11.23.2012
Type In Stereo
For those of you who are interested, I've moved most of my musical musing over to the fantastic site at typeinstereo.com which has been kind enough to bring me on as a staff writer. New material is going up nearly every day by myself and the other excellent writers. Please check it out here.
6.10.2012
2011: Omissions
Back in February, I presented my comprehensive1 analysis of 2011's musical offerings and now, several months later, it occurs to me that a handful of discussion-worthy releases were unintentionally omitted. Three of those overlooked albums, however, I could not resist discussing, even if somewhat belatedly.
In a zombie-esque move, Lydia returned (in an altered state) from its dissolution to put out Paint It Golden, a full-length that follows in the footsteps of 2010's Assailants EP, which is to say that it's an underwhelming trip through unremarkable soundscapes while lead singer Leighton Antelman's repetitive melodies swirl about with no particular sense of direction. Even though Lydia is a fundamentally different band now, it's sad to see this kind of effort from the same name that brought us 2008's masterful Illuminate.
Following on the heels of 2010's enjoyable Line 'Em Up EP, States2 released a pretty pop full-length with Room to Run. It's not going to change your life, but it is a very fun pop album with a lot of good hooks and up-tempo singles.3
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| The Head And The Heart |
Lastly, thanks go out to friend-of-the-blog Bob Jones who introduced me to The Head And The Heart and their self-titled debut during my most recent trip to the Windy City. If you enjoy folksy music it seems inevitable that you will enjoy this album. The opening track ("Cats and Dogs") is a masterful amalgamation of melody, rustic instrumentation, and progressive through-composition. Hearty lead vocals and delicate harmonies (especially "Rivers and Roads") make this album a must-hear, but the instrumentation and composition are equally impressive. While it eluded my detection in its release year, The Head And The Heart is ultimately one of the better albums of 2011. Pick it up.
Til next time, friends.
Footnotes
1. If not quite comprehensive then at least long.
2. I think internet law obliges me to remark that, yes, States is comprised of former members of none other than Copeland and the aforementioned Lydia. Blog-favorite Gates, mentioned in my original 2011 post, also contains an Illuminate performer (check out Gates' phenomenal sophomore effort, You Are All You Have Left To Fear, for free here). I think everyone has come to terms with these facts. Can we please, fellow internet writers, stop referring to States and Gates as 'States (ex-Lydia)' and 'Gates (ex-Lydia)'? I thank you in advance for your cooperation.
3. A re-release of Room to Run album is set to be released later this month with what appears to be much-improved album art and some bonus tracks.
1.05.2012
2011: One Man's Take On the Year In Music
Acknowledging that we live an age of excess but also an age of brevity, I have this to say about the 2,000+ word article that lies ahead: it is too short. Alas that time has not been given to me to write a 10,000 word article concerning the intimate details of a dozen different albums. Still, we press on (in no particular order)...
Speaking of early 2000s era pop punk, who knew that New Found Glory was still a band? Sadly, I can't say much for their most recent album (Radiosurgery) just like I can't say much for the reunion efforts of fellow emo-legends Taking Back Sunday (yes, their new self-titled was recorded by a reunion of the original lineup, but sadly, it wasn't a very good album) and Blink-182 (it's fun to have them back, and Neighborhoods isn't bad, but it's not at all memorable). And while it hasn't been that long since Death Cab for Cutie put out a record3, their Codes and Keys was a big disappointment for me as it suffered from what I've come to call The Radiohead Effect4: essentially that the entire album appears to be flatlining and lacking in either motion or direction. Successfully - and somewhat surprisingly - blazing the comeback trail, though, was Saves the Day whose Daybreak5 was probably the album that most unexpectedly earned my listening hours in 2011. It's a strange album6 but one that has a very distinct feel and, ultimately, some hugely catchy hooks7 (I'm looking at you "E" and "Chameleon") that led to it being one my most listened to albums of the year8.
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| The King Is Dead |
Much like The King is Dead, Thrice's Major/Minor saw a usually progressive act simplify things quite a bit. While I have come to really enjoy Major/Minor, my first reaction to it was that it was the release of a band that was, quite simply, tired. Thrice have been writing, recording, and touring extensively over the last few years11, so it should come as no surprise that they don't quite seem to have the same desire to stay up into the later hours of the night creating new tunings and fighting the young man's fight that is experimentation12. That Thrice's members are all committed family men with growing family units explains the understandable yet sad announcement that they would be taking an indefinite hiatus after their next tour.
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| Deas Vail |
After their own brief hiatus13, Eisley returned to action with The Valley. The haunting "Ambulance", already released on 2009's The Fire Kite EP, is an excellent track while the brilliantly written and arranged "Mr. Moon" is one of the best songs of the year14, while the rest of the record offers an assortment of quirky pop tunes15. Meanwhile Moving Mountains attempted to follow up their 2008 masterwork Foreword with Waves which, for all its thunderous guitar and bone rattling punch, is simply not a very compelling album - it's a good fix if you want something loud and rocktastic (let's just pretend that's a word), but it doesn't do a particularly good job of bringing you back for more. In the same vein, if you want an album to temporarily fill a pop-rock void in your life16, check out The Dangerous Summer's War Paint, whose title track, at least, is just what you need in the summer months.
Manchester Orchestra's Simple Math might not actually be any simpler than their last release17 (2008's fantastic Mean Everything to Nothing), but it does lack some of the soul of its predecessor. That said, it's still an album that has some great moments, from the serene melancholy of its opening track ("Deer") to the climactic, orchestral conclusion of its title track and the raucous party chant in "Pensacola". And all told, "Apprehension" remains one of my favorite tracks of the year (as I've said before) with one of the great lyrics of the year.18 And, while the finale ("Leaky Breaks") suffers from the aforementioned Radiohead Effect, it's still a solid album and a good entry point for prospective Manchester Orchestra fans.
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| New Blood |
Speaking of experiences: in 2006 Nic Newsham sang "I gotta write these songs so that you remember that you believe in music"19, but at that time, I didn't need that type of reminder. But when my faith in music was waning (for a variety of reasons) who should save the day but that very same Nic Newsham and his Gatsbys American Dream whose brief reunion at the Forgive Durden farewell concert in Seattle (fall 2010) reaffirmed my faith and lit a fire that led to a Gatsbys comeback. Since that day, Gatsbys has not yet released an album but they have released two tracks, the incredible "Untitled" and the absolutely phenomenal "Modern Man". In some capacity, Gatsbys is back; I would have been remiss to not have mentioned them here.
Most recent in the long line of bands that friend of the blog Matt Kemper has introduced me to20 is the work of Pete Davis, whose solo album The Pottsville Conglomerate21 has the potential to be one of the better progressive albums of the last few years but which may in fact be too progressive. It seems to me that a little bit of editing, just cutting some excess material and tightening up some of the compositions, would have made this one of the best albums of the year. That said, while it's not one of the year's absolute finest, it's still a very, very good album. I'm very much looking forward to whatever comes next from Pete Davis, who is very clearly an incredibly talented performer and composer.
My happiest musical accident of the year occurred when I stumbled across a review of Charlie Simpson's Young Pilgrim and subsequently picked up the album which, in turn, puts on a clinic for how to write great pop songs22. It seems likely to me that, should Simpson choose to focus on his solo efforts rather than his role as frontman for the British alt-rock group Fightstar he could very well be The Next Big Thing23. Without a doubt, one of my top three albums of the year.
