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.
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.
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