Albums of the Year

So my songs of the year was met with mostly mixed review, as expected. Music is such a subjective thing, but I feel I justified enough why I liked what I did. For better or worse, my opinion really hasn't swayed all that much. I did want to give an honorable mention to "Desert Lily" by Make Do and Mend, which is a fantastic closer off their newest album.

Speaking of which (hella good segue, or what), I realized I hadn't made my albums list yet. My explanations won't be paragraphs long this time, but more a general sense of the album along with notable tracks. Without further ado, here's my Top 10 Albums of 2012:

10. Everything you Ever Loved by Make do and Mend (Released by Rise Records)

Admittedly, I only got into this band this year, so my knowledge of them isn't very vast. I have had the privilege of seeing them live, and love their preceding album, End Measured Mile. What pushes this album over the top is that there is considerably more flow to the album; this will likely be a hotly debated point. I felt that while End Measured Mile was a good album, it felt a bit disconnected as it wore on. People may disagree, but I didn't feel that way with their sophomore effort; all the songs were individually great and complimented each other. Oh, and a wonderful closer; one of the best I've heard in a while ("Desert Lily"). "St. Anne" was my personal favorite because of how calm yet sincere it is. When the album has to take a turn for the heavier ("Disassemble" and "Lucky"), it does so perfectly.

Notable Tracks: "Disassemble," "St. Anne," "Desert Lily," "Lucky"

9. Gallows by Gallows (Released by Venn Records)

It's the typical new vocalist vs. old vocalist debate. I love Frank Carter and believe he was the face of the band. Debut Orchestra of Wolves is one of my favorite albums of all time (title track pretty much doing it for me), and the follow up Grey Britain was well-done, too. Carter left last due to creative differences, and enter Canadian Wade McNeil, formerly of Alexisonfire (one of my favorite bands). It would mark a significant change in sound, right? Well.... not really. Gallows had to adjust a little bit to fit McNeil's vocal style, as they were used to Carter's more eclectic style. The overall sound, much to my surprise, didn't get away from the typical Gallows-record all that much. Single "Last June" and awesome opener "Victim Culture" set the tone for the album, and remains consistent throughout. I was very surprised at the overall quality, even if it isn't perfect at times (on a bad day for me, it feels repetitive). Impressive album, though. It wasn't so much McNeil I doubted (remember.... Alexisonfire fan) but how the band would adjust. Seems it was a good fit.

Notable Tracks: "Last June," "Victim Culture," "Outside Art," "Cult of Mary"

8. Transit of Venus by Three Days Grace (Released by RCA Records)

I'm most likely going to get the whole "your music taste sucks" and "you know nothing about good music" attack. Bite me: this album is awesome. Love it from start to finish, love every track. I've been a Three Days Grace fan since 2003 and can safely say this is by far their best effort. So much variety on here, from slow-building opener "Sign of the Times" to hard hitting "Chalk Outline" to strange cover "Give in to Me." The only reason this isn't higher is because of that Michael Jackson cover "Give in to Me." I could not get into it at all; it's not really bad (Breathe Carolina's version of "Billie Jean" made my ears bleed), but covering Michael is so very tough because of all the personality he injected in his songs. That aside, it's a great album by an improving band.

Notable Tracks: "Sign of the Times," "The High Road," "Chalk Outline" "Unbreakable Heart"

7. Maybe Today, Maybe Tomorrow by We are the Ocean (Released by Hassle Records)

As I stated in my Songs of the Year post, I believe this is a very underrated band. Reason being: Liam Cromby is simply a fantastic vocalist. He has a large range, smooth sounding voice, and generally does a great job of making the listener feel the emotion he sings with. Now, the obvious issue here is the departure of former vocalist Dan Brown, who complemented Cromby's voice wonderfully. To be completely frank, though, while I loved the duo, there were some duds that prevented the band from really putting their best feet forward.

