Album Review: Coheed & Cambria- The Afterman: Ascension

They've written albums that spanned multiple universes. They've toured the world. They've made a 4-part live DVD spanning what was their entire career at the time, complete with a documentary and some of the best songs modern rock has seen in the last decade. They've gone from an indie label to a major label, and were actually able to stick around that major label for more than an album (think about it, how many other bands can say that?). They've captivated the minds, hearts, skin, and souls of countless crowds of fans across the globe. But if there's one thing Coheed & Cambria has never done, it's compromise their unique artisitic vision. Even if some think Year of the Black Rainbow was a misstep, but for what the band wanted to do with the end of the saga of The Amory Wars, it was the epic, stadium-ready ending to a career-spanning story that only their minds could have even conceived. Now, Coheed & Cambria are in a state of near-reinvention: they've got a new double-album coming out that they've chosen to self-release, and given the varying levels of disappointment Black Rainbow and No World for Tomorrow were received with, the band's career may be in the balance of what they've been able to come up with in the newest installment of The Amory Wars, the journey of The Afterman.

The Afterman: Ascension is the first of the two-album set, and though it only contains nine songs, they are some of the best Coheed has come up with since Good Apollo, I'm Burning Star IV, Vol. I. Beginning as Coheed's albums often do, with an instrumental scene-setter, we are introduced to the Afterman, an explorer who appears to be investigating the keywork after the Amory Wars have ended. His journeys lead him to enter the lives of four people, the first of which is "Domino the Destitute," who is the subject of the nearly eight-minute proclamation from Coheed & Cambria that they've gone back to what people loved about them in first place: monstrous guitars thrown in with Claudio Sanchez's unmistakable voice and storytelling method of lyrical content, wrapped neatly into tracks that seem pleasantly neverending. "Domino The Destitute," "Holly Wood the Cracked," "Vic the Butcher," and "Evagria the Faithful" make up the four "Entity Extractions," which are an interesting twist in Sanchez's story, as he writes from the perspectives of people other than Coheed and Cambria. These multiple perspectives are Sanchez's greatest experiment, and they never come across as fake; in all actuality, they help him purvey the emotions that drive the meanings of the songs with even more clarity, and show a depth to the story that seemed a little lacking on Year of the Black Rainbow. The Key Entity tracks are reminiscent of the Willing Well tracks from Good Apollo I, and even the Velorium Camper tracks from In Keeping Secrets of Silent Earth: 3, but because of the change of pace Sanchez provides on Ascension, there's a lot more weight to this particular series of tracks that come to define the album.

Musically, as always Coheed & Cambria are peerless. The guitar tandem of Sanchez and Travis Stever has always been the band's musical highlight, and they live up to their reputation yet again. However, the musicianship received a welcome addition in bassist Zach Cooper, who is replacing original bassist Mic Todd, who was removed from the band for less than amicable reasons, and an unlikely reintroduction of the band's original drummer Josh Eppard, who left the band prior to No World for Tomorrow. Eppard and Cooper are faced with the dubious task of backing up the storied guitar tandem of Sanchez and Stever, especially considering it's their first release working with one another, but the two work cohesively together, as Eppard's drumming harkens back to In Keeping Secrets, which fans of "old Coheed" will love, while Cooper powers each track by not overdoing anything, and finding his way to cooperate and complement the chemistry that had already been established between the rest of the band members. Cooper's effort is one of the most commendable this year, as he entered a situation riddled with controversy and rather than adding to it, he simply let his music do the talking, and helped Coheed re-establish themselves as one of the most forward-thinking bands on earth.

Though the Key Entity tracks are the highlights of the album, the tracks they are littered between add great depth to the beginning of the saga of The Afterman. "The Afterman" features a somber opening with Sanchez crooning over a great guitar riff and Eppard's drumming, before the string arrangement arrives and ends up adding a new layer to the song. "Mothers of Men" starts off with a riff that would have fit in perfectly on No World for Tomorrow, and "Goodnight, Fair Lady," evokes a similar reminder to Good Apollo I. These tracks don't feel like lazy re-hashings, though, but expansions on where the band has come from in order to show where they want to be. The gloss and more straight-up rock feel that Year of the Black Rainbow was lined with has been combined with what made Coheed's previous releases so special, and the result is an album that feels expansive, validating, and all-encompassing.

The Bottom Line: There is something on The Afterman: Ascension that any fan of Coheed & Cambria will enjoy. Though there are only nine songs, they all do a wonderful job in building on one another, which creates even more anticipation for The Afterman: Descention, which is due out next February.
Recommended if you rock: I honestly don't think there is any band I can list here other than Coheed & Cambria.