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| The Sun Will Rise and Lead Me Home |
Lastly, in the position of highest honor, we have The Dear Hunter. Did you really think I would omit Casey and Co.? I can't even make any comparisons for what The Dear Hunter's newest adventure, The Color Spectrum accomplishes. Depending on how you break it down, The Color Spectrum is either a massive single album, an eleven song sampler, a triple album, or a nontuple album made of nine EPs - it is a project of staggering scale and quality. It would have been unfair to judge any album against Casey Crescenzo's 36-song magnum opus in the way that you wouldn't judge the merits of a Polaroid picture against a sixty-foot mural - they are, fundamentally, different creatures. While there is so much to say about this record, there is almost nothing that I could say that would benefit you more than actually listening to it. And if you haven't done that yet, you really should. Because The Dear Hunter's The Color Spectrum is my vote for Album of the Year.
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| The Color Spectrum (Eleven Track Collection Cover) |
All the best, everyone. Ars longa, vita brevis.
Footnotes
1. Friend of the blog Kevin Dye adequately described the album's sounds as "a blend of early 90's grunge and early 2000's post-hardcore".
2. Lesson 1: You don't have to write trite love/breakup songs if you want to write something catchy and upbeat (amen). Lesson 2: You don't have to be a gimmick band to be very, very fun.
3. Their last full-length record was Narrow Stairs, released in May 2008.
4. What I'm referring to here is the propensity for some acts to gravitate towards a sound that is essentially monotonous with no climax or progression, i.e. music that does not 'go' anywhere. Since Radiohead seemed to start this trend with some of their material from Kid A and since their In Rainbows is basically the poster child for this attitude (and let's not leave this year's The King of Limbs without mention) I've decided to call this sonic deadening The Radiohead Effect.
5. Daybreak was released almost exactly four years after Saves the Day's last album, 2007's Under the Boards. Sidenote: How terrifying is it that it's been ten years - ten! - since the release of Stay What You Are? I feel so old.
6. Not a surprise given Saves the Day's lineup changes over the last few years.
7. If you're a Saves the Day fan it's hard not to love the lyrics scattered throughout the album that make reference to older Saves the Day songs. The song "Daybreak", for instance, makes reference to both "Delusional" (from Sound the Alarm) and "Get Fucked Up" (from Under the Boards).
8. Again: I cannot reiterate how much this surprised even me, especially given that I did not much care for this record after my first listen or two.
9. The song "Rise to Me", for example, is far more explicitly personal than many Decemberists songs and makes reference to Meloy's difficulties in connecting with his son, Hank: "Hey Henry, can you hear me? Let me see those eyes. This distance between us can seem a mountain size."
10. It's not an all-time favorite, but I did quite enjoy my time in Wildwood - read here and here for more on the story and here to get a taste for yourself.
11. Major/Minor is their fourth album in the last five years and eighth full-length release since their debut, Identity Crisis in 2000.
12. Despite being rather simplistic, "Words In the Water" is one of the prettiest songs in the Thrice canon; a great, if somewhat predictable, remix of it can be heard here.
13. An exile caused by equal parts record label strife and personal issues.
14. If I ever have the time to get around to finishing it, an article on the workings of this particular song may someday appear on this blog.
15. I am incredibly excited for the February release of Eisley's Deep Space EP, inspired by the writings of Ray Bradbury.
16. Particularly if that void is the size and shape of Lux Courageous' 2005 release, Reasons That Keep the Ground Near, which War Paint always brings to my mind.
17. Wow. That was an unfortunately terrible play on words. My apologies to you all.
18. "God has never been afraid to fill our cups with more than they can hold, until they all overflow and we drown once and for all."
19. Lyric from "Margaritas and Cock" from Gatsbys American Dream's self-titled album (Gatsbys American Dream, 2006).
20. Oceana, The Rise of Science, TheTitanCourageous, and Wax on Radio come to mind, though I'm sure that there are others that I've missed.
21. And, in this case, when I say 'progressive' I really mean 'progressive' - almost the entire 95 minute album (yes, you read that correctly: 95 minutes) is through-composed and the whole thing is a story about a mining colony - it's all available for the reasonable price-tag of $8.
22. Simpson's harmonies are particularly exceptional (see "Down, Down, Down" for example).
23. I should note that I mean "in America" - Simpson seems to be doing just fine for himself in the UK.
2.22.2011
Better Late Than Never: The Music of 2010
Due to incessant public outcry1 at my not having written a "Top Ten Albums of 2010" blog, I've decided to sack up and, at this temporally inappropriate juncture, put together a series of one-line reviews for the handful of releases from which I derived some enjoyment in 2010, a year whose musical offerings didn't quite warrant a full-scale post2.
So, in alphabetical order, I recommend to you:
Blue Sky Noise by Circa Survive Tighter and more refined than any previous Circa albums, Blue Sky Noise finally saw Anthony Green live up to the flashes of potential that we had seen from his work with Saosin and The Sound of Animals Fighting (his remarkable vocal line in "Stockhausen, Es Ist Ihr Gehirn, Das Ich Suche" comes to mind); it's not a perfect album, but it's got some punch, some hooks, and some quality instrumentation.
Cleanhead EP by Oceana A fabulous and passionate EP (probably my favorite album of the year) that is so painfully honest that it's easy to overlook the wonderful complexity of the song structures; simple melodies and harmonies are delivered viscerally over intricate math-rock rhythms, and lines like "and happiness, it does exist, but I don't know that this is it" pull together a wonderfully emotive recording.
Go by Jónsi It's hard not to consider this album 'Sigur Rós Lite', but that's not necessarily a bad thing as, while not quite as deep as a proper Sigur Rós release, Go - in all its catchy beauty - is much, much more accessible than anything Sigur Rós has yet done, and there's something to be said for that (as an aside: I find it interesting that, while Sigur Rós has a strict policy against using their songs in commercials - they are reportedly approached with offers incessantly - Jónsi is willing to use his solo work for commercial purposes).
Krupt EP by Grammatics I will be very disappointed if, at some point in the future, Grammatics doesn't decide to reunite, especially given the musical and intellectual excellence of their as-yet-final release, Krupt, whose opening two tracks, "Stalinesque" and "Mutant Reverb", are on the short list of the best songs of 2010; with their eagerness to experiment sonically while always remaining true to their core sound, no other band sounds like Grammatics, and it's hard to give higher praise than that these days.
Line 'Em Up EP by States - Great projects keep rising up from the ashes of Lydia and States' debut EP is no exception with its simple yet effective pop-rock construction and hooks; feminine vocals will undoubtedly draw comparisons to Eisley, Paramore, and The Hush Sound, but I'd say that Line 'Em Up is more in line with The Format's early work.
Waking the Dead EP by Places and Numbers Not what I would have expected from Bobby Darling, the once and future Gatsbys American Dream mastermind (the sound is something like a programmed version of Darling's former side-project, Search/Rescue), but the title track is lyrically powerful and sonically thunderous while "I Had a Dream About a Nuclear Attack" is one of the finer politically motivated songs in recent memory (infinite bonus points for the fact that a Places and Numbers concert - for which I was in attendance - lead to the Gatsbys American Dream reunion).
