In April I offended several members of the Georgetown community. I ripped on the Georgetown Chimes, and the post ended up in Google's first page of results for the a cappella group's name.

I stick by my comments from April, but the generosity of a Chimes member has given me more to say. Baritone Dan Phillips has sent me a (free) copy of the Chimes' latest release, "Parsley, Sage, Rosemary, and Chime," and asked for a critique.

The album shows how underrated good, stark harmonies are in today's music. I listened to PSR&C yesterday afternoon and to the Beach Boys' Pet Sounds last night. Both bring harmonies straight to the front, and they sound wonderful. Most of today's music tends to drop harmonies into the mix. But no matter how good they may be alone, they don't sound interesting with electronic strings, synthesized guitars and vocal layering piled on top.

PSR&C has its best moments when their harmonies have everything going for them. Opposing harmonies and back-beat distract too much, and the sounds roll smoother without them. Soaring pop like Billy Joel's "And So It Goes" and U2's "Running to Stand Still" get excellent treatment here. Traditional songs like "My Love Is Like a Red, Red Rose" and "Loch Lomond" are hauntingly beautiful. "Donne" cries out to be a (good) soundtrack for a car commercial or an Italian movie's dance scene.

Boasting the strongest lead vocals is "Viva La Mamma." The singer seems happily oblivious to the sunny chorus behind him. Such a disconnect, between the lead and the rest, is needed more often on the album — and in the wider college a cappella scene.

College a cappella groups often seem to suffer from what I'll call "confused harmonization." Harmony spillover, basically. A group's members harmonize so much that, when it is time to take a solo, the harmony impacts what should be the soloist's independent voice and mindset. The result is weaker solos.

The Chimes' album suffers this trend somewhat, but avoids it far more than most a cappella groups I've heard. Their leaning toward a classical sound — and away from a harder pop sound — is what helps them. With all voices going in the same direction, there is no conflict or confusion between soloist and chorus.

But if an a cappella group devotes itself to harder pop, with all the back-beats and juxtaposed elements, the group should be cautious. Send the soloist to another room to practice. Record the soloist separately in the studio. Do anything you can to let the solo be as strong and as leading as possible. The instant the soloist picks up an inflection or a pitch change from the harmony, turn off the lights. Because in that instant, the singing has become about the group and not about the song. Limited instead of limitless.

By (mostly) avoiding this pitfall, PSR&C is enjoyable. The album holds together, and is a refreshing notch above the standard Amateur Comedy/Harmony Night of college a cappella. Fifty-six years after their founding, the Chimes still show a dedication to their music and tradition.

I am interested to see where their next album finds them. The world's current situation has presented the arts with a challenge, but mosts artists have chosen escapism so far. It's easy to keep doing what you're doing.

But I think the Chimes are in a position to accept the proposition. PSR&C shows the group's base is solid; it is enough from which to start. And when this is the view from one of your dorm rooftops, the inspiration should be available as well. Scary and difficult, yes. But available.

"Harmony" has many meanings, and with work they can tie together. It's a building process, really. What pieces should be together? What pieces should be apart? Cheers to the music-makers who realize there are pieces at all.