Get behind it! 'Like' Coheed & Cambria on Facebook and/or Follow them on Twitter!

Song of the Week, 5/2: Coheed & Cambria- "Somebody That I Used to Know (Gotye Cover)"

What is it?: By now, you've probably heard Gotye's surprise smash hit "Somebody That I Used to Know," and the subsequent (and almost obligatory) gloss-over version as performed on Glee. Without a Punk Goes... release on the horizon, it appears Gotye is safe from being "scream-o-fied" by the current Rise Records Flavor of the Month. Hurrah! But still, with such a peculiar song with an even more peculiar amount of mainstream success, wouldn't it make sense for a band with some, uh, confidence give it the proper cover treatment?

Why is it Song of the Week?: It's actually quite simple: Coheed covered it. If it were any other band, it probably wouldn't have been as big a deal, or as good as this live rendition was. Coheed's been busy recently, reuniting with original drummer Josh Eppard, and beginning work on their new album, while enlisting Zach Cooper as their new bassist, and are now on tour with Moving Mountains and Pianos Become the Teeth. All this, and they were still able to find some time to work on and nearly perfect this cover. To be fair, Claudio Sanchez doesn't exactly know the lyrics, but his voice has never sounded better, and if you're a fan of the band, or covers in general, you'll hope this cover sees the studio time it deserves to see how Coheed can really deliver Gotye's unexpected hit. Until then, check it out below:

Recommendation for the Week, 10/3-10/9

Remember when MySpace was culturally relevant? Well, I sure do! In a lot of ways, MySpace was much better than Facebook, and the biggest reason I say that is the fact that you could have a song on your page to describe your tastes, you relationship status (as corny and sickening as that may be), or how you're feeling. However, there are a lot of instances that indicate this wasn't such a great idea. Case in point: a girl I was with decided to post "The Potential Break-Up Song" by Aly and AJ to tell me she wasn't feeling it anymore, instead of telling me to my face. I was distraught, but then I played "Seventy Times Seven" by Brand New and got over it.

I hope you paid attention to that last sentence, because it means a lot to me. It should mean a lot to people all over the world too. Break-ups are inevitable these days. Even the couples who seem most secure can crumble at any second, and that's when music comes in. While being friends afterwards is admirable, sometimes it just helps to be bitter. Sometimes you just have to give your ex the finger when you see them in public, delete them from your friends list on Facebook, or however else you send the subtle "Don't ever talk to me again." message. And that's where music comes in. Over the years, I've had my share of break-ups, and this week is dedicated to the top ten songs that I've blasted in my room trying to forget about it for a while. Here they are, with their most stinging lyrics on display:

10. The Starting Line- "Surprise, Surprise": While fans say TSL's Based on a True Story was their worst output, that's not to say that there weren't some gems on the album, and "Surprise, Surprise" is a testament to that. Kenny Vasoli's personal attack on an ex is stinging and catchy, which proves to be a lethal weapon against whoever was dumb enough to break his heart.

Most Stinging Line: "I'll be your friend in Hell. Until then, I despise you."

9. Fall Out  Boy- "Tell that Mick He Just Made My List of Things to do Today": The first track off of Fall Out Boy's acclaimed Take This to Your Grave set the tone for the rest of the album, while taking the "Best Track" award before I even heard the rest of the album the first time I heard it. It's tough not to relate to this song, as we've all felt given up on at one point or another, and Pete Wentz and Co. use "Tell that Mick..." to show us that there's a way to get back at your heartbreaker: letting go and moving on.

Most Stinging Line: "Stop burning bridges, drive above them, so I can forget about you.

8. Motion City Soundtrack- "When 'You're' Around": I remember when I first bought Commit this to Memory in my freshman year of high school. I was obsessed with "Everything is Alright" and was wondering if the rest of the album was anywhere near as good as the hit single. Turns out, it may not even be the best song on the album, thanks to "When 'You're' Around." Every time I hear the song, it's just as incredible and eye-popping as the first, and it's a song I'll constantly go back when I need to let loose.

Most Stinging Line: "'Cause I can't f****** stand it when you're around, no I can't f****** stand it."