Weathervanes by Freelance Whales A quirky, mellow romp through lush soundscapes, Weathervanes is unique and satisfying although it never quite reaches an elevated level of excellence; both "Generator" tracks as well as "Broken Horse" hint at the things that Freelance Whales might yet achieve (this album was released digitally on December 29, 2009 but the physical release wasn't until April 13, 2010, hence its inclusion on this list).
"Weightless Underwater" by The Receiving End of Sirens Only a single track, but any release by The Receiving End of Sirens must be acknowledged; TREOS has a knack for masterfully crafting songs that few, if any, other bands can match and "Weightless Underwater" is no exception with its brilliant mix of layered vocals, intertwined guitar riffs, programming, and the general excellence that has always set The Receiving End of Sirens apart from their peers (bonus points for Casey's return to the lineup).
I suppose that does it. 2011 is, two months in, already shaping up to be a stronger year in music than its predecessor; hopefully that means I'll put together a more thorough review in ten months or so. Until then, keep listening.
1. The author acknowledges that this 'outcry' was mostly 'imagined' rather than 'public'.
2. Should it not be clear: this article is based entirely on opinion.
So, in alphabetical order, I recommend to you:
Blue Sky Noise by Circa Survive Tighter and more refined than any previous Circa albums, Blue Sky Noise finally saw Anthony Green live up to the flashes of potential that we had seen from his work with Saosin and The Sound of Animals Fighting (his remarkable vocal line in "Stockhausen, Es Ist Ihr Gehirn, Das Ich Suche" comes to mind); it's not a perfect album, but it's got some punch, some hooks, and some quality instrumentation.
Cleanhead EP by Oceana A fabulous and passionate EP (probably my favorite album of the year) that is so painfully honest that it's easy to overlook the wonderful complexity of the song structures; simple melodies and harmonies are delivered viscerally over intricate math-rock rhythms, and lines like "and happiness, it does exist, but I don't know that this is it" pull together a wonderfully emotive recording.
Go by Jónsi It's hard not to consider this album 'Sigur Rós Lite', but that's not necessarily a bad thing as, while not quite as deep as a proper Sigur Rós release, Go - in all its catchy beauty - is much, much more accessible than anything Sigur Rós has yet done, and there's something to be said for that (as an aside: I find it interesting that, while Sigur Rós has a strict policy against using their songs in commercials - they are reportedly approached with offers incessantly - Jónsi is willing to use his solo work for commercial purposes).
Krupt EP by Grammatics I will be very disappointed if, at some point in the future, Grammatics doesn't decide to reunite, especially given the musical and intellectual excellence of their as-yet-final release, Krupt, whose opening two tracks, "Stalinesque" and "Mutant Reverb", are on the short list of the best songs of 2010; with their eagerness to experiment sonically while always remaining true to their core sound, no other band sounds like Grammatics, and it's hard to give higher praise than that these days.
Line 'Em Up EP by States - Great projects keep rising up from the ashes of Lydia and States' debut EP is no exception with its simple yet effective pop-rock construction and hooks; feminine vocals will undoubtedly draw comparisons to Eisley, Paramore, and The Hush Sound, but I'd say that Line 'Em Up is more in line with The Format's early work.
Waking the Dead EP by Places and Numbers Not what I would have expected from Bobby Darling, the once and future Gatsbys American Dream mastermind (the sound is something like a programmed version of Darling's former side-project, Search/Rescue), but the title track is lyrically powerful and sonically thunderous while "I Had a Dream About a Nuclear Attack" is one of the finer politically motivated songs in recent memory (infinite bonus points for the fact that a Places and Numbers concert - for which I was in attendance - lead to the Gatsbys American Dream reunion).
Weathervanes by Freelance Whales A quirky, mellow romp through lush soundscapes, Weathervanes is unique and satisfying although it never quite reaches an elevated level of excellence; both "Generator" tracks as well as "Broken Horse" hint at the things that Freelance Whales might yet achieve (this album was released digitally on December 29, 2009 but the physical release wasn't until April 13, 2010, hence its inclusion on this list).
"Weightless Underwater" by The Receiving End of Sirens Only a single track, but any release by The Receiving End of Sirens must be acknowledged; TREOS has a knack for masterfully crafting songs that few, if any, other bands can match and "Weightless Underwater" is no exception with its brilliant mix of layered vocals, intertwined guitar riffs, programming, and the general excellence that has always set The Receiving End of Sirens apart from their peers (bonus points for Casey's return to the lineup).I suppose that does it. 2011 is, two months in, already shaping up to be a stronger year in music than its predecessor; hopefully that means I'll put together a more thorough review in ten months or so. Until then, keep listening.
1. The author acknowledges that this 'outcry' was mostly 'imagined' rather than 'public'.
2. Should it not be clear: this article is based entirely on opinion.
10.14.2010
Inter Alia
To those of you who have taken the time to explore The River, The Tiger, The Fire in any context, I thank you. It has been a pleasure sharing some small piece of myself here with you all. Since my move West, however, my life has reconfigured itself and - lost as it is, among so many other worthy (at least in my opinion) pursuits - I find that I no longer have the time to consistently maintain this blog.
The River, The Tiger, The Fire will not be wholly torn down - at least not yet. A few posts that I find engaging will be left up should you care to re-read them. And perhaps someday, time permitting, I will return to this space.
In the meantime, should you wish to follow my internet-goings-on in some capacity, I will - for the foreseeable future (which is, admittedly, not very long) - be maintaining a tumblr profile, a principle feature of which will be considerably more brevity than ever chanced to occur here at The River, The Tiger, The Fire.
Ars longa, vita brevis, my friends.
The River, The Tiger, The Fire will not be wholly torn down - at least not yet. A few posts that I find engaging will be left up should you care to re-read them. And perhaps someday, time permitting, I will return to this space.
In the meantime, should you wish to follow my internet-goings-on in some capacity, I will - for the foreseeable future (which is, admittedly, not very long) - be maintaining a tumblr profile, a principle feature of which will be considerably more brevity than ever chanced to occur here at The River, The Tiger, The Fire.
Ars longa, vita brevis, my friends.
3.11.2010
The Paradoxical Illusion of Artistic Control
It's strange. I wasn't sure that I believed it when I first truly contemplated it in an English class in college. But now I'm sure it's true. Try as they might, firm as their grasp may seem, no author, no creator, can completely control the content of their work.
There was a time when I actually completed (with some regularity) the artistic projects that I had begun. Enough time has passed since those days that I am able to look back and reflect upon the art that flowed through me and was so urgent at the time. What I see astonishes me.
I was a lyricist. It was a position that I took very seriously. It would be easy for my current self to dismiss what my 18 or 19 year old incarnation had thought to be so important as the blind folly of ambitious youth. But it wouldn't be true.
I wrote and completed the lyrics for nine Lock Your Door songs during the duration of the band's existence (for the record: eight were recorded and released, one remains an unrecorded demo, and a few tracks that were begun were never completed). The details of how I wrote the lyrics or how I created their interplay with melody are irrelevant at the moment, but suffice to say that I expelled more effort on those nine completed songs that just about anything else in my life over the course of two-plus years. More than two years. Less than ten songs. To say that I was detail oriented would be an understatement.
