Songs of the Year - 2014

2014 was an interesting shift in music for me. The main thing is that I really started gaining a respect and love for EDM, which I previously loathed. In addition, bands I used to outright hate, such as Issues or I See Stars, I became huge fans of.

For the first time ever, I tracked this list over the year, pegging potential candidates on my laptop. It's interesting, though, because the list didn't change in terms of being arbitrary; random times I felt that a song should be at the top, and other times I didn't feel that way. Considering that I expanded my music taste so much in the past 6 months, I had to consider that as well. This was probably the most difficult list I've made so far, but for all the right reasons.

This year was great for music in any genre. Punk, metal, rap, R&B, you name it, saw many exciting releases and debuts. Here I am to count down my personal 2014 songs of the year, and keep in mind that since this is a personal list you probably won't agree with my choices. Let's get it goin':

20. "People Like Me, We Just Don't Play" by Emarosa

This band was almost certainly done in 2011, but after three long years of trying out vocalist after vocalist, failed attempt after failed attempt, they finally landed on Bradley Walden of Squid the Whale. The result was their junior effort Versus, which consisted of a drastic change in style. This band is nowhere near as heavy as they used to be, but instead now feature a softer, more alternative style. It fits in very well with Walden's vocals, especially in the opener "People Like Me, We Just Don't Play." Walden takes this track to another level, accompanied by a great guitars (especially in the second verse). They have a future with Walden, that's for sure. 

19. "In Return" by Trophy Eyes

Sometimes, songs will just fall into your lap. No one will suggest it to you, there won't be much buzz on the internet; you just kind of find it. That was the case here, as this very fast track made its way into my heart. It goes from a two beat to half timing so seamlessly, a transition that seems easy in theory but is actually not. In terms of pop-punk, lead singer John Floreani isn't your average vocalist. He has a very gritty style that is very well suited for a hardcore band. It's a very cool combination, and I'm very excited to see this band rise up the ranks.

18. "Don't Lean on Me" by The Amity Affliction

This is one of those bands I never cared about till a few months ago. "Pittsburgh" was the song that got me hooked, but "Don't Lean on Me" is what made me stay. It's like watching the Dallas Mavericks play: come for Rondo/Dirk/Ellis, but stay for the great team offense.

I love the piano in the beginning, because you think it'll be a ballad in the beginning, but it turns out to be a pretty heavy song. The screams in the song aren't overbearing, which is actually really easy to do considering not only the sound of this track, but also the subject matter. The lyrics aren't poetic, but do a good job of displaying a cry for help. You really sympathize with the character they built here, and that's probably what they were going for.

17.  "Big Dusty" by Joey Bada$$

Joey Bada$$ has been up and coming for a while. He has a raw, old-school style that is gaining many followers, and the crazy part is how young he is. Definitely has a great career ahead of him, and "Big Dusty" is certainly indicative of that.

It's a pretty chill song, which is best for Joey's style. He isn't very aggressive, but his wordplay more than makes up for that. He's so clever in his punchlines, his external and internal rhymes, and overall delivery. Joey's going to make it big one day, and you can point to this song being the pivot.

16. "Tread Lightly" by Four Year Strong

Four Year Strong has been trying to make their way back to the top after 2011's subpar "In Some Way, Shape or Form." This included a brief break and a retooling of their style. The result was a short EP in 2014 entitled Go Down in History. This was a callback to the style that got them famous, sans keyboardist Josh.

"Tread Lightly" was the first single off this EP, and it was a relief for many fans who were growing concerned about their future. It's a typical pop-punk song in so many ways, but it fits Four Year Strong's sound so well that it ranks up there with even classics such as "Heroes Get Remembered, Legends Never Die" and "Wasting Time." How this translates to a full-length LP no one knows, but for now it's good to see them back in full form.

15. "Camera Thief" by Atmosphere

Atmosphere's Southsiders album is one of the most critically acclaimed albums of 2014, a large part of which is owed to "Camera Thief." The beat really makes this song, though, making use of vocal effects and different synth sounds. It doesn't really feel like too much, and complements Atmosphere's flow well.

His flow is amazing as always, I don't really need to go into it more. Southsiders is up there on my Albums of the Year, and not just for me. He's a driving force in the underground hip-hop scene, and deservedly so.

14. "De-Stress" by Rebelution

Rebelution's purpose as a band, I feel, is to just make catchy music and let you relax. Their sound alone is enough to brighten up my day, and "De-Stress" is a great play on that feeling. It does exactly what the title suggests, it helps you get rid of excessive stress, which is really nice. Some people listen to more aggressive music to help them calm down, and others listen to more relaxed ones. This is easily the latter. In every respect, this is a typical Rebelution song, which is good enough to make the list.

13.  "Pussy Vultures" by Dance Gavin Dance

Pretty funny title, I have to say. This is actually one of the softest songs Dance Gavin Dance has made to date. It's an interesting new sound they have with Tilian Pearson, but it works so well. Will Swan is my favorite guitarist because of his ability to switch between so many different styles, be it hardcore, hip-hop, and even funk. Matt Mingus on the drums is always a pleasure to listen to as well.

This is the style I want them to go forward with, to be completely frank. It suits everyone just so much better, and shows that Dance Gavin Dance can still be heavy but also have softer elements.

12. "The Loved Ones who Hate Us" by Handguns

This is so pop-punk, but that's what makes it so good. 2014 saw the breakthrough of Handguns, who has been underrated for a good while. It has a catchy chorus, fast-paced verses, nothing complicated about it at all. Sometimes, following a template isn't bad idea at all if you know what you're doing.

11. "Tabletops" by Murs and Mayday

Trumpets!!

Seriously, though, I can't get over how catchy the beat is. Murs and Mayday are also a great collaborative effort. Listen to the whole album called Mursday if you want to know what I'm talking about. I can't really say much else besides go listen to the song!!

10. "L’exquisite Douleur" by Being as an Ocean

I'm usually able to point out why I like a certain song, but in this case I really can't. Being as an Ocean is a band I've only found recently despite their popularity, and this was one of the first songs I heard from them. The music video is very unoriginal, but I really love those black and white videos for some unexplained reason (see the theme here?).

The beginning of the song starts off with a monologue from lead vocalist Joel Quartuccio (that's an awesome name, by the way), then goes into his well known chaotic screams. There's never a dull moment in this song, as there are many shifts in the sound, from guitars cutting out, to having a choir sing the chorus.

Speaking of singing, the clean vocals are very well executed at the end. Tyler Ross has such a good range, which is on display in this track. Highly recommend this song and band to anyone who hasn't heard of them yet.

9. "Erased" by Volumes

The first time I saw Volumes was at a show with Secrets and Crown the Empire. Yes, that sounds incredibly out of place, but you have to understand how fun of a show that was. You have three distinct bands with all different sounds, yet making it work very well.

Anyways, after the show I really got into Volumes, specifically their new album No Sleep. Now, this album will (spoilers) be on my Albums of the Year list, but this particular one has two songs by them. They are the only band this year to have two songs on the list, one at this spot and one to be revealed later.

"Erased" has become the staple for this band, and I think it's well-deserved. Volumes excels at making slow but heavy songs, so this is a perfect introduction to them. The clean vocals and screams get equal time, as do many of their songs, but the transitions are so well done. The guitars in the bridge are very well done, as is the drumming throughout the song.

8. "Desperate Measures" by Hand of Mercy

Hand of Mercy is a bare-boned hardcore band. Everything about this band is heavy, including this song. Being the lead single from their album Resolve, they put themselves on the map with this one. No breaks, nothing, just loud and heavy for 2 1/2 minutes. If this is your cup of tea, check it out.

7. "Sound of Unity" by Yas (featuring Tech N9ne)

There's nothing really that pops out about this song; an average beat that is pretty simple conceptually. The reason this is so high, however, is the fact that you have a rapper who identifies as a Muslim collaborating with one who identifies as a Christian, and using that as the subject matter.

That's so ballsy, considering how bigoted many people are. This wasn't just a half-assed try either, this was a full integration of both cultures (Yas from the Middle East, Tech N9ne from Missouri). Yas's verses are in Farsi, and Tech's in English, until the final chorus. In a move some might see as cheesy, but myself see as important, Tech N9ne actually sings in Farsi instead of Yas.