7. Coheed and Cambria- "Welcome Home": As I've mentioned in previous blogs, Coheed is a band a lot of people can't get in to because of Claudio Sanchez's nasally voice. One of them is my brother. However, every time he and I are on a long car trip, "Welcome Home" is played at least once. "It's just too good," he says to me almost every time "It's a shame all their other stuff sucks." While I don't agree with his last statement, I do think that he has a point: there is a certain undeniable attachment people find in this song, whether it's because of Coheed's precise musicianship, the carefully placed choir in the song's final stages, or the relatable lyrics no one saw coming from the sci-fi prog princes of Co&Ca. Nevertheless, there are legions of people who are grateful for Coheed's timeless scorned lover's anthem.

Most Stinging Line: "You could have been all I wanted, but you weren't honest. Now get in the ground."

6. Hit the Lights- "Bodybag": Since Skip School Start Fights came out, some people have forgotten how good Hit the Lights was with Colin Ross at the helm, and that argument is made stronger by their creepy-yet-so-catchy classic "Bodybag."  The song takes the disgusting stuff from Dear Diary...-era From First to Last and combines it with an undeniably catchy chorus you'll be singing along to by the end of your first listen. Had Senses Fail not written "Buried a Lie" a few years before, this song could have been a game-changer, but it will have to settle in as a must-play song in any HTL setlist.

Most Stinging Line: "Next time around, think about what you say before you run your mouth. 'Cause you're all alone, and you're nothing without your friends now."

5. Kelly Clarkson- "Since U Been Gone": Before Steve Carell screamed her name in The 40 Year-old Virgin, Kelly Clarkson was a pop megastar with her hit "Breakaway," an uplifting song that many graduating classes sing on their graduation day. Her next single was the complete opposite, and that's exactly why it's so perfect. "Since U Been Gone" is a rare pop song mentioned on this blog, but if you give in to this guilty pleasure, you won't be sorry. And sure, you can argue that A Day to Remember's mosh-tastic cover is the better version, but put down that Natty Ice and accept that Kelly Clarkson's original version is the real deal.
Most Stinging Line: "Since you've been gone, I can breathe for the first time. I'm so moving on."

4. Acceptance- "Over You": What better way to make a playlist about getting over someone than by a song whose chorus only states "I'm getting over you?" Acceptance's career was short-lived, yes, but their impact is still felt by those bands still carrying the banner for honest pop punk, and classic tracks like "Over You" will ensure that this band lives on for years to come. Whether you just got out of a relationship or you're in one now, it's hard not to love "Over You" in all its angtsy glory.

Most Stinging Line: "See it on my face? I'm getting over you."

3. Cee-Lo Green- "F*** You": The most recent addition to the list may also be the best. Cee Lo Green has already had his name etched in pop music forever; his song "Crazy" from his project Gnarls Barkley was named the song of the decade by Rolling Stone, so he clearly has made some money from that song. But Cee-Lo didn't want to just sit on his giant pile of money, no. Instead, he went solo, and may have made the best case yet for the best song of this young decade. "F*** You" is so catchy it hurts, and the profanity-laden chorus shows the true nature of heartbreak. There aren't many mainstream songs with this much honesty, and it seems Cee-Lo has found the perfect balance of substance and style in today's mainstream, and we've been blessed with a "F*** You" because of it.

Most Stinging Line: "I guess he's an XBOX, and I'm more Atari. But the way you play your game ain't fair."

2. New Found Glory- "My Friends Over You": In New Found Glory's ten-year history, they've made a killing by writing songs about the best of friends having the best of times. But what happens when things go a little sour? They simply write "My Friends Over You," the best song of their career, of course! This song really does have everything a kid with a broken heart is looking for: a guitar riff to rock out to in the privacy of your own room, lyrics to scream at the top of your keyboard (LIKE THIS!), and a reminder that your friends have your back no matter what. Awwww, isn't that just precious? But don't for a second think NFG have gone soft; they still bring it at live shows, and the chorus of "My Friends Over You" isn't even sang by Jordan Pundik anymore. Instead, its screamed back at him by all the loving fans whose lives have been made better by that song getting them through a tough time (myself included).

Most Stinging Line: "Though you swear that you are true, I'd still pick my friends over you."

1. Brand New- "Seventy Times Seven": Come on. When I mentioned this song at the top of this blog, did you really think for a second it wouldn't have been number one. I'm not sure who to thank first for the blessing of this song: Jesse Lacey for writing it, or the girl who inspired it. Either way, there's no doubt that this song will be shouted at the top of teenagers' lungs so long as they're "talking," "together," "texting," or whatever other crappy terminology those crazy kids come up with. I'm usually not one to lack words to describe something, but it's happening here. All those memories you have, all the pain you've pent up, let it go, and let Jesse Lacey get you through it. 