I had done an unusual thing as I wrote those songs. I had vowed to myself that I would not write love songs or heartbreak songs, songs about girls or songs about parties, songs about anything that wasn't as serious as I believed our music to be - songs that wouldn't seem childish when I looked back on them from the distant future. I didn't want to 'taint' what I found to be spiritually and intellectually important music with the oftentimes juvenile themes that seem to run through a vast majority of lyrics. I pledged that I would write outside of myself. I would write about narratives, problems, and emotions that I thought were interesting, powerful, or even important1. I would write stories that had not been told or tell existing stories in a novel light. On the few occasions when I made exception to these self-imposed rules, I attempted to mask the bits of myself that shone through and distort the image of those demons that I needed to exorcise so that no one, save myself, would know that they were there.
At the time, I was sure that I had succeeded in my goals. Every song had narrative and symbolism and both aspects worked on multiple levels with only marginal and tangential indicators that I - the creator - was anything more than a vessel through which these stories were told.
A photo by Ryan Evon from one of Lock Your Door's many shows at the Wesley Foundation.Then the band dissolved. Distance and age drove us ever farther and farther apart until it didn't make sense to continue. We had recorded the eight songs that we had fully completed. A few remained in the constructive stages. They were the unavoidable casualties. Things did not end as we had hoped but, in the end, we had succeeded. We had made something that we loved, something that, even in retrospect, we thought was important and valuable. I am infinitely grateful for having had the chance to work so closely with such fine people. More has been said elsewhere on that subject and perhaps more will one day be said here at The River, The Tiger, The Fire (Hell, the name of this blog comes from an incomplete Lock Your Door song, so it wouldn't be unreasonable).
Now to pull full circle on my point. Several years have passed since I penned those lyrics. As I absorb them now, as I listen to music that is both intimately personal and necessarily foreign - for I am and am not the person who wrote them - I find that I failed in my quest. And yet that I succeeded. Those lyrics remain about narratives and stories and there are multiple layers that go in many different directions. I succeeded. But there is a startling clarity in their reflection. I failed. They are, entirely, who I was when I composed them and not one ounce or flaw has been exempted. Though the narrative and disguises remain, I am able to see through them now (you, the reader, could likely do the same) and - in a few of the songs in particular - the lyrics are so unyieldingly personal that it's downright shocking. Despite all the efforts that I put forth to hide myself through the lens of those songs, all that they are is my story. I am them and they are me. This involvement is both subtle and glaring. It's all so paradoxical. And yet this is a conundrum that many creators experience. We strive for complete control over our creations, we strive to make them exactly as we wish them to be. We hope to be God. We fail. But the paradox continues because where we fail, we succeed: we cannot have complete and absolute control over that which we create because with each stroke of the pen or strum of the string we give our works that Godliest of gifts - a life of their own.
1. For the approximately three people who listen to Lock Your Door and might be interested, here is a complete list of all the material that inspired or was referenced in Lock Your Door's lyrics and titles: Poe's The Cask of Amontillado, David Fincher's Se7en, an obscure court case from Montana (or one of the Dakotas) that I could not re-find, Faulkner's The Sound and the Fury, Vonnegut's Slaughterhouse Five, a Winston Churchill WWII speech, Transfomers: The Movie (yes, the 1984 animated feature), Ursula LeGuin's The Bones of the Earth, Pirates of the Caribbean: Dead Man's Chest, Whitman's O Captain! My Captain!, the inscription on John Keats' gravestone, Aeschylus's The Oresteia, Capote's In Cold Blood, Dante's Divine Comedy, and the ever present influence of LeGuin, Tolkien, and Borges that can be felt in all that I write. (I suppose it's possible that I missed something, but I'm pretty sure I got it all.)
12.30.2009
My Top 50 Albums: 2000-2009
My peers and I are in a conspicuous position when it comes to reviewing the past decade in music: we began high school and likely completed college all within the confines of the decade. High school and college. Those are your prime musical-attachment years. Regardless of whether or not you are capable of keeping an objective eye throughout your life, the music that affects you strongly during those formative years will have a special impact that will most likely never be rivaled by any competition. As a testament to that statement, know that - when I first organized the list of candidates - nearly 200 albums made an appearance. That means that, for a solid decade, I considered an average of twenty albums per year worthy of note. That's a lot of music to digest, even for me. So while I could take two months to write 50,000 words in a list that no one would read, I'm going to cut back and try to keep it short and simple in the hopes that a few people will actually read this and - as always - in the hopes that this will incite some good, old fashioned, human-to-human interaction/debate on the subject. It is worth noting, as well, that I could barely decide which albums made the cut and that by tomorrow I'm sure there will be some albums that I'd like to shuffle around or add or subtract. Such is life.
Note: For my guidelines, I required that an album have at least six songs or that it be at least 30 minutes in duration (one or the other), eliminating most EPs (notably, Saosin's Translating the Name and Paper Route's Are We All Forgotten). Compilations, re-releases and live albums were also not up for consideration (goodbye to Jimmy Eat World's Clarity re-release, Peter Gabriel's Hit/Miss compilation, and Coheed & Cambria's Neverender live set).
STRONGLY RECOMMENDED
50. Almost Here by The Academy Is... (2005) Along with Acceptance's Phantoms and Cartel's Chroma this is one of the finer pop-rock albums of the decade and one that holds up over time, unlike some of it's contemporaries (I'm looking at you What It Is To Burn).
49. Leaving Through the Window by Something Corporate (2002) The album that brought piano-pop to the 80s-born masses, with equal success in up-tempo singles and slowed-down ballads.
48. In Keeping Secrets of Silent Earth: 3 by Coheed and Cambria (2004) A progressive-pop-rock staple, headlined by the insanely catch "A Favor House Atlantic" and the dynamite title-track.
47. The Ugly Organ by Cursive (2003) A haunting and dissonant walk through a twisted world filled with counterfeits and call-girls. "Our Father who art in Heaven, save me from this wreck I'm about to drown in."
46. The Earth Is Not A Cold Dead Place by Explosions In the Sky (2003) When I got this album my freshmen year of college it completely changed my opinion of what an instrumental album could be. EITS has since found considerable fame, but this may remain their finest effort to date.
45. In Motion by Copeland (2005) Catchy and strong, serene and powerful, In Motion is the alt-rock masterpiece that revealed what Copeland was capable of creating.
44. Rise or Die Trying by Four Year Strong (2007) The best driving album of all time. Hands down. Fast and catchy with harmonized vocals and riffs, blistering drum fills, and some serious chugging, when you put this in your car stereo, you'll be singing along and air-drumming within seconds.
43. Please Come Home by Dustin Kensrue (2007) An acoustic-folk release from Thrice's Kensrue who shows why he's one of the era's greatest lyricists and songwriters. The title track is incredible and "Blanket of Ghosts" is a lock to make anyone who's lost someone tear up at least a bit.
42. Picaresque by The Decemberists (2005) A pop-folk-rock concept album about the hard-knock life in an historical seaside town. Equal parts romance, mourning, cleverly phrased observations, and self-deprecating humor, it's hard not to love this one.
41. Like Vines by The Hush Sound (2006) A sublime pop album help up by strong piano and guitar work and the beautiful interplay of male and female voices. If you like pop-music, you owe it to yourself to at least hear Like Vines.