The reason I loved this was because it showed that someone who hadn't been exposed to that culture previously could learn about it and make attempt to understand the other side. Even the simple act of not having the whole song be in English is crucial because of the fact that that it displays two individuals that have a significant cultural difference coming together and making music. It's a very powerful song, and one that I feel everyone needs to listen to.

6. "With the Wolves" by The Ghost Inside

After three straight acclaimed albums, my expectations for Dear Youth, The Ghost Inside's latest effort, were through the roof. I wasn't disappointed with lead single "Avalanche," but I was still worried it'd be a letdown.

I loved it, to be blunt. Every song on the new album is great, but my favorite has to be "With the Wolves." In all respects it's a typical TGI song, with a heavy riff starting off going into lead vocalist Jonathan Vigil's screams.

I just feel that this is one of the most complete songs the band has done. The transitions are seamless, the clean vocals are done more in support than the lead, which is how this band operates best. The quick paced verses also serve a stark contrast to the slower bridge, and builds to a really powerful final chorus. Vigil's vocals are outstanding on "With the Wolves," as well as the entire album.

5. "Should Know Better" by Comeback Kid

My favorite thing in the world to listen to is party hardcore. It gets me absolutely hyped for anything, and I can play it anywhere. "Should Know Better" is Comeback Kid's attempt at this, and I have to say it more than excels at this.

It starts off with such a simple riff, but then everything explodes into a chaotic chorus led by vocalist Andrew Neufeld. His vocals have always been so distinct and recognizable, and have gotten noticeably better on their new album Die Knowing. The whole album is actually so well done, with a wide variety of sounds and tempos. This is my favorite in the record just because of how amped it gets me.

The lyrics are brief but, according to my personal interpretation, they describe someone who's so stubborn that their decisions affect them negatively. This is something I think everyone reading this has experienced; sometimes we get so steadfast in our lives that we forget that being so can be detrimental to us.

4. "Take Out the Gunman" by Chevelle

What makes a truly great song? In my opinion, not only can it be good on the ears on the initial listen, but also last for a long time. By this, I mean that it won't sound dated or strange several years later. Many songs today lack that sense of longevity, but bands like Chevelle have made a career out of it.

Chevelle has been around for a long time. Next year will mark their 20 year anniversary as a band (you'll definitely see me at that tour), but what's crazy is that they are still putting out great music. Not only that, they only seem to be getting better! 2014's La Gargola was very well received by critics and fans alike, with the single "Take Out the Gunman" getting lots of airplay.

Similar to the previous album's "Face on the Floor," this one starts out with an infectious riff. Seriously, Chevelle's ability to build off a single note or riff surpass that of most bands. That's what makes them stand out, and ultimately so memorable. I've been a huge fan of them for a little over ten years now, and seeing how they're stuck to a formula, yet perfected it, is a sight to truly see.

Cowbell. Come on, now. That's awesome. Using your cowbell as a snare drum? Great work, Sam Loeffler. Pete does a great job on vocals and guitar as well. He has a very underrated scream, and the solo was simple yet effective.

There are multiple interpretations on the lyrics to "Take out the Gunman." It's a perspective on mass shootings from the potential hero's view, but according to drummer Sam Loeffler, this song raises a very important question:

"the real point is about how the media sensationalizes it and how it perpetuates it, because we talk about it so much and concentrate on it so much, which is — when you put something on television, it just becomes bigger than life and then, you know, the age-old question is, if you don't put it on TV and nobody knows about it, will it happen less? I don't know."

(taken from Loeffler's interview. Source)

3. "Mountain House" by Tides of Man

Vocalists are the most easily identifiable member of a band; this is a pretty clear observation. Tides of Man's old vocalist, Tilian Pearson, is actually really well known. So, why would you become an instrumental band once he leaves? Short answer: it works.

Long answer:

"Mountain House" is gorgeous. I don't feel like I need lyrics to contribute to this one. It's like watching a painting and being able to come up with your own interpretation. With lyrics, even though there's some wiggle room, there's still a limited number of meanings one can possible have. The instrumental is the track that makes the train go, except in this case there's no conductor (the lyrics). I loved this song the second I heard it, and I never thought that would happen with an instrumental track.

It's so easy to dismiss bands like this without a vocalist, simply because we have nothing to sing along with. I just needed to sit back and really understand what's going on this song. There is a variety of guitar riffs used in "Mountain House," as well as awesome drums that provide the backbone. 

Don't hold back just because it's instrumental. Don't make the same mistake I initially did. Tides of Man seems to be better off without a vocalist, and could even become the next Explosions in the Sky.

2. "I" by Kendrick Lamar

Kendrick is one of the best in the game right now. Even if you don't like his flow or style, you have to admit that his lyrics are intelligent and tell a story.

The song title "I" is a perfect description on what this song about. Kendrick's been through so much in life, but at the end of the day his love for himself is what gets him through. It promotes a positivity that is rarely seen in music, let alone rap. In this age of negativity and anger, where the Internet can often break us down instead of build us up, we forget that we are all great people inside. I tend to forget that a lot, which is why this song hits so close to home.

Kendrick is known for pushing the envelope lyrically, and it is apparent here. No one expected him to take this direction artistically or musically, and that's what I love about him. He's so unpredictable, but stays true to his form. It a complete paradox which only few can pull off. What I mean is that he changes his flow and delivery quite frequently, but doesn't fall into rapping about the same tired topics. Kendrick really did well on this track. How it measures to his other hits is remains to be seen, but for now is an instant classic.




And for my number one song of the year...



1. "Across the Bed" by Volumes (featuring Casey Sabol of Periphery)

The only band to have two songs on this list; that should give a fair indication on how I feel about the album. This song struck a chord with me the second I heard it, and it seems like I listen to it around five times a day. I haven't gotten sick of it once, mostly because of the fact that the vocals exceed anything else from the genre this year.

Let's talk about the beginning: it starts off with an ominous duet with the two guitarists, as well as keys. It slowly builds up to the verse where vocalist Michael Barr, as well as the drums, comes in. It then becomes incredibly heavy, with Barr's screaming soaring. It also sets the scene of an intimate scene between the character and their lover.

Casey Sabol of Periphery, another band I love, handles the chorus. He does an incredible job here, and has great chemistry with Barr.

There's a difference between a song that outright is misogynistic and one that is about sex. This is the latter, as it really sounds like the protagonist misses the intimate and passionate moment with their lover. This was their tribute to them, reminiscing on the energy and bond they shared whenever they made love. It's much more than sex to this person, it's about a feeling of being high on love, which involves so many different feelings. "Across the Bed" is a mature exploration of this topic.

In addition, guitarist Diego Farias does such a good job in complementing not only Barr, but also Sabol. In fact, you could say that he leads the songs; he starts off the track with his duet of different riffs, and also gets the bridge started. Nick Ursich has a very interesting and technical style of drumming that is shown in this song.

It's fair to ask why this is my song of year. To put it short, it has everything I could ask for. While I don't particularly relate to the lyrics, I can really see the emotion behind it. That's pretty tough to do as an artist, getting people who don't identify with your subject matter to empathize with you. They do that flawlessly here. 

When you consider that this band is only five years old, it puts into perspective how good this song is. Something that I haven't mentioned yet is how the guitars, drums, and bass do a wonderful job surrounding the lyrics. That's what pushes this song over the edge into being at the top of this list.




2014 was a fantastic year for music, and I know that many of you will disagree with this list. Feel free to let me know what you think should be at the top, or even come up with your own list! At the end of the day, these were all the songs that I felt needed to be on here, and I have no regrets. Let's just hope 2015 gives me this many choices.

2013 Albums of the Year

*Retrospect on the past year*
*Talking about some good music, bad music*
*Namedrop a few bands*

Okay, that's my intro, let's do this:

11. J. Cole - Born Sinner

I still listen to hip-hop a lot, but it won't really crack any lists for me. Mainstream, especially, has taken a huge hit for me. I find it a barren wasteland of bad production, repetitive lyrics, and a general apathy in the delivery. So, naturally, I had that inhibition of J. Cole when I first listened to him back in 2011, and to be honest I wasn't a big fan of his debut album. So, I just ignored him until this year, when I heard "Power Trip" with Miguel. It was pretty good, but not spectacular; however, I heard many good things about sophomore album Born Sinner and decided to give it a shot.