Best line of any break up song, ever:

"So is that what you call a getaway? Well, tell me what you got away with. Because I've seen more spine in jellyfish. I've seen more guts in eleven year-old kids. Have another drink and drive yourself home, I hope there's ice on all the roads. And you can think of me when you forget your seatbelt, and again when head goes through the window. And is that what you call tact? You're as subtle as a brick, and it's more on my back, so let's end this call, end this conversation. And is that what you call a getaway? Well tell me what you got away with. Because you left the frays from the ties you severed when you said 'Best friends means friends forever.'"

And there you have it, my personal Top Ten Break-Up songs. Looking back on this list, I'm inclined to look back on the break-ups, and the truth is, I'm grateful. Grateful for all those insignificant moments I spent with people far more insignificant. Grateful I gave them the chance to make me feel something, even if it wasn't so great. Most of all, I'm grateful these incredible songs were written to give me something to hold onto. So long as there are relationships, there will be break-ups. And so long as there are break-ups, there will be songs like these to get you through. So what made your list? Leave it in the comments, I'd love to hear from you.

Recommendation For the Week, 9/19-9/25

I can't tell you how many times I've had this conversation:

"Hey (friend's name), check out this band, I think you'll like them."
Friend listens to song, with a puzzled look on his/her face.
"What'd you think?"
"I don't know, I don't really like how the singer's voice sounds."

It seems like any time a band is a little bit out of the "norm" a person listens to on a daily basis, the obscurity and unique style of a particular vocalist catches them off-guard, and the listener is immadiately turned off to the band altogether, regardless of the depth of the song's lyrics or the level of talent in its musicianship. As it were, quite a few of my all-time favorite bands (and a few who are quickly moving up the list) have vocalists who are a little different than what you're used to, but that doesn't mean they aren't good. And that's what this week's recommendation is all about: broaden your horizons and open your mind to one of these bands, even if the singer's voice is unbearable to you at times. Who knows, you may find something to hold onto for the rest of your life like I did.

Coheed and Cambria
This four-peice prog-emo group has been around since the beginning of the new millennium, and have quietly released four of their five albums on a major label. While Co&Ca write some of the best rock anthems you don't know about, the reason you don't know about is probably Claudio Sanchez's apparent "little boy who just sucked in helium" voice. The truth about the band, however, is that they are a group of talented and dedicated musicians who are arguably one of the most creative rock bands to come around in decades. With all of their albums telling the science fiction story that Sanchez himself is constantly in the process of penning, the band have changed up their sound time and again, all while keeping the intangibles of the band intact: honest, open songwriting, underrated musicianship, and for better or worse, Sanchez's "helium" influenced voice.
Key Track: "A Favor House Atlantic"

Circa Survive
When Anthony Green fled Saosin to form Circa Survive with guitarist Colin Frangicetto, fans of Saosin were heartbroken, of course, but interested nonetheless on how Green's voice would be used in his new band. However, those who were outside of the post-hardcore scene at the time were skeptical of Green's voice, saying it was too gravelly and high-pitched to be taken seriously. However, as many of the band's fans (and the band itself) will attest, there is so much more to Circa Survive than Green's monstrous voice and stage presence than people think. One listen through the band's 2010 release Blue Sky Noise  will show any listener that Circa Survive is comprised of two techincally gifted guitarists (Frangicetto and Brandon Eckstrom), an underappreciated drummer (Steven Clifford), and a bassist that melds all the sounds together to make a smooth, precise finished product (Nick Beard). Say what you want about Green's voice, but there is no denying the talent Circa Survive possess beyond the vocals everyone is so love/hate about.
Key Track: "Act Appalled"

New Found Glory
In a world where people automatically say "Green Day" and "Blink-182" when they hear the words "pop-punk," it's hard to tell why New Found Glory never got the mainstream recognition their fans will so readily tel you they deserve. Fads have come and gone, and it appears NFG have remained one of the more respected bands in pop-punk, never "selling out" to major labels and always giving their fans what they want. As for why they never caught that big break and became stars, many point to the nasally vocal output of the band's frontman, Jordan Pundik. There are many bands whose images are more accessible than NFG (most of the band's members have full sleeve tattoos on both arms), but there are very few who can write a catchier chorus. NFG have constantly given their fans songs to be screamed back at the band during their intimate, energetic live shows, and anyone who accepts Pundik's nasally voice will see a band who know how to relate to the pent-up, angsty teenager in all of us.
Key Track: "Failure's Not Flattering (What's Your Problem)"