REQUIRED LISTENING
40. Lucy Gray by Envy On the Coast (2007) The last couple of tracks are dead weight. If the first eight songs of Lucy Gray had been released as an EP, it would have vaulted 15 spots up the list. Powerful guitars, unbelievable drumming, intriguing lyrics, and out of this world vocals and harmonies make this one a must-listen album.
39. Act I: The Lake South, The River North by The Dear Hunter (2006) The beginning of the unparalleled, genre-bending The Dear Hunter project. There is no way to classify any of these songs, you really just have to listen.
38. Interventions and Lullabies by The Format (2003) What sounds like a sugary pop album contains some incredible instrumentation and some of the wittiest lyrics of the decade. 'The thought of death, it scares me to death. It's just too much to never wake up."
37. Sound the Alarm by Saves the Day (2006) A riveting pseudo-punk album filled with speeding guitar riffs and wailing, double-tracked vocals; a mix of New Found Glory-esque pop-punk and a throwback NOFX-sound all glossed in Saves the Day's brilliant songwriting and musicianship.
36. Dog Problems by The Format (2006) A pure pop album filled with lush orchestral and vocal arrangements and completed by witty and contemporary lyrics.
35. Saosin by Saosin (2006) Not as innovative (or as good) as the aforementioned Translating the Name EP, Saosin's self-titled full-length is a perfectly blended pop-metal album with soaring vocals, intricately harmonized riffs, and a real sense of power that leaves you wanting to sing along while banging your head.
34. Bleed American by Jimmy Eat World (2001) The measuring stick by which all modern pop-rock albums are judged, this album mixes big, radio friendly hits and more intricate and introspective tracks and still blends into a beautiful whole.
33. Transatlanticism by Deathcab for Cutie (2003) This album has everything from piano ballads to rockin', indie anthems. The epic, sweeping title track says all the things that I can't.
32. The Alchemy Index, Vols. III & IV: Air & Earth by Thrice (2008)
31. The Earth Sings Mi, Fa, Mi by The Receiving End of Sirens (2007) In retrospect, these two albums have a lot in common: they were followups to masterpieces (Vheissu and Between the Heart and the Synapse, respectively) and, as such, were generally underrated at the times of their release, but both were solid throughout, sprinkled with a few exceptional tracks, and have two most memorable closing tracks of the decade ("Child of Dust" and "Pale Blue Dot").
30. Three Cheers for Sweet Revenge by My Chemical Romance (2004) A breakthrough album in that it combined elements of pop, metal, and a comicbookian darkness that bordered on ridiculous. No matter what you think of MCR's image or their earlier or later work, there is no denying that this album is filled with amazing hooks and fun-as-all-get-out guitar riffs.
CAREER DEFINERS
29. Good Apollo, I'm Burning Star IV, Vol. I: Fear Through the Eyes of Madness by Coheed & Cambria (2005) The first eleven tracks of this opus would have made a decent enough album on their own, full of the same formula that made In Keeping Secrets of Silent Earth: 3 (No. 48) so great, but it's the final four tracks ("The Willing Well I-IV") that really make this album exceptional: the four songs total 30 minutes of play-time and constitute one of the finer examples of prog-rock this decade.
28. Tiger and the Duke by The Sound of Animals Fighting (2005) Speaking of prog-rock, TSOAF came along - a collective of musicians from various musical outfits - and created an astonishing concept album whose liner notes even included the story upon which the album was based as well as a detailed breakdown of the musical modes used throughout the album. No one had combined programming, excellent guitar playing and drumming, programming, a tinge of screamo, and brilliant composition so well before.
27. Rockin' the Suburbs by Ben Folds (2001) Unfortunately, it must be noted that this album had the odd misfortune of being released on Sept. 11, 2001 and, as such, wasn't really given it's due until a few years later when it had developed a cult following. Folds really exposes himself as a songwriter and performer here (he's nearly the only person involved with the album on any level) and he shines throughout in his modern day Elton John-meets-Billy Joel-only-wittier way.
26. The Hazards of Love by The Decemberists (2009) A brilliant concept album. I've said a lot elsewhere, but if you haven't read that, trust me: this album is more than you thought The Decemberists could be (even if you thought they could be great).
25. Illuminate by Lydia (2008) Over the last year or so, I've realized that I severely under-ranked this album in 2008. This is one of the most subtly melodic records in recent memory; it's truly beautiful in its own unique way. It takes more than a few listens to finally appreciate all the depth that's going on with Illuminate, but it's certainly worth it.
24. As Tall As Lions by As Tall As Lions (2006) Dan Nigro's voice is splendid, but it does take some getting used to, so don't be put off if this album doesn't immediately sink it's hooks into you. But the instrumentation and vocals are superb and this album provides flowing pop-rock songs in a way that few others can.
23. Emotion Is Dead by The Juliana Theory (2000) The oldest entry on this list is often credited as being one of the finest 'emo' records of all time (it has a name that certainly fits), but I think a more accurate description would be that it is one of the finest experimental-pop records of all time. The music is, at it's core, straight-up pop, but the presentation - which involves programming, intriguing arrangements, and unique voicing - is what really sets it apart.
22. Tell All Your Friends by Taking Back Sunday (2002) I'm sure I've ranked this album a lot lower than many of my readers would like, but - for some unknown reason - it never resonated with me like it did with my peers, even though I loved the album. The multiple-lead-vocalist arrangement has only been done better once (we'll get to that later) and the instrumentation is simple but incredibly well-arranged. This is one of the best albums that you could ever hope to sing to with your friends in the car.
21. Act III: Life and Death by The Dear Hunter (2009) The most cohesive release to date from The Dear Hunter, this album packs a tremendous amount of musical ideas into one hour-long package. You can read more here.
FLAWLESS ALBUMS
20. Postpartum Modesty. A Portrait of Skin by Evaline (2006) An oft overlooked EP, Evaline's 2006 release is the best of two worlds: it's heavy enough to warrant 'rocking out' and it's melodic enough to demand singing along. It's nearly impossible to listen to this one without wanting to start it up again when it finishes.
19. Come Now Sleep by As Cities Burn (2007) The magnum opus of this New Orleans-born band, Come Now Sleep is a melancholy tour de force. As an album written by devout Christians who find themselves questioning the existence of God, it's hard not to be moved by this album, and it's also tough to qualify the blues-influenced hard-rock sound that is so unique to ACB, so suffice to say that the opener ("Contact") and closer ("Timothy") are two of the finest songs of the decade, the latter of which has the capacity to bring anyone who has suffered a loss to tears.
18. Progress by RX Bandits (2001) One of the first successful prog-rock/ska crossover albums, the Bandits experiment with just about every sound at their disposal on this one and get it right every single time. There are still lots of ska roots here (think lots of brass arrangements) but while your listening, it's hard to think of Progress as anything but a masterful rock album.
17. The Moon Is Down by Further Seems Forever (2001)
16. How To Start A Fire by Further Seems Forever (2003) I had to lump these two together as they are so divisive to the FSF fan base, yet so intimately connected. The Moon Is Down is a masterpiece led by Chris Carrabba's (now of Dashboard Confessional fame) incredible lyrics and vocals but driven by unbelievable instrumentation. But I had to give the slight edge to How To Start A Fire which brings that instrumentation front and center and supplants the departed Carrabba with the howling Jason Gleason creating a raw and visceral prog-pop album unlike any other.