Enter this new record, which marked a dramatic shift in tone and style, going for a more mainstream-sounding alternative sound as opposed to their older post-hardcore records. No matter though; I thought they did a great job with it, and like I mentioned earlier, the catalyst here is Liam Cromby. Every song on this 10-track album is a nice listen, but the standouts really push it further. "Bleed" is a catchy, yet hard-hitting tune highlighted by the drumming by Tom Whittaker. I mentioned why "Young Heart" was so good in my previous post, so check it out there. The other standout was "Golden Gate," a slow-builder with an incredibly catchy bass line. The only reason it isn't higher is because of the short length, whether they intended it or not. It's barely thirty minutes, and only nine full-length songs (when you exclude intro "Stanford Rivers"). I'm looking forward to more from these guys, though. They have a lot of potential that they're finally starting to use.

Notable Tracks: "Young Heart," "Bleed," "Golden Gate," "Chin Up Son"

6. Food and Liquor II: The Great American Album Part I by Lupe Fiasco (Released by 1st and 15th)

As far as whether or not this album is different, or even any better than the pre-Lasers Lupe Fiasco records, I would say that's up for debate. For me, I don't really see much of a difference in sound, and I don't have a preference. I've loved all of his stuff (including Lasers, though not as much) and feel he's a talented rapper.

So, that aside, I'm going to use this space to explain my position on Lupe Fiasco. A lot of people I've talked to, be it on the internet or in person, have negatively received Lupe's constant "preaching" and conscious style. Many people disagree with what he's saying, or interpreting it differently (or sometimes the complete opposite) than what he intended. All that aside, part of the reason I respect Lupe Fiasco so much is that, yes he can be preachy, but sometimes popular music needs that. Do I agree with everything he says? Not really, but I think in this day in age, even if someone doesn't agree with his message, that's a good thing. People need to think critically about the issues that he puts forth, whether or not you feel the song is portraying an issue correctly. I like "Bitch Bad," for that reason, while many people dismiss it as "slut shaming." I disagree with that assessment that it is "slut shaming," but the fact that you and I can debate this very point is what I feel is important about Lupe Fiasco's music.

It's not that I hate pop music or anything, because there's a lot of shallow pop songs that I love to listen to. The problem, however, comes when the listener is bombarded with only club songs or misogynistic lyrics. We, as a mainstream collective, need something to catapult us into potential debate. So, as a hip-hop artist that is currently one of the most popular figures, I feel it is vital that Lupe Fiasco continues what he does. If you don't agree with me, that's completely okay, but I think I have done enough to justify why I am so high on him.

Oh... and I like his flow. So..... yay me? This will be the longest explanation on the list, so don't look at me like a hypocrite (yet).

Notable Songs: "Strange Fruitition," "Around My Way (Freedom Ain't Free)," "Bitch Bad," "How Dare You"

5. Misadventures by Such Gold (Released by Razor & Tie Records)

So.... here we are in 2012. This was the year I definitively got back into punk, whether it be hardcore punk, old school punk, or yes even pop-punk. Bands like Misfits, A Loss for Words, The Story so Far, The Rabble, etc. have been dominating all my playlists recently. One band that I don't seem to give much credit to is Such Gold, a quartet from Rochester, NY. What makes them so unique is vocalist Ben Kotin's sing/yell vocal-style (I'm bad at these technical terms; if someone wants to correct me here, feel free), and an interesting throwback to more older hardcore-punk. They released "Sycamore," arguable their most popular song in 2010 and have been slowly increasing in popularity ever since.

The new album Misadventures is a wonderful and consistently-sounding album. It starts off with a very catchy opening riff in "Two Year Plan," continuing to a short but sweet "Storyteller," and closing with great closer "You Are The Greatest Threat (The Doctor Will Serve You Now)." The other I failed to mention was  "Locked out of the Magic Theater," which has a great bass line throughout the song. It has a nice blend of catchy choruses with hard-hitting fast-tempo songs. I wasn't originally going to put this on the list, but it has really grown on me. Good stuff.