I was very surprised by what I heard. It's a very diverse album with some noteworthy tracks. I was a huge fan of "Crooked Smile," and by looking at the pop charts so do most people. It's lyrically fantastic, giving multiple definitions to the metaphor crooked smile. "Power Trip" has grown on me, mostly because of the very old-school style beat. The same goes for "Let Nas Down" and "Born Sinner," the title track. Both are strong tracks that stand out, especially the title track. The beat is so tantalizing, but so relaxing. The subtle horns in the background, as well as the strong chorus really make this song a gem. Overall, a big improvement for J. Cole in album 2, and I expect big things for his junior record.

Notable Tracks: "Power Trip (featuring Miguel)," "Crooked Smile (featuring TLC)," "Let Nas Down," "Born Sinner (featuring James Fauntleroy)"


10. Fall Out Boy - Save Rock & Roll

You either love them or hate them. I've been on both ends of the spectrum; I used to hate them due to their MTV-like status. They were riding a very obnoxious wave and it really turned me off to some good music. To this day, they're one of the few bands that have successfully pulled off a good Michael Jackson cover ("Beat It" with John Mayer). They're also a pretty eclectic sound, combining elements of pop-punk, alternative, and hip-hop in their sound.

I was looking forward to this album, and it really didn't disappoint. The record starts out with a bang with "The Phoenix," then a more subtle but harder hitting "My Songs Know What you Did in the Dark." Those two songs alone made this album worth listening to, but there so many great moments here. In particular, the dance-oriented "Where Did the Party Go" is probably the catchiest song released this year, and "Save Rock & Roll" with Elton John serves as a fantastic closer. Also, being a Courtney Love fan, "Rat a Tat" was an extremely fun listen. It was so Courtney, and her chemistry with Patrick Stump is quite entertaining.

Notable Tracks: "The Phoenix," "My Songs Know What you Did in the Dark," "Where Did the Party Go," "Rat a Tat"


9. Killswitch Engage - Disarm the Descent

They're my favorite band, I'm obliged to put them on here. End of story. That being said, there was some concern around the vocals change when Jesse Leach, the original vocalist, replaced Howard Jones after nearly a decade of work. When Leach left, Killswitch Engage took off into the mainstream conscious, leaving its mark in the metal community. It would be a tough job being the new "it guy" for a band so popular and having its reputation hinged on a new guy.

Fortunately for everyone, Killswitch Engage released what is probably their best album to date. Jesse sounds much more natural to me than Howard Jones. Don't get me wrong, Jones is a fantastic vocalist, but you can really see the chemistry with the band when Leach performs. Jones through the end of his run started losing that touch a little bit, in my opinion. All that aside, "In Due Time" is one of their best songs ever released. The guitar riff at the beginning is so catchy, as well as the vocals supplied are even better. Opener "The Hell in Me" starts off chaotically, working to the band's strength. Overall, it was a pretty amazing album, and I'm so glad to have Leach back.

Notable Tracks: "The Hell in Me," "The New Awakening," "In Due Time," "Tribute to the Fallen"

8. Hands Like Houses - Unimagine

The Aussie-sextet has been gaining some steam lately, mostly for their very unique sound. Synths and keys comprise much of their sound, but are mainly used as effect rather than lead. In a genre dominated by snyth leads, it was refreshing to see a band not constantly doing that. In addition, they have a plethora of musical skill, which enables them to write a diverse song set.

This held true once again with their sophomore album, Unimagine, which was released only one year after their critically-acclaimed debut, Ground Dweller. Not much changed in terms of sound itself, but you saw a maturation that not a lot of bands can make in the span of a year. It was impressive to see how they really tightened their focus in songwriting, to the point where every instrument was noticeable. That is something that you don't see too much nowadays, as songs are either dominated by vocals or synth. Having a band that has genuine equal production out of everyone is refreshing, and a welcome change. Listen to opener "Developments" to see what I'm talking about; guitar leads take the opener, bass and keys take the verse, vocals take the chorus, drums take the bridge... It was pretty much like that the entire album. I'd guarantee this is to pretty much anyone, as its accessibility is actually quite high.

Notable Tracks: "Developments," "Introduced Species," "Shapeshifters," "A Fire on a Hill"

7. A Lot Like Birds - No Place

I made "Next to Ungodliness" song of the year in another entry, so you can read my entire diatribe on that song there. Chaos isn't A Lot Like Birds specialty, though, it's the intricate songwriting that makes this band so great. Every note has importance to it, and like the Hands Like Houses album, each instrument is given equal importance. The difference here is that the music is (redundantly put) intricate. Their sound didn't change a whole lot from their first album, Conversation Piece, but again more of a maturation change.

Again, like I said, part of what makes this band so crazy-sounding at times is the odd sound they have. It's hard to describe, really, but it all comes together really well. In No Place each song is so much different from the last, but they gel together very well. It's the sort of diversity that shows how talented these songwriters are. It really is a fantastic album.

Notable Tracks: "No Nature," "Next to Ungodliness," "Connector"

6. The Story so Far - What You Don't See

My favorite pop-punk band, and my favorite pop-punk album of the year. They really stepped their game up when it was do or die; in such a cluttered genre you cannot afford to have a bad album. Otherwise, your career is down the drain, and The Story so Far knew that going in. They were going to have to make something different, yet consistent with their down. The result was a fantastic album that made many end-year lists.

Not everyone likes this band, and that's understandable. The reason this stood out for me was Parker Cannon's vocals, which have improved greatly. In "Things I Can't Change," he exhibits a great consistency, and on "Empty Space" shows off his improved range hitting high notes. "Right Here" has some great guitar work, and "The Glass" has become a live staple for them.

Notable Tracks: "Things I Can't Change," "Right Here," "The Glass"

5. Tilian - Material Me

I'm a Tilian Pearson fan, and this list is obviously going to reflect that. He's my favorite vocalist right now, honestly because there is no one like him. No one can hit the notes he does, no one can have the range, consistency, or control that he has right now, especially in his genre of post-hardcore. It makes total sense to do a solo album then.

Here's the catch: Material Me is a dance-pop album. It was weird to hear it at first, but it quickly grew on me as something special. Every track is distinguishable, and each different sound is just as good as the next. I thought I had a favorite song from the album, but I really don't; there are some that I like more than others but that's like giving a 9.5 over a 9 out of 10. It's a minute difference at best. The theme for this album is that most of the songs have a dance beat, rather than the heavier beats he's used to, and his voice fits that style of music perfectly. Songs like "Chemicals" show that cohesion between vocalist and genre perfectly, and it made sense when he decided to go through this project. I honestly want him to write more solo material, but we'll see.

Notable Tracks: "Someday," "Chemicals," "Up in the Air," "Favor the Gods"

4. Dance Gavin Dance - Acceptance Speech

Another Tilian appearance. What a shock. I'll just say that on Acceptance Speech, he is perfect on every song. Every note is hit with absolute precision and there are no errors. Now that that's out of the way, let's discuss the rest of the band:

Jon Mess is an amazing screamer who deserves more than his share of the credit ("Jesus H. Macy" shows his screaming capabilities quite well). Will Swan is the glue that makes this band stick together, creating innovative and original guitar riffs and leads (A good example of this is "The Jiggler"). Josh Benton is a relatively new member, but does a great job providing the rhythm to Swan's leads. Matt Mingus is an incredible drummer, and brings something unexpected on every track.

There, just by hearing about each band member it should give you an idea why I like this band so much. Acceptance Speech is without a doubt their best album. Nothing comes close to it, and for a band we all thought was dead, it's quite remarkable the comeback they've made.

Notable Tracks: "Jesus H. Macy," "Acceptance Speech," "The Jiggler," "Turn Off the Lights. I'm Watching Back to the Future (Part II)"

3. Defeater - Letters Home

I only heard this album recently, so this may just be because it's a hot listen for me. Honestly, though, Defeater has always been under the radar. I had great respect for them, but I never gave them the thorough listen they deserved. That was, until I decided to listen to their latest album Letters Home in its entirety.

What we're essentially getting is an album with no filler. Keep the energy alive, even when the track slows down. It's very quick paced, but it's also very controlled. Opening track and lead single "Bastards" exemplifies this; it knows when to fade out instruments and when to be aggressive. "Hopeless Again" does this as well, and what it does for the listener is that it allows them to be interested the entire time. The album always stays fresh, and therefore has staying power. This was a very underrated release for 2013, and would highly recommend it.