15. Wonderland by Forgive Durden (2006) How this band never really caught on before 2008's Razia's Shadow: A Musical continues to astound me. Wonderland is a brilliant pop-rock masterpiece, each song brimming with incredibly creative instrumentation, vocals, and lyrics. There isn't a bad song on this album. Hell, there isn't even a good song because each track moves beyond that and is great.
14. Define the Great Line by Underoath (2006) The defining album of the screamo movement and an album that, ultimately, may never be surpassed within the genre. This album comes at you and hard, with tearing guitars and a wide array of screaming and singing arrangements that will get your heart pumping. Plus, this album is - in my opinion - the absolute high point of the digital recording age; the production on this album is the absolute finest that I have ever had the pleasure of hearing.
13. Act II: The Meaning Of, And All Things Regarding Ms. Leading by The Dear Hunter (2007) The album that really established The Dear Hunter as major players in the music scene. Act II has a little bit of everything in it - and I mean that quite literally. It really doesn't matter what kind of music you like, because you're bound to find something that pleases you here.
12. De-Loused In the Comatorium by The Mars Volta (2003) A groundbreaking prog-rock album that hearkens back to the days of Genesis' The Lamb Lies Down On Broadway. This album plays as the most organized and creative jam session you've ever heard with unbelievable melodies flying high above the mind-boggling instrumentation.
11. In the Land of Lost Monsters by Gatsbys American Dream (2004) Clocking in at seven tracks and eighteen and a half minutes, this is one short album. But boy, oh, boy does it give you your money's worth. A bitter mission statement, this album has an anger and edge unmatched by any other GAD album but never loses sight of the bands strengths: Nic Newsham's phenomenal vocals, highly literate lyrics, and breathtaking instrumentation. It's hard to get, but if you can find this one, hold on to it.
MASTERPIECES
10. Eat, Sleep, Repeat by Copeland (2006) A darkly beautiful wonderland of rolling guitars, intricate drum beats, gentle pianos, and Aaron Marsh's sensational voice flowing over everything. From beginning to end, this album is an emotive experience with the title track, "Love Affair", and "When You Thought You'd Never Stand Out" reaching a whole other plane of excellence.
9. Volcano by Gatsbys American Dream (2005) This album is not often given its proper due when discussing great works of the time because of GAD's numerous contributions to the conversation, but - I assure you - this album is fantastic. Containing some of the decades finest pop songs but having them also be some of the decades most progressive songs is not an easy task, but that's what happens on Volcano where "Shhhhh! I'm Listening to Reason" might be the textbook example of progressive-pop-rock.
8. ( ) by Sigur Ros (2002) A sprawling album divided into two halves with no actual lyrics (or song or album titles for that matter) which uses the voice simply as another instrument in the band's arsenal, ( ) is a landmark record. Its songs are epic ("Untitled 8") and gorgeous ("Untitled 4") with no song more noteworthy than "Untitled 1" which may be the single most beautiful composition I've ever heard.
7. The Resignation by RX Bandits (2003) The followup to Progress (No. 18), The Resignation was recorded almost entirely live in the studio and - considering the complexity of the material involved - I can't say much more in praise of the Bandits' talents. A prog-rock album far more than a ska album (which I dare say it isn't at all), The Resignation should appeal to a wide audience and is impressive on every front.
6. Up by Peter Gabriel (2002) Few of you reading this will have ever heard anything from this album. I cannot recommend that you seek out a song or two strongly enough (I'd recommend starting with "More Than This"). Gabriel has always been an innovator and he outdoes himself in every capacity with Up, by far his greatest work. Every song is intricately composed and arranged and one really gets the impression that Gabriel searched the world over to find the perfect sound for each and every second of this beyond-impressive work.
5. Stay What You Are by Saves the Day (2001) The finest pop-rock album on this list, Stay What You Are is an exercise in doing something and doing it well. Saves the Day didn't reinvent the wheel with this catchy wonder-work, they just made the best damn one available. You won't be able to stop listening to this album once you start.
4. Vheissu by Thrice (2005) A staggering album. Vheissu occurred in a perfect storm of conditions within a band and a studio and the result is an unforgettable album. Thrice try every style that they want here and nail each of them, from hard-rock, to spiritual chants, to piano ballads, to programmed epics. One of the few albums that, without fail, seems to get better and better with each listen.
3. The Devil and God Are Raging Inside Me by Brand New (2006) The absolute pinnacle of darkly melodic rock. Dark as it is, everything about this album is phenomenal, from the instrumentation to the melodies and lyrics. Brand New have a brooding cynicism about them on this album that infects the musical and lyrical tone and never relents creating an album that is deeply and darkly poignant: "And in the choir, I saw our sad Messiah. He was bored and tired of my laments. Said, 'I died for you one time, but never again. Never again.'"
2. Ribbons & Sugar by Gatsbys American Dream (2003) The defining progressive-pop-rock album. There isn't a down moment on this entire album and every song makes its own case for being the strongest of the bunch. The recording and production maximize every glorious guitar riff, snare hit, and background vocal. Every musician on this album is undeniably brilliant at what they do and it shows. A true masterpiece.
1. Between the Heart and the Synapse by The Receiving End of Sirens (2005) In the Tell All Your Friends section (No. 22), I mentioned that only one album better exemplified the 'multiple-lead-vocalist' arrangement and this is the one. With three lead singers seamlessly exchanging lead lines and gracefully singing counterpoint melodies over one another, this album has some of the finest vocal arrangements this side of John and Paul. But what really puts the album over the edge and into the number one seat, aside from the vocals and equally impressive musicianship, is the composition. This is one of the most well thought out and organized concept albums I've ever seen. The album exists completely within itself, with each song making reference to at least one other song on the album and with a fully functional "Prologue", "Intermission", and "Epilogue". This album is epic and perfect in just about every way. There's not much else I can say.
That's a lot of information and I think I'll leave it there for now. In a couple of days I plan on coming back and giving a brief analysis of all of this information.
Happy New Year everyone! I'll see you in 2010.
Note: For my guidelines, I required that an album have at least six songs or that it be at least 30 minutes in duration (one or the other), eliminating most EPs (notably, Saosin's Translating the Name and Paper Route's Are We All Forgotten). Compilations, re-releases and live albums were also not up for consideration (goodbye to Jimmy Eat World's Clarity re-release, Peter Gabriel's Hit/Miss compilation, and Coheed & Cambria's Neverender live set).
STRONGLY RECOMMENDED
50. Almost Here by The Academy Is... (2005) Along with Acceptance's Phantoms and Cartel's Chroma this is one of the finer pop-rock albums of the decade and one that holds up over time, unlike some of it's contemporaries (I'm looking at you What It Is To Burn).
49. Leaving Through the Window by Something Corporate (2002) The album that brought piano-pop to the 80s-born masses, with equal success in up-tempo singles and slowed-down ballads.
48. In Keeping Secrets of Silent Earth: 3 by Coheed and Cambria (2004) A progressive-pop-rock staple, headlined by the insanely catch "A Favor House Atlantic" and the dynamite title-track.
47. The Ugly Organ by Cursive (2003) A haunting and dissonant walk through a twisted world filled with counterfeits and call-girls. "Our Father who art in Heaven, save me from this wreck I'm about to drown in."