Notable Tracks: "Two Year Plan," "Storyteller," "Tell Yourself," "Locked out of the Magic Theater"

4. Handwritten by The Gaslight Anthem (Released by Mercury Records)

Blah, blah, I love "45," I'll just continue this TGA jerk. Truth be told, "45" really pushed this farther along the list than the album really deserved. When it first came out, this was my clear-cut album of the year, but something has changed in the last few weeks. Still a wonderful record, but looking back, I like the next three much, much better. That being said, an amazing album with great metaphorical lyrics, complementing guitars, catchy drum beats, the whole package. I won't go off about "45" again, but followup single "Handwritten" was  nice choice because it perfectly illustrates what makes the album so great: lyrics, great guitar riffs, the whole she-bang. I found "Mulholland Drive" to be a grossly underrated track and possibly a future hit, and I thought "Desire" was great. Closer "National Anthem" was a good closer, though a little predictable. It was a fantastic album, just not going to be at the top this year (as I had previously intended).

Notable Tracks: "45," "Handwritten," "Mulholland Drive," "Desire," "Howl"

3. Dark Adrenaline by Lacuna Coil (Released by Century Media)

This album was released about 11 months ago, so I completely forgot this was even a 2012 release. This wasn't going to be on the list for really only that reason, but let's get to it. I've always been a huge Lacuna Coil fan, from the complementing vocals of the ageless Cristina Scabbia and Andrea Ferro to subtle yet pleasant sounding keys to the not overbearing guitars and drums. They took a turn in musical direction in their 2009 release Shallow Life, an album I really like, but failed to live up to the previous records. The dark overtones were seemingly lost, but luckily Dark Adrenaline provides a triumphant return. Lead single and hit "Trip the Darkness" is up there as one of the best Lacuna Coil songs. I generally really don't like 3/4 tempo songs, but somehow they did it right. I feel like I should have included this on the SOTY list, but I'm making up for it now. "End of Time" had me goosebumping because of how shockingly great Ferro was in this song. Scabbia gets all the attention because, well, she's an incredible vocalist, but Ferro gets unfairly overlooked.

This marked a more mature sound for Lacuna Coil, as it sounded better produced yet it kept their darker roots intact. It also took the likeable parts of Shallow Life (mainly the catchy choruses) and upped the ante. This is seen in "Fire," which cliche-title aside, is a wonderful song. I really feel the mix between Scabbia and Ferro was on point in this record, and is stronger than ever. People who dismiss the former as holding the band back, don't underestimate him. Without him, Scabbia is a good enough vocalist to carry the band but I don't feel it would be as good. A great release, nontheless, from the Italian veterans.

Notable Tracks: "Trip the Darkness," "Give me Something More," "End of Time," "Fire"

2. Violent Waves by Circa Survive (Independently released)

There's always that record that completely takes you by surprise. A band that you were mostly indifferent to, but somehow they get it together and produce a truly amazing spectacle. For Circa Survive, it would have to be their opus Violent Waves. This is their first independent release, which means there's no label to potentially hold them back, and honestly it really shows. They took on a more alternative-indie style this record, and that fits vocalist Anthony Green perfectly. Nothing stands out particularly in instrumentation (drum solos, guitar solos, etc.) but this album doesn't call for it. It calls for a perfect blend of everything to ultimately push Green's vocals to his potential. They do a great job of showcasing talents, yet being subtle at the same time.

So much diversity here that I can't begin to describe it. I already explained why "Birth of the Economic Hit Man" (still my favorite off the record)  was so good, but let's give love to the other tracks. There isn't one dud here, and they flow into each other very nicely. "Sharp Practice" might be the heaviest track here, and is showcased by a ridiculous and unexpected opening riff. I love it when Green's vocals just soar like crazy, and this song just does it so well. "Suitcase" was a very logical choice as a single, and that indie sound I mentioned early is very prevalent here. Slower songs such as "Phantasmagoria" and "Blood from a Stone" run the risk of dragging on, but surprisingly they never do. The closer probably battles "Desert Lily" by Make Do and Mend for album closer of the year ("I'll Find a Way"). All I said about there being no standout guitar riffs is completely debunked in this song, as guitarists Colin Frangicetto and Brendan Ekstrom really shine here. It's a long song, and is basically serves as a foil to "Birth of the Economic Hit Man." A truly remarkable improvement over their previous material.