Silversun Pickups
While the indie scene has become oversaturated and same-sounding, Silversun Pickups have found a niche in the game and are among the easiest bands to point out in a crowd, and it's not all because of the vocal delivery of guitarist/vocalist Brian Aubert. Though Aubert's voice seems rather feminine, and many people mistake bassist Nikki Monninger for the band's vocalist (example: me), SSPU have developed a reputation for being one of the most forward-thinking alternative acts around, thanks to Aubert's guitar work and the frantic drumming provided by Christopher Guanlao. Once you look past the gender-bending vocals Aubert provides, it can't be too hard to see from the band's 2009 release Swoon that Silversun Pickups aren't to be defined by one voice, but by the collective whole of the band's unique sound.
Key Track: "Panic Switch"

Trophy Scars
Quite obviously the most unknown band mentioned this week, Trophy Scars may also be the most intriguing. An unsigned band from my home state of New Jersey, the band have released three full-length albums and have an EP coming out before the end of this year, cementing their place as one of the hardest-working bands in post-hardcore today. For whatever reason, however, the band never got off the local scene, whether it be a feeling of comfortability with where they are, or simply a lack of interest in the band from labels, which could be stemmed from the voice of its frontman Jerry Jones. Jones goes from a shrll, shreiking scream to Tom Waits-esque grumbling, Jones pours his own life's issues into each of the band's emotionally jarring songs, which spin a mix of influences into a blender that produces something rarely heard and often overlooked, but always, and I mean always, 100% authentic and honest.
Key Track: "Assistant. Assistants."

It's certainly an interesting conversation to have--bands you don't particularly like or listen to because of the singer's voice-- and it almost always points to stubbornness and complacency in one's musical taste. So before you navigate away from this entry and forget you ever read it, take a listen to one of the bands mentioned, and really listen to it. Try thinking of a band who writes songs even somewhat similar to Coheed and Cambria. Try and find a band more dedicated to their craft than the group of men in Circa Survive. Try and not sing (or scream) along to one of the New Found Glory's catchy and relatable choruses. Find a band that takes more risks and has them pay off the way Silversun Pickups do. Or better yet, think of another artist in any music genre that bares it all the way Trophy Scars' frontman Jerry Jones does. While each of these bands may not be tolerable due to their singers' voices, each of the bands mentioned prove that it takes more than a voice to make a band, and that when the music and songwriting is good, how the voice of the band sounds isn't all that important at all; rather, its more important that the voice is spoken and heard.

That being said, I'll turn it over to you: who did I miss? What experiences have you had with this topic? Who do you think gets little respect, yet deserves so much more? Leave it in the replies, I'd love to hear from you.

Mid-Year 2010: The Top Albums, Songs, and more

As the calendar made its way from June to July a couple of weeks ago, it marked the midway point of what is shaping up to be a monumental year for music. And while the script is only half-written, 2010 has graced us with return-to-form records,  monumental debuts, unexpected breakthroughs, and above all, some damn good music. Though it's far too early in the year to create a "Best Of" list yet, there are certainly some prime candidates to become key factors (and a few top contenders) come December. In no order, here is my soundtrack to the year (so far):

Coheed and Cambria-Year of the Black Rainbow: At long last, the saga of Coheed and Cambria has seen it's triumphant end. The band has become a staple of the prog-emo world, riveting comic book-loving fans with their sci-fi take on music. Claudio Sanchez's story has seen its final chapter (which, oddly enough, is the first part chronologically), and when all good things come to an end, it calls for celebration. And that's what Black Rainbow is, pure and simple. The songs are bigger, the production is crisp, and the saga's ending serves to be a powerful one. This is arguably Coheed's catchiest release, but they haven't lost a step musically, as seen in "Guns of Summer" and single "The Broken." There will never be another band like Coheed and Cambria, and their latest effort is both a celebration of the band's previous ventures and a preview of ones to come.

Four Year Strong- Enemy of the World: Pop-punk has taken its share of black eyes and bruises over the years. Fads have come and gone, and it seems that there is a sort of Renaissance going on, bringing back the honesty and camaraderie that drove kids to the pop-punk scene in the first place. Four Year Strong is poised to be the poster boys for this movement. With songs like "One Step at a Time" and "Tonight We Feel Alive (On a Saturday)" bringing the emotional sides of the band out, and singles "Wasting Time (Eternal Summer)" and "It Must Really Suck to be Four Year Strong Right Now" begging to be screamed by crowds, there's something for everyone here, and surely FYS will be bringing the pain at their shows for years to come thanks to this release.