46. The Earth Is Not A Cold Dead Place by Explosions In the Sky (2003) When I got this album my freshmen year of college it completely changed my opinion of what an instrumental album could be. EITS has since found considerable fame, but this may remain their finest effort to date.
45. In Motion by Copeland (2005) Catchy and strong, serene and powerful, In Motion is the alt-rock masterpiece that revealed what Copeland was capable of creating.
44. Rise or Die Trying by Four Year Strong (2007) The best driving album of all time. Hands down. Fast and catchy with harmonized vocals and riffs, blistering drum fills, and some serious chugging, when you put this in your car stereo, you'll be singing along and air-drumming within seconds.
43. Please Come Home by Dustin Kensrue (2007) An acoustic-folk release from Thrice's Kensrue who shows why he's one of the era's greatest lyricists and songwriters. The title track is incredible and "Blanket of Ghosts" is a lock to make anyone who's lost someone tear up at least a bit.
42. Picaresque by The Decemberists (2005) A pop-folk-rock concept album about the hard-knock life in an historical seaside town. Equal parts romance, mourning, cleverly phrased observations, and self-deprecating humor, it's hard not to love this one.
41. Like Vines by The Hush Sound (2006) A sublime pop album help up by strong piano and guitar work and the beautiful interplay of male and female voices. If you like pop-music, you owe it to yourself to at least hear Like Vines.
REQUIRED LISTENING
40. Lucy Gray by Envy On the Coast (2007) The last couple of tracks are dead weight. If the first eight songs of Lucy Gray had been released as an EP, it would have vaulted 15 spots up the list. Powerful guitars, unbelievable drumming, intriguing lyrics, and out of this world vocals and harmonies make this one a must-listen album.
39. Act I: The Lake South, The River North by The Dear Hunter (2006) The beginning of the unparalleled, genre-bending The Dear Hunter project. There is no way to classify any of these songs, you really just have to listen.
38. Interventions and Lullabies by The Format (2003) What sounds like a sugary pop album contains some incredible instrumentation and some of the wittiest lyrics of the decade. 'The thought of death, it scares me to death. It's just too much to never wake up."
37. Sound the Alarm by Saves the Day (2006) A riveting pseudo-punk album filled with speeding guitar riffs and wailing, double-tracked vocals; a mix of New Found Glory-esque pop-punk and a throwback NOFX-sound all glossed in Saves the Day's brilliant songwriting and musicianship.
36. Dog Problems by The Format (2006) A pure pop album filled with lush orchestral and vocal arrangements and completed by witty and contemporary lyrics.
35. Saosin by Saosin (2006) Not as innovative (or as good) as the aforementioned Translating the Name EP, Saosin's self-titled full-length is a perfectly blended pop-metal album with soaring vocals, intricately harmonized riffs, and a real sense of power that leaves you wanting to sing along while banging your head.
34. Bleed American by Jimmy Eat World (2001) The measuring stick by which all modern pop-rock albums are judged, this album mixes big, radio friendly hits and more intricate and introspective tracks and still blends into a beautiful whole.
33. Transatlanticism by Deathcab for Cutie (2003) This album has everything from piano ballads to rockin', indie anthems. The epic, sweeping title track says all the things that I can't.
32. The Alchemy Index, Vols. III & IV: Air & Earth by Thrice (2008)
31. The Earth Sings Mi, Fa, Mi by The Receiving End of Sirens (2007) In retrospect, these two albums have a lot in common: they were followups to masterpieces (Vheissu and Between the Heart and the Synapse, respectively) and, as such, were generally underrated at the times of their release, but both were solid throughout, sprinkled with a few exceptional tracks, and have two most memorable closing tracks of the decade ("Child of Dust" and "Pale Blue Dot").
30. Three Cheers for Sweet Revenge by My Chemical Romance (2004) A breakthrough album in that it combined elements of pop, metal, and a comicbookian darkness that bordered on ridiculous. No matter what you think of MCR's image or their earlier or later work, there is no denying that this album is filled with amazing hooks and fun-as-all-get-out guitar riffs.
CAREER DEFINERS
29. Good Apollo, I'm Burning Star IV, Vol. I: Fear Through the Eyes of Madness by Coheed & Cambria (2005) The first eleven tracks of this opus would have made a decent enough album on their own, full of the same formula that made In Keeping Secrets of Silent Earth: 3 (No. 48) so great, but it's the final four tracks ("The Willing Well I-IV") that really make this album exceptional: the four songs total 30 minutes of play-time and constitute one of the finer examples of prog-rock this decade.
28. Tiger and the Duke by The Sound of Animals Fighting (2005) Speaking of prog-rock, TSOAF came along - a collective of musicians from various musical outfits - and created an astonishing concept album whose liner notes even included the story upon which the album was based as well as a detailed breakdown of the musical modes used throughout the album. No one had combined programming, excellent guitar playing and drumming, programming, a tinge of screamo, and brilliant composition so well before.
27. Rockin' the Suburbs by Ben Folds (2001) Unfortunately, it must be noted that this album had the odd misfortune of being released on Sept. 11, 2001 and, as such, wasn't really given it's due until a few years later when it had developed a cult following. Folds really exposes himself as a songwriter and performer here (he's nearly the only person involved with the album on any level) and he shines throughout in his modern day Elton John-meets-Billy Joel-only-wittier way.
26. The Hazards of Love by The Decemberists (2009) A brilliant concept album. I've said a lot elsewhere, but if you haven't read that, trust me: this album is more than you thought The Decemberists could be (even if you thought they could be great).
25. Illuminate by Lydia (2008) Over the last year or so, I've realized that I severely under-ranked this album in 2008. This is one of the most subtly melodic records in recent memory; it's truly beautiful in its own unique way. It takes more than a few listens to finally appreciate all the depth that's going on with Illuminate, but it's certainly worth it.
24. As Tall As Lions by As Tall As Lions (2006) Dan Nigro's voice is splendid, but it does take some getting used to, so don't be put off if this album doesn't immediately sink it's hooks into you. But the instrumentation and vocals are superb and this album provides flowing pop-rock songs in a way that few others can.
23. Emotion Is Dead by The Juliana Theory (2000) The oldest entry on this list is often credited as being one of the finest 'emo' records of all time (it has a name that certainly fits), but I think a more accurate description would be that it is one of the finest experimental-pop records of all time. The music is, at it's core, straight-up pop, but the presentation - which involves programming, intriguing arrangements, and unique voicing - is what really sets it apart.
22. Tell All Your Friends by Taking Back Sunday (2002) I'm sure I've ranked this album a lot lower than many of my readers would like, but - for some unknown reason - it never resonated with me like it did with my peers, even though I loved the album. The multiple-lead-vocalist arrangement has only been done better once (we'll get to that later) and the instrumentation is simple but incredibly well-arranged. This is one of the best albums that you could ever hope to sing to with your friends in the car.
21. Act III: Life and Death by The Dear Hunter (2009) The most cohesive release to date from The Dear Hunter, this album packs a tremendous amount of musical ideas into one hour-long package. You can read more here.
FLAWLESS ALBUMS
20. Postpartum Modesty. A Portrait of Skin by Evaline (2006) An oft overlooked EP, Evaline's 2006 release is the best of two worlds: it's heavy enough to warrant 'rocking out' and it's melodic enough to demand singing along. It's nearly impossible to listen to this one without wanting to start it up again when it finishes.