I had a hard time choosing between this and my number one album, and I was thinking I should give a co-#1, but I decided to make it 2 this year. Before I get to 1, let me go over some honorable mentions I missed with some very very short takes:

Honorable Mentions:

• Vital by Anberlin: good return for the boys. Typical catchy alternative music by them.
• The Parallax II: Future Sequence by Between the Buried and Me: I wish I could have given them a spot, but unfortunately I haven't listened to this as much as I could have.
• Living Things by Linkin Park: Shut up.
• Awakened by As I Lay Dying: Not a particularly great album, but it has grown on me a lot lately.
• The General Strike by Anti-Flag: Good stuff from them as usual, but not as good as the older material.
• Self-Entitled by NOFX: Just consider this the unofficial #11.
• In Currents by The Early November: Same as the BTBAM release.
• Penny Black by Further Seems Forever: Drags on, but the highlights are really high.
• Ex Lives by Every Time I Die: loved it when it first came out, but it wore on me by October.
• Periphery II by Periphery. I really wish I could expand this list now. #12
• Get What you Give by The Ghost Inside: same as Anti-Flag. Older material blows this out the water.
• Anarchy, My Dear by Say Anything: Cows go moo.
• Diamond by Stick to your Guns: Positive music, great all around. Was about to give it a high spot, but it's off the list.
• Boiling Points/E.B.A.H. by Tech N9ne: Really stupid moments ("Don't Tweet This"), but Tech N9ne's flow never gets old.
• Southern Air by Yellowcard: Yellowcard's main problem is lack of consistently good songs throughout the record. This had some potential though.

Now, for #1:

1. good kid, m.A.A.d city by Kendrick Lamar (Released by Interscope Records)

Kind of an obvious choice for me, isn't it? Kendrick's material has always been insightful and interesting, and the jump to a major label doesn't seem to have changed him. I'm particularly impressed by his decision to put forth a concept album, which chronicles his life as a teenager with moral values living in Compton and having to deal with a range of problems from gang violence to peer pressure (hence the album title). It's very introspective and I admire Kendrick for releasing this record out to the public.

Every track on here is great, and provides a new chapter into this storybook of an album. "Bitch, Don't Kill my Vibe" is a very relaxed song that actually is a pretty angry track. It's a great mix of emotions. "Backstyle Freestyle" was originally interpreted negatively because of apparent shallow lyrics, but in the context of the album it makes perfect sense. "Swimming Pools (Drank)" is the second single ("The Recipe" being the first) and does a nice job of putting a negative spin on alcohol usage (as opposed to the usual "I'm going to the club and getting messed up." Again, nothing wrong with that but we need diversity in our music). "Money Trees" is centered around a cleverly-used metaphor describing Kendrick's ambition to make success despite being from Compton. "Sing About Me, I'm Dying of Thirst" is a two-parter, basically written in different perspectives about previous life events, even referencing one of his previous songs ("Keisha's Song" off of Section.80).

This album is just perfect, and is one of the best hip-hop albums I have ever heard. Not one dull moment, and it's clear that Kendrick put thought into the lyrics, into every line. His flow fits the mood and style of this album, and it was great to see him using all his talents to the max. Many will disagree, but for me this was a clear-cut album of the year.

Notable Tracks: "Bitch, Don't Kill my Vibe," "Backseat Freestyle," "Money Trees," "Sing About Me, I'm Dying of Thirst," "Sherane a.k.a Master Splinter’s Daughter," "The Recipe"

What a great year for music. I don't know what's being released in 2013 yet, but let's just hope it's as good as 2012.

Songs of the Year

2012 has been an interesting year for music. To give insight into my personal musical taste, I do in fact listen to all music. It's silly when many people claim that they do, yet dismiss a genre like country, metal, rap, etc. Let's get it out of the way: I'm sincere in this fact; I study music as a hobby and as a student as well.