Notable Tracks: "Bastards," "Hopeless Again," "Rabbit Foot"

2. Dead Celebrity Status - The Throwaway Kids

Ten years ago, I was introduced to Canadian hip-hop trio Dead Celebrity Status. Their constant mocking of US politics and Hollywood life caught my attention, as I was a big fan of their satire of mainstream life. They would incite questions, they would tackle mundane topics in an interesting light, and would often use celebrities as a target. It wasn't anything new, but it was definitely entertaining. Their first album, Blood Music, was a great album and still remains a favorite of mine to this day.

Flash forward to 2013, and they finally release their sophomore album, The Throwaway Kids. It was worth the wait, because every song this time carries meaning to it. While Blood Music was an interesting approach on hip-hop, The Throwaway Kids perfected this approach. Even "The Prelude," which is usually a throwaway track (no pun intended), serves a great introduction with its great rhyming poetic nature. The beats are perfect, and never overpower the two rappers at any time.

It's a very politically-charged album, so there's the chance you'll hate it if you don't agree with it. It is a very anti-establishment stance, again something not new. Their execution, however, is amazing. The title track and "Dancing on the Sun" are both amazing tracks that really show this attitude off. Every song feels like an anthem, like it has purpose. There is absolutely no filler on this album, and really gets you to think.

Notable Tracks: "Them (A Prelude)," "Throwaway Kids," "Dancing on the Sun," "Shut it Down"

1. Deaf Havana - Old Souls

This was no contest, really. Deaf Havana has, since my first listen of them, been a favorite of mine. Every album they've made has been memorable, especially their re-release of Fools and Worthless Liars, which featured alternative versions of each of the original tracks on that album. It was folk-heavy, and such a cool take on songs that were of an alternative-punk nature.

This year, they came out with some brand new material, in the form of Old Souls. What Deaf Havana does better than any other band is their ability to blend different genres, but never force it. Sometimes artists, in an attempt to expand their arsenal, with try to combine genres and just not sound natural. This band, however, is a master of doing this, as seen with bluesy nature of "Subterranean Bullshit Blues." Of course, their forte is in alternative-punk, as seen with lead single "Boston Square." Like with their preceding albums, the lyrical content continues to be great, and worth reading online somewhere.

Old Soul is a perfect album, there are literally no flaws in my eyes. I normally can't stand acoustic tracks, but even that they made so good for me. There isn't a single thing I can criticize this band for; their extreme gain in popularity in the past year is well-deserved. I see huge things for Deaf Havana in the future, and this album should catapult them to the top.

Notable Tracks: All of it. Seriously, it's that good.


I feel good about this list; sometimes in the course of things you want to change things, but I don't think I'll be doing that here. I've had a lot of time to ponder what I wanted to do with this list, and I really feel that Old Souls by Deaf Havana was the best album of the year, heck it's the best album I've heard in years. It's honest-to-God that good. The other albums I've mentioned are really as good as I made them out to be, too. If you haven't heard of these artists, definitely check them out, because their material deserves to reach more people. Let's just hope that 2014 can be as good a year as 2013, but I doubt it; 2013 was an incredible year for music, the best in a long time. But then again, I said in 2012 that 2013 wasn't going to be as good, and I was wrong. I really hope I'm wrong here, let 2014 be even more amazing!

Songs of the Year - 2013

2013 was quite an interesting year in music. It wasn't the best, not by a large stretch, but it was still quite good. You had so many new bands that made strong debuts, some experienced bands that finally broke through, and you had others that just fell flat. That's the tide of music though; it rides extreme waves of inconsistency, and that's what is so great about it. What I don't like will be cherished by someone else, and vice versa; when I say inconsistency, it shouldn't be perceived as a negative, but rather something that is unique.

I'm someone that listens to pretty much anything, and this even includes the more mainstream music. In addition to the bands that aren't played on radio, I make an earnest effort to give everything I have a shot, more so this year than in years past. It's been a mixed bag, to be perfectly honest; there have been some awful, awful songs that I've heard this year, like Drake's "Started from the Bottom." There have, however, been some surprises that I wasn't expecting, such as the quality of Jesse Leach's return for Killswitch Engage or the addition of Tilian Pearson in Dance Gavin Dance.

At the end of the day, it's irrelevant if this post will mean absolutely nothing to the common viewer. Heck, it doesn't even matter if someone rips on this list, for the simple reason of "how do you argue an opinion?" The fact is, you can't for the most part. The best you can do is explain yourself, but that doesn't necessarily constitute a compelling or convincing argument. As I previously stated, music is one of the most inconsistent mediums out there, and that's what is so great about it. In a crowd of several hundred, not one person will have the exact same taste as the other. You've already seen the title, and are probably hoping your favorite song will be on here; *spoiler alert* it probably won't be.

But, I must say, I love music. All of it, even the terrible stuff. If not for that, the standard in which "good" is measured becomes entirely different; we have to have a measuring stick of sorts. It's keeping all of this in mind that I've decided to compile a list of my top 15 favorite songs this year. Last year, in 2012, I had a definitive #1 song, "45" by The Gaslight Anthem. This year, there was none. Not because the music was any worse, but I genuinely didn't have that song that was so definitive. That being said, I love music, and I love all the songs I'm about to say.

Enough delay, here are my Top 15 Songs of the Year for 2013:

15. Citizen - Roam the Room

I don't have an incredible amount to say here; if you are a Citizen fan you will definitely love this song. As a former drummer, the song is really revolved around them, which is a rarity in any sort of genre. It drives the song truly, rather than just accompanying it. The beginning of the song is a good indicator for what is to come the rest of the track, and it certainly doesn't disappoint.

14. Polar Bear Club - Upstate Mosquito

I am a pretty huge Polar Bear Club, and was incredibly excited when they signed to Rise Records. I thought, "this will be their big breakthrough and they'll finally be recognized." That happened.... sort of. See, what ended up occurring was a slight shift in style, along with a dramatic shift in vocalist Jimmy Stadt's voice. Most fans are used to his rough, gruff-style of singing, and he abandoned all of that to become cleaner.

I didn't mind this change too much, but it didn't stand out like it used to. When they finally released Death Chorus, I wasn't too impressed, but over time it grew on me. I really appreciated it for what it was, a solid album with some standout tracks. Enter the closer, "Upstate Mosquito."

What I love about this song is that it delves into a relatively common topic, feeling small insignificant, and using quite a delicate metaphor. The motif of "dying for dead dreams" is something that can ring true for many individuals, and this is something that did not in fact change with the band. Jimmy's voice is fantastic here, and is the main reason why this song succeeds the way it does. There are many musical shifts during the song, in terms of tone, speed, and overall feel. It was one of the best closers I heard all year, and definitely earned a spot on this list.

13. Wale - Bad

Wale was always a someone I felt was unfairly diagnosed by the public as just another "mainstream rapper." He has that look, and some of his guest features have that feel, sure, but when he wants to release a good song, he's certainly capable of it.

Is he the most lyrically competent? No. Does he have the best flow or cadence? Certainly not. Are his lyrics even that complex? A big no. All of that, and especially relevant to "Bad," contributes to his greatest quality, which is his earnestness. That seems to be a buzz word in the music world, excusing relatively boring songs. I mean it here ("earnest," if you will), though, he gets his message across in a way that not a lot of these "better" rappers could have done, just because it seems that he is being very thoughtful and sincere in his music.

"Bad" discusses how people rush into relationships for the sake of not being alone, sacrificing a potential lifetime of happiness to avoid getting hurt. He criticizes the social norm for dating, how we tend to go for the opposites, those who will make us feel bad about ourselves. Wale additionally doesn't come across as sexist at all, which is usually the problem for most of these types of songs; he carefully chooses his words so that he says that "hey, it's both of the sexes' problem, not just one side." He discusses how sometimes we play it safe in order to avoid being hurt, something that all of us  have done.

This would have definitely been higher if not for one thing, and that's the annoying appearance of bed springs in the song. I get why they're there, but it can be so obnoxious sometimes. Still, though, the strong lyricism of Wale in this song was a pleasant surprise; I can only hope his future material is more like this.