19. Come Now Sleep by As Cities Burn (2007) The magnum opus of this New Orleans-born band, Come Now Sleep is a melancholy tour de force. As an album written by devout Christians who find themselves questioning the existence of God, it's hard not to be moved by this album, and it's also tough to qualify the blues-influenced hard-rock sound that is so unique to ACB, so suffice to say that the opener ("Contact") and closer ("Timothy") are two of the finest songs of the decade, the latter of which has the capacity to bring anyone who has suffered a loss to tears.
18. Progress by RX Bandits (2001) One of the first successful prog-rock/ska crossover albums, the Bandits experiment with just about every sound at their disposal on this one and get it right every single time. There are still lots of ska roots here (think lots of brass arrangements) but while your listening, it's hard to think of Progress as anything but a masterful rock album.
17. The Moon Is Down by Further Seems Forever (2001)
16. How To Start A Fire by Further Seems Forever (2003) I had to lump these two together as they are so divisive to the FSF fan base, yet so intimately connected. The Moon Is Down is a masterpiece led by Chris Carrabba's (now of Dashboard Confessional fame) incredible lyrics and vocals but driven by unbelievable instrumentation. But I had to give the slight edge to How To Start A Fire which brings that instrumentation front and center and supplants the departed Carrabba with the howling Jason Gleason creating a raw and visceral prog-pop album unlike any other.
15. Wonderland by Forgive Durden (2006) How this band never really caught on before 2008's Razia's Shadow: A Musical continues to astound me. Wonderland is a brilliant pop-rock masterpiece, each song brimming with incredibly creative instrumentation, vocals, and lyrics. There isn't a bad song on this album. Hell, there isn't even a good song because each track moves beyond that and is great.
14. Define the Great Line by Underoath (2006) The defining album of the screamo movement and an album that, ultimately, may never be surpassed within the genre. This album comes at you and hard, with tearing guitars and a wide array of screaming and singing arrangements that will get your heart pumping. Plus, this album is - in my opinion - the absolute high point of the digital recording age; the production on this album is the absolute finest that I have ever had the pleasure of hearing.
13. Act II: The Meaning Of, And All Things Regarding Ms. Leading by The Dear Hunter (2007) The album that really established The Dear Hunter as major players in the music scene. Act II has a little bit of everything in it - and I mean that quite literally. It really doesn't matter what kind of music you like, because you're bound to find something that pleases you here.
12. De-Loused In the Comatorium by The Mars Volta (2003) A groundbreaking prog-rock album that hearkens back to the days of Genesis' The Lamb Lies Down On Broadway. This album plays as the most organized and creative jam session you've ever heard with unbelievable melodies flying high above the mind-boggling instrumentation.
11. In the Land of Lost Monsters by Gatsbys American Dream (2004) Clocking in at seven tracks and eighteen and a half minutes, this is one short album. But boy, oh, boy does it give you your money's worth. A bitter mission statement, this album has an anger and edge unmatched by any other GAD album but never loses sight of the bands strengths: Nic Newsham's phenomenal vocals, highly literate lyrics, and breathtaking instrumentation. It's hard to get, but if you can find this one, hold on to it.
MASTERPIECES
10. Eat, Sleep, Repeat by Copeland (2006) A darkly beautiful wonderland of rolling guitars, intricate drum beats, gentle pianos, and Aaron Marsh's sensational voice flowing over everything. From beginning to end, this album is an emotive experience with the title track, "Love Affair", and "When You Thought You'd Never Stand Out" reaching a whole other plane of excellence.
9. Volcano by Gatsbys American Dream (2005) This album is not often given its proper due when discussing great works of the time because of GAD's numerous contributions to the conversation, but - I assure you - this album is fantastic. Containing some of the decades finest pop songs but having them also be some of the decades most progressive songs is not an easy task, but that's what happens on Volcano where "Shhhhh! I'm Listening to Reason" might be the textbook example of progressive-pop-rock.
8. ( ) by Sigur Ros (2002) A sprawling album divided into two halves with no actual lyrics (or song or album titles for that matter) which uses the voice simply as another instrument in the band's arsenal, ( ) is a landmark record. Its songs are epic ("Untitled 8") and gorgeous ("Untitled 4") with no song more noteworthy than "Untitled 1" which may be the single most beautiful composition I've ever heard.
7. The Resignation by RX Bandits (2003) The followup to Progress (No. 18), The Resignation was recorded almost entirely live in the studio and - considering the complexity of the material involved - I can't say much more in praise of the Bandits' talents. A prog-rock album far more than a ska album (which I dare say it isn't at all), The Resignation should appeal to a wide audience and is impressive on every front.
6. Up by Peter Gabriel (2002) Few of you reading this will have ever heard anything from this album. I cannot recommend that you seek out a song or two strongly enough (I'd recommend starting with "More Than This"). Gabriel has always been an innovator and he outdoes himself in every capacity with Up, by far his greatest work. Every song is intricately composed and arranged and one really gets the impression that Gabriel searched the world over to find the perfect sound for each and every second of this beyond-impressive work.
5. Stay What You Are by Saves the Day (2001) The finest pop-rock album on this list, Stay What You Are is an exercise in doing something and doing it well. Saves the Day didn't reinvent the wheel with this catchy wonder-work, they just made the best damn one available. You won't be able to stop listening to this album once you start.
4. Vheissu by Thrice (2005) A staggering album. Vheissu occurred in a perfect storm of conditions within a band and a studio and the result is an unforgettable album. Thrice try every style that they want here and nail each of them, from hard-rock, to spiritual chants, to piano ballads, to programmed epics. One of the few albums that, without fail, seems to get better and better with each listen.
3. The Devil and God Are Raging Inside Me by Brand New (2006) The absolute pinnacle of darkly melodic rock. Dark as it is, everything about this album is phenomenal, from the instrumentation to the melodies and lyrics. Brand New have a brooding cynicism about them on this album that infects the musical and lyrical tone and never relents creating an album that is deeply and darkly poignant: "And in the choir, I saw our sad Messiah. He was bored and tired of my laments. Said, 'I died for you one time, but never again. Never again.'"
2. Ribbons & Sugar by Gatsbys American Dream (2003) The defining progressive-pop-rock album. There isn't a down moment on this entire album and every song makes its own case for being the strongest of the bunch. The recording and production maximize every glorious guitar riff, snare hit, and background vocal. Every musician on this album is undeniably brilliant at what they do and it shows. A true masterpiece.
1. Between the Heart and the Synapse by The Receiving End of Sirens (2005) In the Tell All Your Friends section (No. 22), I mentioned that only one album better exemplified the 'multiple-lead-vocalist' arrangement and this is the one. With three lead singers seamlessly exchanging lead lines and gracefully singing counterpoint melodies over one another, this album has some of the finest vocal arrangements this side of John and Paul. But what really puts the album over the edge and into the number one seat, aside from the vocals and equally impressive musicianship, is the composition. This is one of the most well thought out and organized concept albums I've ever seen. The album exists completely within itself, with each song making reference to at least one other song on the album and with a fully functional "Prologue", "Intermission", and "Epilogue". This album is epic and perfect in just about every way. There's not much else I can say.
That's a lot of information and I think I'll leave it there for now. In a couple of days I plan on coming back and giving a brief analysis of all of this information.
Happy New Year everyone! I'll see you in 2010.
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