For the purposes of this blog, the idea is to get away from conventional thinking and post what I really believe. There will be songs people don't like, artists people will criticize. These songs may or may not have charted on Billboard's Hot 100 and other sub charts. They may be from a relatively underground band that deserves popularity. I'm going to provide insight into why these songs are in my top 10, and why they are (or aren't) higher on the list, and if you guys and guys agree or disagree with this list, feel free to let me know what should or shouldn't be up there.

So, without further ado, here's my list for Top 10 Songs of the Year

10. "Cell Out" by NOFX (Album: Self-Entitled, released through Fat-Wreck Chords)

Genre: Punk

NOFX has been around for years, and they have kept relatively the same sound for nearly two decades. Many people will praise them for never selling out (pun intended), but the same will turn off many others. Some bands become complacent and start writing music on autopilot. Glad to say, this wasn't the case for NOFX, who is a very socially conscious punk band.

Possibly one of the most self-aware tracks on the album was "Cell Out," which chronicles the band itself dealing with accusations (unfounded or not) of "selling out." It starts out with an interesting guitar riff that hooks the listener almost immediately. It packs a punch and leaves its stain in this barely-two minute song. They sound as tight musically as ever, and the lyrics are something to laugh and be impressed by. They don't do anything too much lyrically, but what it does is tell the story of a fictional girl who preferred the band back in the 90's and is now telling them that they, for lack of a better word, suck.

The reason it's so low on the list is that the album is very good, but it is far from the best song they've released. Punk songs are typically between 1-3 minutes, which "Cell Out" achieves. Problem is, it could have used more storytelling than adhering to punk normalities. Still, though, for what it is, it's a very catchy and interesting song. If you haven't listened to them, give them a chance.

9. "So Cold" by Further Seems Forever (Album: Penny Black, released through Rise Records)

Genre: Punk-Pop/Alternative

I've always been a huge fan of Chris Carrabba (if you don't know him, he's the Dashboard Confessional guy... if you don't know them, listen to "Vindicated." It's off the Spiderman 2 soundtrack). His first band that made a breakthrough before Dashboard was Further Seems Forever, who had an unfortunate hiatus in the mid-2000's. In 2012, they got back together and released a solid, but not great album.

The lead single was "So Cold," which is unfortunately the only pop-punk song that will be appearing on this list. There isn't anything spectacular about this track, but what it does is blend beautifully. The verses serve as a nice buildup to a powerful chorus. Carrabba sounds sincere when he belts his lines, and you really feel for the storyteller.

What made this song better than contemporaries was the simple fact that this was their comeback song, and probably released their best song as a result. You don't see that much in a reunion, and the fact that they picked up right where they left off was impressive to me. It's lower on the list, primarily because of its lack of anything outstanding. It's just a great song that's catchy, emotional, and musically skilled.

8. "Bitch Bad" by Lupe Fiasco (Album: Food & Liquor II: The Great American Rap Album, released by Atlantic)

Genre: Hip-Hop

I love conscious rap. This song is about the use of the word "bitch" when it comes to referring to ladies. While this is now prevalent in society, it seems that the hip-hop world is guilty of this the most. While many liberals will claim that music doesn't affect the youth, it's simply not true. It can lead to misogyny, objectification, and sometimes, yes, even abuse of women. Lupe Fiasco perfectly provides commentary on the phenomenon of language in his music.

There are three faces to the song: a mother influencing her child by singing along to the radio, young girls listening to the misogynistic rap, and when the definition of the word "bitch" hits the real world. Internet reviewer Rap Critic actually provides a great insight on this song, so if you can, check out the review.

"Bitch Bad" actually mocks some of the hip-hop (the auto-tuned part), and it's nice to see some parody every now and then. It doesn't distract too much, and flows well. That's the key word here, flow. Lupe has a reputation for having a near flawless and smooth one. Although I liked his preceding album Lasers,  it didn't stick together too well, and that's what "Bitch Bad" does. It's a consequence of Lupe trying to get his audience to think, and a great beat produced by The Audibles and Jason Boyd pushes this song to the next level.

