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:
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.
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