heard it), but given the video’s release this week, and how good this track is, I couldn’t ignore it. When I started talking about her, it didn’t seem like many people cared, but slowly, everyone seemed to come into the Haus of GaGa. A little over a year later, and she is a bona fide pop sensation that seems to somehow be picking up even MORE steam. As I hinted at above, this week, the internet has been all a flutter because of the release of her 
It should come as no surprise to my regular readers of the 5SF that I love British pop music, and after hearing this song in BBC Radio 1, I was reminded of just why I love it so much. This song is incredibly catchy, and the chorus will be stuck in your head for hours after hearing it. I only heard of JLS a few weeks ago; apparently, I missed out on their first single, Beat Again, when it was released a few months back. However, with the release of this new single (which is an official UK number one!) that coincided with the release of their self-titled debut last week, it seems that I couldn’t ignore them any longer. While the jury is still out on the rest of the album, this song is getting constant play on my ipod. This song reminds me A LOT of the great pop ballad-type anthems made popular by the Backstreet Boys back in their hay-day (I’m thinking of perhaps their biggest song, I Want It That Way). JLS may have come in second on last year’s X-Factor, but by the sound of things, they are doing quite well for themselves post-X-factor in 2009. 
To say that I was excited for the release of the new album by The Swell Season would be quite an understatement. However, and somewhat unfortunately, the hype must have gotten to me, because I have had a difficult time really getting into it since it was released a few weeks ago. That being said, this song was an instant stand out, mostly because of the beautiful arrangement, and the intricacy with which they weave the melody throughout the chorus. The gentle guitar picking, and the beautiful deep bass, all overlain with the distorted keyboard, comes together to create something truly gorgeous. Add to that the sweet and sensitive vocals of Glen Handsard, and what’s not to love? Nothing, I tell you. This is definitely one of the best tracks off their new album; and perhaps shining some attention on it this week will motivate me to keep trying to get into the rest of Strict Joy (which is good, but I think I hyped it up so high that there was no way I wouldn’t be let down at least a little).