7. "Underwater Bimbos from Outer Space" by Every Time I Die (Album: Ex-Lives, released by Epitaph Records)

Genre: Southern Metalcore

Most of the songs I've provided some lyrical or musical insight so far. This song, though, is just raw and gritty. This is one of two heavy songs with screaming (the other is next) on this list, and this song just kicks your ass. The breakdown at the end when vocalist Keith Buckley screams "I refuse to be the only man put to rest in a mass graves" just gives me goosebumps on how awesome it is.

ETID has a knack for doing that, though. They sometimes run the risk of sounding monotonous, but this song was a breath of fresh air. It had their signature heaviness, but it brought a new twist with a strange main riff and amazing drumming. If you're into this type of music, definitely check them out.

6. "R.A.T.S." by Cancer Bats (Album: Dead Set On Living, released by Distort Records)

Genre: Southern Metalcore

I might sound redundant as I did for the number 7 song, but what makes this better? The buildup in the beginning. It's just a bunch of distorted night, till amazingly skilled vocalist Liam Cormier takes over. He is definitely the star of a band that has mostly simple instrumentation. All of their albums have been great, but this song packs a punch and is just angry. If a song can provide a believable emotion, and carry it out through vocals and/or lyrics, it sells me immediately. That's what Cancer Bats frequently does, and this song just gets you pumped.

The chorus is the heaviest part, when Cormier screams "There's a special place, for people like you. There's a special place, for all the shit you've done." It's clearly directed towards someone he had in mind, and I would completely hate to be him or her. The bridge is nice too, when it's just a yelp for the majority of it.

What I loved most, though, was the simple chords played right before the last chorus. It's a perfect die down before probably the loudest part of the song. Great stuff, and again if you're into this type of music definitely give them a spin. If not, well good news, most of the list after this is radio-friendly.

5. "Swimming Pools (Drank)" by Kendrick Lamar (Album: good kid, m.A.A.d. city, released by Interscope Records)

Genre: Rap

I had such a hard time choosing what Kendrick Lamar song to put in this spot, because the album is just so amazing. I decided to go with the single instead of the subsequent track, mostly because I know a lot of you have no patience for 12-minute songs ("Sing About Me/I'm Dying of Thirst).

This is the second single released, the first being "The Recipe," which could be the next anthem for potheads in the US. It's the exact reason why I didn't choose it; it's a little silly to be this high up. The album as a whole is a concept album, and "Swimming Pools (Drank)" is a chapter describing Kendrick's desire to fit in with the popular crowd mostly through alcohol. It's a pretty short song for Kendrick standards, but it does the job a radio-friendly track needs to do.

Most hip-hop over glorifies the use of alcohol, and Lamar completely trashes that notion. He doesn't dismiss drinking by any means necessary, but he talks about how people consume it for mostly shallow reasons. The verses are only 8-bars each, but he manages to dispense so much information in it. He talks about why some people drink, and then goes into why he did it himself ("fit in with the popular/that was my problem"), ultimately taking it too far. He then takes on another persona in the second verse who serves to be his personal conscious warning him about his slippery-slope into alcoholism.

Now, I could have chosen other songs off good kid, m.A.A.d. city because this certainly isn't the best song (thank you, "Bitch, Don't Kill My Vibe"), but the fact that this is currently in the top 40 serves to make this list. Anytime you can make a conscious song that goes against mainstream conventions and provide new introspection in a genre that desperately needs it, you are doing something. Congrats, Kendrick Lamar, and may your new-found mainstream success continue.

4. "Ill Mind of Hopsin (Part 5)" by Hopsin (Single-Only, released through Funk Volume Records)

Genre: Rap

... Listen to Ill Mind 4 before you listen to this. In fact, listen to all of the Ill Mind freestyles, because you'll just be thrown off your seats. "Ill Mind of Hopsin 4" was my song of the year for 2011 (speaking of which, my number 2 was "Am I a Psycho" by Tech N9ne with Hopsin/B.o.B. and 3 was "How you Like me Now" by Hopsin with Swizz. Yeah 2011 was almost all rap/hip-hop), so why isn't this at the same spot? Well, to be honest, it just comes down to the fact 2012 was a much better year for music than 2011. It's not the 5 is worse than 4, it's just that the three songs ahead are genuinely songs I like more.