12. The Story so Far - Things I Can't Change

Pop-punk is my favorite genre; always has been, always will be. I love the togetherness it brings, the whole philosophy of us putting aside our differences and just enjoying the music. Every pop-punk show, even if the crowd isn't active, they're usually extremely nice to one another. It's just the camaraderie that I feel whenever I think about pop-punk when I think about it.

The genre has seen a rise lately, most notably through bands such as The Wonder Years and The Story so Far. Gone are the days of running around naked in the middle of the street (blink-182), and ushered in is an era of a more mature albeit more melodramatic form of pop-punk. The feeling is still the same to me, though.

Here's the thing about me: even if I don't agree with the lyrics, if I feel that the singer was being sincere enough I can always be down with that. (As an aside, if I think they're being sincere and they aren't, then I'm straight up wrong. End of story.) Here's where "Things I Can't Change" comes into play. To me, it's the best song the band has ever written, bar none. Most will disagree with me, but the musicianship on this song, for a pop-punk song, a genre infamous for its simplicity, is incredible. There are so many subtleties with the way the guitarists and drummer work together, complemented by Parker Cannon's ever-improving vocals. He doesn't have the best reputation, but there is no denying that he might be one of the best pop-punk vocalists that picked up a mic. He has what it takes to become huge, and that's uncommon for a rock band these days.

Like I said, I am not a personal fan of the lyrics in the song, but Parker seems to really mean it when he sings. I can't argue with that; honesty is really the best quality in lyricism. The instrumental portion of the song is what really did it for me, though, nothing is too complex but the way is meshes together reeks of a band with maturity.

11. State Champs - Elevated

Here is the complete other end of the pop-punk genre, the happy-go-lucky band. State Champs has been gaining popularity slowly, and since their debut album The Finer Things took off, they've been doing very well. The main reason is that the lead single from that album, "Elevated" really took the pop-punk world by storm.

The lyrics are undoubtedly positive, accompanied by a main guitar riff that does the mood justice. There's just too much to like in this song, and there are barely any negatives. It was a very impressive debut single for a band that hadn't even released a full-length album yet. Hopefully, they are able to build on this. Not too much to say here as well, other than the fact that State Champs is a really likable band and I hope they stay that way.

10. Daylight - Life in a Jar

It's been too long since we've had a truly great grunge band. Of course, time has changed, but grunge is really what changed rock after the disaster that was hair metal (seriously, how was that even a thing). Daylight fits this mold perfectly, though, and it looks like they've gotten the attention of everyone.

You know that band that always seems like it's about to push into mainstream charts at any moment? Daylight seems like it's poised for that breakthrough any day now. They have this great mix of Nirvana, Soundgarden, and Chevelle wrapped up into one. Now, mind you, I think Nirvana and Soundgarden are two of the greatest bands that ever lived, so Daylight has to live up to some huge names. They have the potential to do so, though.

Just listen to "Life in a Jar" and tell me you're bored. Everything is interesting about it; it's an incredible mix of old-school grunge with new-school hard rock. By the way, they may just have one of the best drummers in all of rock today; the way he brings up the anticipation of a song is reminiscent of a younger Dave Grohl. If any band is going to change the direction of modern rock, keep an eye out for Daylight; it's only a matter of time.

9. A Loss for Words - The Kids Can't Lose

I have to admit, up until a week ago, I didn't care for this song. That was, until I saw their (admittedly) cheesy music video, and finally bothered to listen to it. It's about depression and thinking about ending it all; nothing new but I like the way they tackle it. They don' try to get too cute by trying to become overly metaphorical; a song like this calls for something more direct. That's what was delivered here, and it serves as one of the perfect songs for someone feeling down.

It seems really cheesy, and it probably is, but sometimes that what people need: a song to pick them up while down. Little things like that, with positive messages spread throughout the song, can go a long way for some individuals. I'm perfectly fine with that, and at the end of the day can only help someone.

Musically, it's a typical pop-punk song, only more cohesive. It's nothing special, but in a song that revolves around a message, you really don't need intense musicianship. I like how aggressive it sounds compared to many of their other songs on their 2013 release Before it Caves. Mind you, I like the album a lot, but this song is definitely my favorite on there. It took "The Kids Can't Lose" to make this album stand out, and that certainly deserves some recognition.

8. Killswitch Engage - In Due Time

I've always been a huge Killswitch Engage fan. Like, a really big one. Too big, actually. They're my favorite band, after all. I like every album they've ever done to varying degrees, and more importantly I'm a fan of both vocalists they've had: Jesse Leach and Howard Jones. Leach was on-board for the first two albums, Jones the next three, and finally Leach again on this years' release Disarm the Descent. Personally, I'm a bigger fan of Leach because I find his voice more versatile, but I always respected and loved Jones as well.

That was the big debate coming into this album, more specifically when the lead single "In Due Time" debuted. It had been about 10 years since Leach first departed from the band and Jones took over, propelling the band into mainstream territory. Would Leach be able to succeed? Succinctly, yes.

It's one of the more aggressive songs they've written, and considering this is a metal band, that's saying a lot. The lyrics concern expanding your horizons and self-improvement, a fitting song for such a veteran band. Everything sounds great, from the drummers to the guitars. Leach is really what makes this song special, though. I always thought he was great on the first two albums, but he really shone bright here. His screams have perfect pitch, and his clean vocals are even better. It just sounds so smooth and natural, something that metal bands often struggle with. I was incredibly impressed with how Leach was able to take a fairly standard (although quite good) Killswitch Engage song and turn it into possibly their best effort.

The album itself is one of my favorites this year, but that just may be my bias. Killswitch Engage, mostly due to this song, has become my favorite band. Jones leading them, Leach, I don't care; this band has always been at the front of the modern rock scene; this song should allow them to continue their popularity, and it is well deserved.

7. The Wonder Years - Dismantling Summer

I'm a big believer in second chances. Whether it be in music, personal life, or general things I really believe that everything deserve at least a second look. With that in mind, let's talk about The Wonder Years. Yes, I know another pop-punk song made it on here. Shocker. Hey, it was the biggest year for pop-punk in nearly a decade, you knew this would happen.

They were known for their oft-goofy lyrical style, but really resembled pop-punk at its roots. Over time, though, this started to change as the band matured. They ditched the silly lyrics and became more serious, much to the chagrin of many fans. It did, however, allow for them to broaden their range, and this is where I truly believe they've capitalized on.

I'll always like The Upsides better than anything they'll ever put out, but to be fair that album is a pop-punk classic. As long as they release good music, comparisons are going to be irrelevant. Keyword: good. I hated "Dismantling Summer" when it came out. Like, absolutely loathed it. I thought this band was done for after such an atrocious song.

Being the believer in second chances, I really tried to let this song grow on me, and wow it really did. I don't know what happened, but I've never seen a bigger transformation in a song than with this song. Maybe it's because I've changed as a person, maybe it's because I overlooked something? I'm not sure, but this is another one of those songs I can't really explain. It just seems like everything came together on this track: vocals are flawless (as usual), the drumming really complements the tone of the song, the guitar riffs drive the attitude of the song. It's a pretty emotional song, too, so it was important to have everything perfect. I'd say they succeeded in that department.

The lesson here, kids: second-chances are important, because you won't ever question what you missed out on.

6. Echosmith - Cool Kids

I wish I was cool. Sometimes. At least in the conventional sense. I've been a misfit all my life; I never could stick with one group. This isn't sour grapes or anything; that's just how I am as a person. I have friends, many actually. This is probably the only time in my life, I've fit in with an actual group of friends, so yeah I've been there.

This is a running theme of "Cool Kids" by Echosmith, off their debut album Talking Dreams. It's really Silversun Pickups-esque, which isn't an insult by any means. In fact, lead singer Jamie Sierota (they're all siblings in the band, of course) sounds amazing in this song. Her falsetto is so subtle yet so charming. The vibe in this song is so relaxed, but it remains interesting in its entirety.

Considering that all the band members are quite young, they have so much time to develop as artists. This song is great, considering that only two of the four of them are really adult-aged. They have time, is what I'm saying, to build on such a strong song. Please, executives at Warner Bros., don't screw up Echosmith like the executives in Fueled by Ramen did with Paramore. What makes Echosmith awesome is that it feels like a genuine band, not three dudes and a female singer. They'll become popular off their music itself, there's no need to overexpose Jamie to the spotlight like what happened with Hayley Williams.

