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11:11

4.7 out of 5 stars 15 customer reviews

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Audio CD, May 24, 2005
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$14.27 & FREE Shipping on orders over $35. Details Only 2 left in stock (more on the way). Ships from and sold by Amazon.com. Gift-wrap available.

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Editorial Reviews

'11:11's all-star cast features the talents of Cursive's Gretta Cohn, Now It's Overhead's Andy LeMaster, and Bright Eyes' Conor Oberst and Mike Mogis. LeMaster and Mogis each lent his talents to the recording, production, and engineering of the record, as well, resulting in an album that sets Maria's compositions awash in an ethereal, melancholic glow. Saddle Creek. 2005.
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Product Details

  • Audio CD (May 24, 2005)
  • Number of Discs: 1
  • Label: Saddle Creek
  • ASIN: B0008FPIWC
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (15 customer reviews)
  • Amazon Best Sellers Rank: #291,848 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

Format: Audio CD
Maria Taylor is best known as half of the duet Azure Ray, and has lent her sleepy, sweet vocal talents to bands and artists as acclaimed as Bright Eyes and Moby.

But it was only a matter of time before Taylor (and her musical partner Orenda Fink too) tried her hand at some solo work. That's where her solo debut, the ambiguously named "11:11," comes into play: A warm, melancholy slice of ethereal pop music.

It opens with the ethereal "Leap Year," where slightly disjointed poetic lyrics mingle with smooth strings, piano, and Taylor's throaty, soft voice. "Save my money/For that plane ride/Horn of plenty/Heavy sunlight/Autumn's bounty/Bread and red wine/In a hurry/But there's so much time/I will wait for you..." It sets the mood for most of the songs to come, and it's by no means disappointing.

From there on, Taylor tries her hand at all kinds of pop music, which is never an easy thing to do, especially since most solo artists try to distance themselves from their band work. Some of the songs are mellow folk ballads, and that sound continues through to the middle of "11:11." Then we strike: "One For the Shareholder," a slow-burning dance number with fizzy little synth over a shimmying downbeat.

It's not a bad song; in fact, it almost straddles the divide between her melancholy pop and dancepop. But it comes up a little short. That song sticks out like a bit of a sore thumb, because then Taylor switches gears, back to the mellow folk-pop sound of before. It carries over into the delicate closer "Hitched."

Normally experimentation like that is the kiss of death for an artist.
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Format: Audio CD
I tuned into "Morning Becomes Eclectic" on KCRW to listen to Maria Taylor's live session in May. I had never heard of Azure Ray before but I had heard her new song "Leap Year" a couple of times and I liked it so I thought it would give me a good chance to discover some of her other material. After the first minute of her session opener, "Xanax", I was nearly floored. It's a slow paced, confessional anthem with dreamy, swirling guitars vaguely reminding me of dreampop band Slowdive of all things. I bought the album mostly for that song and "Leap Year". So I was even more surprised when the rest of the songs were nothing like "Xanax" but were more of an alt-country flavor. "Birmingham 1982" tries to capture the simplicity of childhood and innocence, "Two of Those Too" is a gentle reminiscence of her move to Athens GA., "Song Beneath The Song" is a steady chugging pop number that in a perfect world would be radio hit. And "One For The Shareholder" is a quirky (for this album) dance-pop number that at first seems out of place but somehow after a while fits right in and I find myself looking forward to hearing it in the middle of the album.And, for me at least, "Leap Year" is THE perfect summer song, the one to listen to with the windows rolled down on your way to the softball game.

This album is destined to please fans of good songwriting and delicate singing, a simple album telling stories that many can relate to.
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Format: Audio CD
I saw Maria (and her gorgeous sister Kate) at the Knitting Factory last month when she opened for Ben Lee. I told her after the show, "as soon as your album comes out, I'm buying it." She was very gracious and true to my word, I got it from Amazon the day after it came out.

This is one of the best albums I have heard in a long time. If you are a fan of Conor's ("Bright Eyes") you will love this album too! My favorite songs are probably "Leap Year", "Nature Song", "Lighthouse", "Xanax", and "Speak Easy".

If you are considering buying this album, stop considering and just buy it. you won't regret it, this album is top quality. maria taylor's lulling vocals and genuine lyrics are an angelic blessing. my real question is..what is 11/11 mean?
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Format: Audio CD
Do you guys remember when At the Drive-in split? And then there was Sparta and the Mars Volta? And even if you weren't in on the drama, it was pretty clear what happened.

The sparta dude was having a lot of fun in at the drive-in.

The mars volta dudes wanted to push things forward.

Then Sparta is a little bit of popular, but MarsVolta is the one that gets all the respect. Because, bascially, Sparta is just At The Drive-in without the 'fros and the creative spark.

That's kind of how this thing was...but:

Azure Ray's hiatus is totally amicable.

Maria Taylor is just...so...like-able.

And the direction she takes is just so...touching.

In an interview, she says something along the lines of "...my entire life has always been based on me and somebody else..." and here she is, on this CD, same woman, same life...but alone. And it's about how she's both inspired and scared by this. And she should be. It's a big step, especially for the quintessential embodiment of her former bands sound-- a breathy vulnerable sounding voice, accompanied by spare instrumentation that provides little cover for deeply personal and confessional lyrics.

It's mean to compare Orenda and Maria competitively, but it's hard not to do. Throughout Azure Ray's career, one could listen closely and pick out their subtle differences and respective talents. Orenda's domain was her command over more complex lyric structures and a flair for darker,more innovative instrumentation. And Maria always wrote the more conventional and simpler songs, but with an undeniable, but undefinable allure that stemmed from, but transcended mere catchiness.
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