If you don't know Hopsin, basically know that he isn't afraid to take a shot at anyone. He's a very controversial figure, but oh what an interesting one at that. In three verses he rips on frat boys, stoners with no purpose in life, trashy women who complain about not finding a "real man," and the lack of involvement in the ghetto community (he specifically says "black people" but the PC in me won't agree with him). His flow is great as always, and every line is interesting. My absolute favorite line from this song was, referring to those who don't use their heads, "Matter of fact you don't even deserve a brain, GIMME IT!!" That line alone put it on the list. The way he just humbles everyone else pushed it this high.

This song was an instant hit (hitting over 10 million views on YouTube in less than a week) and it's no surprise. Hopsin reminds critics of old Eminem, and honestly I can really see that. Eminem isn't scared of speaking his mind at the cost of being controversial, and Hopsin does that probably more. The only thing holding him back is a good producer, but to be frank: the raw beats that Hopsin employs into his songs really complements his rhymes. He's a breath of fresh air into rap, and if he does in fact go mainstream, I don't worry of him selling out. I worried with Kendrick, with Lupe, with Tech N9ne, but I know for a fact that it isn't in Hopsin's MO, because he has shown how intelligent he is.

I'm saying all this, being a Lupe Fiasco, Tyler the Creator, and even a very slight Lil Wayne supporter (all rappers he has dissed in the past year). Hopsin's going to get his time to shine, and I expect nothing less than spectacular.

3. "Young Heart" by We are the Ocean (Album: Maybe Today, Maybe Tomorrow, released by Hassle Records)

Genre: Alternative

The story of We are the Ocean is really fascinating. I've loved all their material, but they originally started off as a generic British post-hardcore band. Slowly, they made the (correct) move to a more alternative sound. In 2011, they released Go Now and Live, which had next to no screaming, but instead a contrasting style between vocalists Dan Brown and Liam Cromby (what is it with Liams' on this list?). Earlier this year, they dropped Brown, who would become their manager. With that, their ascent into a more mainstream sound was complete.

The album was very good, but the song that stuck with me was "Young Heart." It hits me emotionally in a way that I choose not to explain on this blog. If you want to know, feel free to ask me personally. I rarely say I relate to a song, but it was really the case with this and the #1 song.

It's really a simple song, with basic instrumentation and no metaphorical lyrics. No crazy time signatures, just pure raw emotion in this song, and that's what makes it so damn good. It's about someone's inability to make a name for himself and trying to make others around him proud. The guitars, drums, bass, everything goes well with Cromby's soothing vocals. His accent is very noticeable in this song, and that's what makes it so authentic. It's basic, but it's one of the best alternative songs I've heard in a good long while. The first time I heard this was as a previously unreleased acoustic song, and I thought this would be a hit. The hit part hasn't happened.... yet, but it struck something deep in me.

This is an extremely underrated band and often dismissed, mainly because of their past. That's not the case anymore, and their popularity is slowly increasing. I can't wait till they hit their potential as a mainstream rock mainstay.

2. "Birth of the Economic Hit Man" by Circa Survive (Album: Violent Waves, self-released)

Genre: Indie-Alternative/I have no idea anymore

Circa Survive has always been very hit or miss for me. The story is, vocalist Anthony Green left Saosin (a move I'm very grateful happened for a myriad of reasons) and formed Circa Survive. Their first album spawned the hit "Act Appalled," a song which I actually don't care for. Don't get me wrong, it's decent but it's just too calculated. The album after that was forgettable, but the preceding album was Blue Sky Noise, which featured single "Get Out" (Circa Survive at their best when they are heavy) and "Glass Arrows." The latter was actually my favorite song by them, until this new album came out.