5. B.o.B. - John Doe

I'm probably as surprised as you are to see this here. I don't even like the majority of B.o.B.'s music, at least the music he puts on now. Sure, I was a fan of "Nothing on You" and "So Good," but I find "Ray Bands" to be terrible. I guess the only way I can consider myself a fan of B.o.B. is if his songs are more meaningful, and less shallow.

So, let's make a song about addiction! That's not a cliche topic at all! That's probably the normal reaction to have here, but I was shocked by how good it was. There are so many layers to the topic of addiction, that it really becomes multi-dimensional. It goes through the perspective of the person who's an addict, and eventually goes into a concerned loved one.

The main hook of the song is "John Doe, I just want the John I know. Once you put the drinks on hold, maybe you can come back home." Home in this case is both a literal and figurative noun, a very popular poetry technique. That's what this song reminds me of: very poignant and meaningful poetry. You feel that B.o.B. had someone close to him almost ruin his life due to an addiction. The emotion in this song is strong, because it illustrates exactly how we feel about someone with an addiction.

It isn't just "oh I'm mad that he/she is an addict," it explains why people can succumb to these pressures. It never excuses it by any means, but it serves as an understandable explanation. The guest star Priscilla was the perfect choice for this song, as her voice is strong but not obnoxious; it really fit the song well. B.o.B. did a great job of playing addict, loved one, and psychologist. The inclusion of multiple perspectives and personalities is what really drove this song up the list. I really hope that this is a sign of things to come, because I feel B.o.B. has the potential to become the next big rapper.

4. Dead Celebrity Status - Dancing on the Sun

Most of you have never even heard of them, and it's easy to see how They were starting to get some steam in 2004-2005, but did not record another album until this year. Their sophomore effort, entitled The Throwaway Kids, really felt like they finally had an identity. It was a great album, one of the best I heard all year (I'll deal with that list in another post).

All of the songs were fun to listen to, but this one stands out to me. I'm usually a sucker for anthems, and this is no different. It's blatantly about fighting for what you believe in, and rectifying the past mistakes. Funny thing, this was originally at 15, but I decided to make it jump all the way to number 2.

So the natural question is, what changed?

Simply put, this is one of those really "special" songs, where everything comes together. It starts off with a really calm guitar riff and someone singing over it; you really don't know where it's going from there. The two main rappers in Dead Celebrity Status are Yas and Booby, and they sound so aggressive here. The topic is a criticizing of the ignorance, the apathy of modern society, how we must fight for what we deserve. It's something that is a universally relateable subject.

In addition, the beat is pretty hard on the bass, which fits the song perfectly. DJ Dopey does a great job of subtly adding synths to the song without distracting from it. The lyrics, the unpredictability, the beat, the overall experience made this a pleasure listening to. Seems like 7 years was well worth the wait.

3. Macklemore - Can't Hold Us

******Note: this song was released in 2011, the album in 2012, but the song finally charted in 2013, so this pick gets to hold for me******

There's no way I can justify this right? Macklemore? A number-one hit in the country for two months? One of the most overplayed songs of the year? Surely, Ashwin, you jest.

I really don't know how to explain myself clearly though, I just get really amped whenever I hear it. Isn't that the idea of the song though? It does its job perfectly. It's supposed to get you excited for everything, and it isn't like Macklemore is a bad rapper to begin with.

He is a fresh face in such a shallow mainstream hip-hop scene. Ryan Lewis and Macklemore are independently producing all of their songs, and the fact that they have become so popular is so indicative of their work ethic. That is so admirable, even if I absolutely can't stand "Thrift Shop."

You know what makes this song amazing? That chorus. That. Awesome. Chorus. Ray Dalton better be a star soon, because the man can sing. That's really what propelled this almost to that #1 spot, because it's hard to think of a lot of songs I immediately fell in love with like this one. (Obviously by its placement there is one more I like more than this.. Speaking in hyperbole in fun though.) It's a fairly long song too, so for a nearly 5-minute song to keep you interested is no small feat.

I don't care if this song was overplayed, I don't listen to radio anyway! The bottomline is that this is one of the best pop songs I think I've ever heard. Macklemore's flow in this track is nearly flawless. Flawless. Think about it; I really can't gush enough about how much I like this song. The lyrics could have been about how awesome baby ducks are for 10 minutes and I still would have loved it. That's how good the producing, the flow, the chorus, the interludes, the atmosphere of this song is. I can't understate it enough, how awesome I feel whenever I hear this track.

Probably will get so much dissent for this, but I honestly could care less. Why? Because I'm listening to this song right now, and I feel really good about myself for keeping it this high up the list. Any song that can successfully pull off a Bob Barker reference will always be great in my book. This is one of those tracks we'll be talking about years from now when we reminisce about the 2010's decade.

2. Dance Gavin Dance - Acceptance Speech

Really, though, any one of the songs from the Acceptance Speech album could have taken this spot. It's that good of an album. Probably my favorite of the year, but I'll decide if that's really the case at a later date.

If you haven't noticed, the running theme in this blog post is cohesiveness and how well everything meshes together. Look no further than Dance Gavin Dance, a band in constant lineup turmoil since their inception, largely due to their unstable former vocalist, Jonny Craig. He nearly left the band for dead once, in 2007, and again in 2012, the latter of which nearly dismantled the band. When they hired Tilian Pearson, I was not a huge fan of his work, so I easily dismissed it. However, a closer look into Tides of Man and Tilian's solo album really gave a newfound appreciation, eventually making him my favorite vocalist.

The title track is really good. Really, really good. I've played it between 100-200 times since Acceptance Speech the album came out, and I haven't gotten sick of it once. Not once. Why is it on here, and not something like "Jesus H. Macy," which may be a better song overall? Honestly, it's just due to the fact that this is the most aggressive song that Dance Gavin Dance has ever written.

Jon Mess, the screamer, just sounds angry in this song, while Tilian's soothing clean vocals provide an equilibrium. In the past, Jon's screams were more chaotic than serious, but with this new sound, he is simply fired up. It makes for some great moments, such as after Tilian's first verse, when the song slows down. Tilian was great on this song as well, no need to further elaborate.

Dance Gavin Dance is notable for their intricate guitar-work, led by longtime member Will Swan, and equally intricate drumming led by Matt Mingus. This song has all of that, but again the shift into a more dark tone was much needed here, and it was something I wasn't expecting. The great bands keep their listeners on their toes at all times, and Dance Gavin Dance delivered here.

By the way, that uplifting ending "I'm the one, I'm the one with my hands around the gun, I am not afraid, I am not afraid," and later on combined with the lyrics "So what I'll die alone, all right." It serves for a fearless call to arms, something that this band, through all they've been through, deserves to do. Having been an enormous fan of this band for over 7 years, it was something that I really felt along with them, even if I wasn't emotionally, mentally, or physically there with them. It speaks volumes about a band's work when they can make a listener feel with them.





So, if you've read all this, congratulations. We're almost there.... or you can just scroll. Do whatever you want; it's your internet browser, after all! Here are some honorable mentions with some quick takes on each song:

Honorable Mentions
The Swellers - Becoming Self-Aware: Fun song, love the drum work.

Tilian Pearson – Someday: I love Tilian's voice.

Streetlight Manifesto – Ungrateful: Streetlight is back, and so is ska!

Direct Hit! - The World is Ending (No One Cares): I care.

August Burns Red - Provision: August Burns Red makes a better album than Messengers?

And now, what I believe was the best song of 2013:

1. A Lot Like Birds - Next to Ungodliness

I've had very intricate and detailed explanations for the 14 other songs on here. Ranging from beautiful lyrics to tight musicianship, I've said it all on here. There was one small thing I left out though: I love balls-to-the-wall, crazy, chaotic music that makes me absolutely fired up. Last year's list was full of that: I had a song by NOFX and Every Time I Die each on there, but here I didn't really have that.... until now.

A Lot Like Birds is probably the most underrated band out there right now, probably because of their massive infusion of styles. Post-hardcore, experimental rock, post-rock, progressive, metal, alternative, punk, all of these combine into what is considered to be one of the top bands right now. What I'm saying is, every member of this band is musically competent, so when they make the music they make, there is always a reason for that song to have that sound. For example, they might make a ballad not because there has to be a ballad on the album, but because that's what the lyrics or the mood call for. They're really smart artists is what I'm saying here.

In this case, chaos is the running theme. "Next to Ungodliness" is not only fulfilling in that, but also is an incredible piece of art. There is nothing bad I can say about it, nothing at all. It has everything you could ever want: perfect screams, great clean vocals, complex drum and guitar work, creative bass lines, a key change, tempo change, all of it. There is not one moment when the user can relax, because there is always something changing in the song. This song is the definition of entropy, a concept that I entirely am a fan of, especially in music.

On a grander scale, let's just ignore how crazy this song is. For all the aspiring musicians out there that are trying to learn and get better, this song should serve as a great indicator. As I mentioned earlier, there are so many musical elements to this song mainly because of 1) A Lot Like Birds' versatile repertoire, and 2) the constant shifting in this song. Song writers, take note, you don't have to make an aggressive song like this, but keep things interesting and engaging like with "Next to Ungodliness."

Lyrically, A Lot Like Birds has always revolved around metaphors and analogous statements. Here, it's discussing change seen through objects such as a "crystal ball" and an "uneven mirror." It's about introspection, changing your frame of mind in order to get better at the game of life. Coping with your inner self constantly changing, just like the song is. The person wants to stay the same way, and is not ready and uncomfortable dealing with this change. From a psychological perspective, this is such an interesting topic to discuss and research. It's so interesting how they took something so simple like changing, and made it into this grandiose statement of self-awareness and looking deep into your consciousness.

Bottom line, there are so many moments that I can point out and say, "there it is, that's why it's #1." That spoils the fun for you, though. Even if you aren't a fan of screaming, pay attention to just how dynamic this song is; even if the vocals don't excite you, the appreciation for the song won't cease to exist. I had a lot of trouble choosing a good #1 for this year, but without a doubt in my mind "Next to Ungodliness" by A Lot Like Birds was that song. Everything about it is amazing, and I can only hope that you will consider listening to it.

Well, that's my list everyone. It was quite a long read, and an even longer write. Still, though, music is quite an interesting beast. It's probably the one thing you can never stop talking about, and that's what makes writing lists like these so fun for me. I hope that you had fun reading this list, and maybe get interested in some of the artists that I mentioned on here. Cheers to an even better 2014!

Tilian - Material Me

Released: March 19, 2013
Record Label: Vital Records

Tilian Pearson is one of those vocalists that take time to grow on you. For those who are unaware, he is typically a vocalist for post-hardcore bands, and has moved around a lot. Currently, he is one of two vocalists for the Sacramento sextet Dance Gavin Dance, but his career has been tempestuous. He is best known as the vocalist for Tides of Man, and since garnered much attention from more mainstream bands. After vocalist Cove Reber was cut from Saosin, Tilian tried out for the position, and it seemed like he would get it, but after much controversy he was ultimately not a member. Shame, too, because his vocals would have definitely benefited a band whose future is now probably bleak. He was rumored to be the new vocalist for Emarosa, but that didn't work out, and has finally settled down with Dance Gavin Dance.

Like I said before, his vocal style is something that is an acquired taste; he has a very high-pitched sing and it puts many people off. I was no exception, as I dismissed his work, until recently it grew on me. It's very distinct, one of those voices you would recognize almost immediately. Taking into account his eclectic style and his popularity, a solo album seemed quite obvious. Usually, when a vocalist of a band decides to go solo (especially recently), it is met with mixed reviews.

A short list of such:

Patrick Stump (Fall Out Boy): Released Soul Punk late 2011, and while I liked it, it wasn't met too well with the public.

Matty Arsenault (A Loss for Words): No album, but the stuff he's released is quite boring.

Tyler Carter (Woe is Me, Issues): Amazing voice, and has released great covers, but more of the same with Matty.

Anthony Raneri (Bayside): Radical style shift from his Bayside stuff, a punk band, to solo. It was met very well with the public and critics alike.

Jonny Craig (Dance Gavin Dance, Emarosa): Decent first album, but I can't stand the man as a person.

Most of all these vocalists (with the exception of Raneri) have released very pop-oriented material, and Tilian is no exception. What separates him from his contemporaries, however, is that his voice has perfectly complemented the musical accompanyment. It's a strange vocal style, remember, so it's difficult to pull off, but he did a wonderful job doing so. Let's take a look at this album as a whole, then each individual song.

Album as a Whole

This record flows perfectly. There is a good mix of slow ballads, and dance material. Each song is easily identifiable, despite staying in the same key throughout. It's normally a hard task to accomplish, because sometimes these songs can just mesh together and run the risk of being same-sounding.

Does this album push the boundaries of pop music? No, not really; but while most of pop can have obnoxious synth riffs or overbearing vocals (Flo Rida or Beyonce, for example), Tilian seems to have struck that perfect balance. A good example of this is "Up in the Air," one of the singles. There's a slow build throughout the song, and the ending gives me goosebumps every time I listen to it. Even when Tilian hits his higher range, it's doesn't feel like it's too much; each song calls for a different way of presenting his voice and he delivers.

The prevalent theme of the album's lyrics deal with love. I know, it's not too groundbreaking, but I find them very thoughtful and not conceited (for lack of a better word). When he has to criticize himself, he does, when he talks about the faults of someone else, he does. It's a very nice thing that's uncommon; none of the lyrics I encountered are malicious by any stretch of the imagination, and never comes across as whiny. It's unusual to see in love songs nowadays, and it's a breath of fresh air.

I would give this a 10/10 without doubt.

Short Takes on Songs

1. Now or Never (featuring Tyler Carter of Issues): It's a dance track, and a good opener. It's certainly not the best on the record, but sets the tone of the album. It's a triplet feel, which you don't see in too many pop songs. Good way to start the album. Tyler Carter has a cameo on the bridge, and surprisingly the two work together very well. 8/10
2. Someday: One of the best tracks I have heard in a long, long time. It's a song of the year contender for me. Tilian's vocals fire on all cylinders, and the music is great. The electronic drums in it complement it very well, and the guitar work is great here. This is a wonderful listen and I recommend it for anyone, not just pop fans or fans of Tilian Pearson of Tides of Man. It's about dealing with growing up with someone and reminiscing about more innocent times. He doesn't want to give up on his love interest because of the great times they had together when they were younger. It's an amazing track, and it's one of those songs that makes me emotionally in tune with it, which almost never happens with me. 10/10 (if I could go over 10 I would).
3. Waste my Time: ... and the pace picks back up. It's catchy, I can dance to it in the shower (don't judge me), and has a very anthemic chorus (especially the ba-da-da-da-da-da part at the end of each one). The drum work here is simple yet extremely effective. Another stud from here. 9/10
4. Chemicals: This is the first single from the album, and is probably the most upbeat. Follows the same structure from "Waste my Time," and has an even better beat. It's driven by chilling synth riffs. Only problem here is that Tilian's voice are sometimes too high when they shouldn't be, but it's not distracting. 8/10
5. Up in the Air: It was the first track I heard from the album when I got it. The falsetto that Tilian does is amazing and it flows well into the chorus. The acoustic backing here is really relaxing, and the lyrics are very relatable. It's about having your life in the balance, and making the right choices. Towards the end, the acoustic fades into a more heavy electric guitar riff, and back into the acoustic. It's not a new thing in music, but it's done so well. His singing at the end is something to listen to; not like anything I've ever heard from him or anything else. 10/10
6. You'll Forget Me Soon (featuring Sofia Sweet): One thing I like about this album is that everytime there is a softer song, it comes back into something catchy. This keeps the pace constant and doesn't ever become boring. The synth line in the chorus is pretty neat, and Tilian doesn't over-exert himself. It's not one of the stronger tracks, but still good nontheless. 7/10
7. Favor the Gods: Tilian is fighting with his psyche, and isn't satisfied with the status quo. Something has to change; this is the first song that changes to a new key (for those who don't know what a key is, just think of it as the sound of a music, how the music notes are arranged, etc.). The transitions from verse to chorus back to verse are pretty nice here, and the beat is very steady. 9/10
8. Perfect Lie: One of the fastest songs on Material Me. Let me reiterate, I love the way that this album switches up the speed and tempo every track. The electric guitar ridden beat is great, and puts Tilian in less familiar territory in terms of the rest of the album. He does it great, though, and I can see this becoming a hit (maybe, depending on how he's marketed). It's a very poppy song, so be prepared for the mainstream sound, though you should have been before listening. 10/10
9. Ghost: The slow buildup with the synth and then Tilian coming in with his strong vocals is a nice touch. This mid-tempo ballad is one of the best on Material Me, and is very different vocally from the rest of the album. Tilian experiments with his high range a lot more. His voice is a bit processed here, but it works well with the song. 10/10
10. Flutter: Back to the dance tunes. Not a very strong track, but it's charming in its own right. Not much to say, but I enjoy it. 7.5/10
11. Feel it Again: The album closer, and oh, what a closer. The beginning reminds me of Ne-Yo's "Let me Love You," a very underrated dance track. It's about living out the night so you don't worry about the future and the panic that comes with that. This is something that someone wanting to party and forget about the stresses in life should definitely put on. Normally, this would be my favorite, but seeing as how the album is just so amazing, this barely makes the top 5. Oh, and I usually don't have an ear for dubstep, but it oddly works here. I don't know why, but it's just a weird touch that I think is really interesting. 10/10