Something about not having a label holding back really did wonders for them, as they released their opus Violent Waves, one of my favorite albums released this year. So what, you're asking, did they do differently? The answer is quite simple: they toned it down. Anthony Green's specialty is more indie vocals, rather than punk-pop, and the results were beyond what I could have expected. It really is a work of art, and the album's tone is set through "Birth of the Economic Hit Man."

It starts off with an amazing drum beat with a catchy close/open hi-hat rhythm, bass drum and snare perfectly placed. I don't know what effects they used on the guitars, but it perfectly complemented the drum beat. The bass is so catchy, I had goosebumps. Once Anthony Green croons, "Uprising within us/A sense of disillusion." You know that this is going to be something special. It keeps at a steady pace for a bit over seven minutes. It's long, yes, but give it a chance because you don't even realize that that much time has passed by the end.

The song is about spiraling into a state where you become everything you initially set out to destroy. It keeps that theme of "selling out," but in a much more broad sense. Green repeatedly sings, "Nothing is sacred" in the second chorus, and you can feel his voice break. It's so genuine in his delivery; the buildup, the instrumentation, everything about this song is just perfect.

I originally had this as 3, and "Young Heart" at 2, but something changed as I was writing this. Things change, I guess. I'm going to say this right now, this is the best song they will ever release. It's not an indictment on them, but how good this song is. So what can be better than this?

1. "45" by The Gaslight Anthem (Album: Handwritten, released by Mercury Records)

Genre: Alternative/Punk/A whole bunch of other stuff

Often times when I listen to a song, there are many phases I go through. First is, I listen to the guitars and drums. Then, the vocals and how they sound in accordance to the instruments. Next, the lyrics, and finally the overall product. If, after all that, it still gives me goosebumps, they've done something special (Care Bears 2 reference if you want to know the redundant use of the word "special").

The Gaslight Anthem has always been a great band, but they didn't hit the mainstream conscious until 2012 with this hit. It actually charted on Billboard's Rock Chart, if you want me to be specific. Usually, a band has to fulfill certain requirements for this to happen, or already be a mainstay, but this was pure hard work. "45" is y far the best song I have heard all decade, and if you think I'm being superlative, don't. Every time I listen to it, I get goosebumps from it, and I can say that has honestly never happened to me before.

The lyrics are simple, but are wonderfully constructed. It's simply about trying to get over a loved one who possibly has passed away or moved on, depending on your interpretation. It uses the metaphor (an incredibly clever one at that) of a record-player. In the chorus, vocalist Brian Fallon sings "Hey, turn the record over/Hey, hey I'll see you on the flip side/There you go, turn the engine over/Let somebody else lay at her feet." I absolutely love the way they made this metaphor work, because it can be such a mundane topic; however, what they do is provide new insight by using the record example. The song is relatively fast-paced, and starts off with a simple but effective drumbeat and guitar riff that is prevalent throughout.

One of the numerous things I love about it is Fallon's delivery, because he has basically an unmatchable voice. It's so recognizable and original that you know he's being personal about it. It just isn't another breakup song for the masses; it's Brian's song. There is no resolution in the end of the song, and that incomplete ending is a great commentary for those who really never get over the ones they love. There isn't any theme of outspoken vengeance, no depression, no criticizing of the other person, but psychological state of mind. That's what separates this from all its contemporaries and why I love this so much. I relate to it, and so many other people do as well.

The Gaslight Anthem has teetered on the brink of success for many years, and with "45," finally has done so. If you ask me, it couldn't have been a better song to do it. There isn't anything I can say about it that hasn't already been said, but please, I urge you, if you haven't given this a spin, you will not be disappointed. Rock music will never die, and they are part of the new wave of great rock bands. Keep that record spinning, guys.





Thanks for taking the time in reading this pretty long list. I understand that you might not have read it all, but give some of these artists a chance if you haven't had the privilege of listening yet. If you agree, or disagree, or don't care, feel free to comment on it. Have a great rest of 2012, everyone. May there be even better music than there was in 2013.