Final Thoughts

Out of all the solo projects released in the past few years, Material Me has to be by far the best. Not just that, it's one of the best pop album I have heard in year. I don't listen to a big portion of the Hot 100, but I keep track of what's popular. I have to say, this fits right in while having its own distinct sound. This is, to no surprise to anyone who has listened to the album, a must listen for fans of all genres. It flows well, is always interesting, and never loses a step. This is my favorite album of 2013 so far, and may well stay that way.

Album Rating: 10/10

The Story So Far - What You Don't See

Released: March 26, 2013
Record Label: Pure Noise Records

I don't like Pure Noise Records, let's be clear about that. There are exactly two bands that I like on it: Daybreaker and the band I'm reviewing today, The Story So Far. For those who don't know, The Story So Far is a five-piece band from Walnut Creek, CA (about an hour from where I live) with pop-punk, punk, and hardcore influences. They developed a reasonably big following in the East Coast before signing with Pure Noise, before releasing their debut full-length, Under Soil and Dirt, in 2011. The album was a somewhat short record that was well received by the public and critics alike. Off the momentum of two singles, "Quicksand" and "Roam," the latter of which was my favorite on the album, their following grew exponentially. Now, in late March they are releasing their long awaited sophomore album called What You Don't See.

So, as some of you may know, many bands experience that "sophomore slump," and subsequently lose whatever momentum they had gained from the debut and before. Going into this record, I kept in mind that this could very well happen to a band that I have seen live and love listening to. At the same time, what made TSSF so good was the pure emotion that vocalist Parker Cannon elicited on nearly every song (a notable example would be "Daughters" on the debut).

The first song I heard from What You Don't See was "Right Here," which was slightly different from the Under Soil and Dirt album, but I still really liked. It took a few listens to really appreciate it, but when I did I decided that it was one of the better tracks they had released. They released another song, "Like Glass," which I actually didn't hear till listening to the album as a whole. That being said, the leak for the album was put out, albeit in bad quality. I couldn't resist getting it, though I had the album on preorder as part of a promotion the band did.

This is my first album review for the blog, so I'm going to divide this actual review into two parts: the album as a whole and a short take on each song. Enough background, let's get to it:

Album as a Whole

Usually when I listen to an album for a first time, I don't pay attention to lyrics, just how it sounds in general. So, this would be generally how the songs blend together, how the instruments on each individual song mesh together; it's just a chemistry thing I suppose.

What You Don't See is pretty different from the debut Under Soil and Dirt, but don't be fooled; what made that album great is present on this one, but with better sound. That sounds badly worded, but what I mean by that was although there is a different tone and overall sound, it still takes what was good from Under Soil and Dirt and adds on to it. The only flaw with this new album was the transition from the "slower" songs (quotations because that's really not the case, but it's all relative) from the opening track "Things I Can't Change" to "Stifled" seemed a bit rushed. I believe that's more of a production problem than anything else, but there should have been more of a smooth transition.

Otherwise, the album flows well, and the subjects of the lyrics (ranging from bad relationships to distance to loneliness) don't completely throw me off guard. The sound is consistent throughout the album, with Parker sounding better than ever. His strength is, though he doesn't have a strong voice like with Matty Arsenault (of A Loss for Words) or Ben Kotin (of Such Gold), the aforementioned emotion he puts forth is really present here. This is so with the other vocalists, but for me personally I can genuinely feel what he feels, even if I can't completely relate to what he is saying.

As far as the instruments are concerned, drummer Ryan Torf has really stepped up his game. He knows when to slow it down and when to speed up into his double-time drumming when appropriate. The songs don't just feel fast for the sake of it; this is a difficult concept to convey, but with a lot of pop-punk bands, especially those that try to have that hardcore tinge, the drumming is usually discordant with the rest of the band. The guitarists didn't really change much from the first album, but they still sound great. It's a different key than the first album, but the type of band that TSSF is didn't really change much.

Overall, I'd give this portion a 8/10, for the general sound being good but clumsy transitions here and there.


Short Takes on Songs

The songs here are generally great, and the songs individually are great. Some do fare out better than others, though:

1. Things I Can't Change: This is a great opener for the album. Starts out with a tom-heavy beat led by Kofin, and Parker shows exactly what we're in for. Probably my favorite on the album for how well it all comes together. 10/10

2. Stifled: As I mentioned earlier, the transition to this song is a bit clumsy, but it eventually picks up. It's about dealing with distance and the insecurity that comes with a long-distance relationship. The lyrics are wonderful, but I didn't think this song came together like the preceding did. 7/10

3. Small Glass: This is what I am talking about. This is most reminiscent of their older material, and Parker just sounds awesome. It deals with hiding insecurity and having "small talk" (pardon the redundancy) to hide everything. Great song, and a must listen. 10/10

4. Playing the Victim: Another good song, and it sounds different than the rest of the album. There's a lot of metaphor here, for example when Parker claims "That air that dries your lungs/But you kept our trust." I'd check it out. 9/10

5. Right Here: This took some time to grow on me. It's really different from most of the album, but honestly I think it was a great choice for a first single. The song is about how even being with someone you can still be alone; not a new topic but I love the way Parker goes about it. The guitar work here is my favorite on the album, and it really is a must listen. 10/10

6. Empty Space: This was the first music video released for the record. It's very anthemic, and will be a staple live. Not much more to say, as it isn't one of my favorites on the records but it has a good place in my heart. Extremely catch, I must say. 8/10

7. Like Glass: Most people claim this is their favorite on the record, and I can really see why. What a chorus: it is just so catchy and fun to sing along with. Parker sings in his higher register the entire time, which can come across as trying too hard to be emotional, but that is not the case here. One of the few songs that doesn't start immediately; there is some buildup and it really works for them. 9/10

8. All Wrong: I love the drum work here. I love it, absolutely love it. The chorus is my favorite on the album besides "Things I Can't Change." The lyrics, from what I interpreted, deals with denial and is one of the stronger lyrical tracks. Need I mention, it's incredibly catch and the solo at the end is simple but effective. 10/10

9. Bad Luck: It's about taking the blame and being in denial (again). Parker's vocals on the chorus and each subsequent one gets stronger. It's one of the shorter songs, but it says all it needs to say. 8/10

10. Face Value: I thought this was a little boring, to be honest. It's not bad, by any means. It seems a bit rushed, though. I must say that the guitar work in the bridge was pretty cool. It seems to drag, however, and that's ultimately what hurts it. 6/10

11. Framework: This is a short record, and the closer here is one of the longest, clocking in at 3:07. I just love the opening to the song, as it feels like a satisfying closer. The guitar work here is one of those things you want to hum along with. It's about dealing with an evolving complexity of a failed relationship. Everything comes together and forms an absolutely great closer. Whatever momentum that the opener built and was sustained was ended brilliantly here. 10/10


Final Thoughts

For anyone that listens to pop-punk, this is definitely a must have. The Story So Far definitely didn't disappoint with their sophomore year, and even might be a game-changer. It was a great album, and I hope that What You Don't See will further propel The Story So Far up to where they deserve to be with popularity. One of my favorite releases this year, for sure.


Album Score: 9/10