Motion City Soundtrack- My Dinosaur Life: After their last release Even if it Kills Me created a line in the sand for fans, MCS decided (maybe not intentionally) to go back to their old days, and have written what could be their best album to date. Justin Pierre once again gives fans front-row seats to the battle he continues to fight with his demons, providing some of his most personal lyrics (as seen on "Disappear"), while the band continues to push its musical boundaries as well. My Dinosaur Life takes a turn for the dark side, which may be too great a change of pace for some fans still stuck on songs like "LG FUAD," but any fan that is willing to take the ride through this album, its highs, lows, and everything in between, will be all the better for it, and will be introduced to one of the best albums of the year.

The Audition- Great Danger: After their raucous Controversy Loves Company, The Audition have been struggling to create an album that lived up to the promise they showed on their debut. They may have surpassed anything they've ever done on Great Danger. It's the perfect soundtrack to heartbreak, yet it still keeps with the band's knack to write the catchiest hooks this side of the Mississippi. Though many will dismiss The Audition as a regular old pop/rock band (see: me), the effort and emotion put forth on this album (prime examples being "Honest Mistake" and "The Art of Living") to make anyone jump onto The Audition's bandwagon.

Minus the Bear- Omni: It seems that every year, a band I don't typically listen to releases an album that I love and it makes me wonder why I never gave the band a chance sooner. This year, Omni is that record. It's a funky, sexy good time, and you don't ever want it to stop. Opener "My Time" is a great track to play with the windows down, while "Secret Country" is among many others that show the precise and creative musicianship MTB have always had. This isn't like their earlier releases, but Omni proves that change doesn't always have to be for the worse.

Emarosa-Emarosa: When Johnny Craig released a full-length solo album and the Isles and Glaciers EP before he even hinted at writing (or having any interest in) the next Emarosa, fans of the band were certainly on edge. However, with the band's self-titled effort, it's clear that Craig saved his best creative juices for the band who salvaged his career after he was booted from Dance Gavin Dance. This album may contain the best bookend songs of the year: "A Toast to Future Kids!" builds up from a slow start to explode, which makes it more than a fitting opener, while the somber, emotional "We Are Life" adds the exclamation point to an album that could push Emarosa to the next level, while possibly cementing Craig as the scene's best frontman.

Circa Survive- Blue Sky Noise: I'll never be one to deny my allegiance to Circa Survive. They are simply one of the bands that I can not get enough of. And given how many times I've played On Letting Go, I had my doubts that the follow-up to quite possibly my favorite album of all time would be an improvement. And, as usual, I was wrong. Blue Sky Noise is Circa's assertion that though he's still a key ingredient, Anthony Green is not the entire band. I can name you a part in every song that at least one member of the band other than Green simply takes over the track, and takes Circa's lyrics and vocals to a whole new stratosphere. There are simply not enough words I can currently come up with to describe this record's brilliance, but this is a good start: I'm naming Blue Sky Noise as my Album of the Year. Right now. It simply will not be topped, and if it is, then it will be something that I'll hold near and dear to my heart, right along with this one. 

(Writer's Note: to ensure accuracy in the mid-year mark, albums released after July 1st were not considered for this article.)

Now that that's over with, let's look at some other aspects, starting with some of the best songs to come out this  year:

Of Mice & Men- "Second & Sebring": Say what you want about Austin Carlile being the reason Attack Attack! is on the map (it's true, after all), but it seems that he found his writing niche with Of Mice, and this song is proof. It's very powerful, and Carlile holds it dear to his heart, so much in fact that when he was replaced by former Sky Eats Airplane frontman Jerry Rousch he wrote a lengthy blog requesting Rousch respect the lyrics and vocals because of how much they mean to him. Though that drama still continues, you can find solace in simply enjoying Carlile's crown jewel, which could be the best metalcore track of the year.

You, Me, and Everyone We Know- "Build Me Up, Buttercup (Cover)": Cover songs are tricky nowadays. The Punk Goes... series and metalcore covers of every Top 40 hit this year have cheapened the art substiantially, but YMAEWK have certainly broken the mold with their cover of the doo-wop hit from The Foundations. They took a song that may or may not influence the way they write, and left most of the things that made it great intact, while tweaking it enough to make it a signature track from the band. While covers are rarely done right, this is one of those cases, and a must-listen for any covers fan.

Neon Trees- "Animal"- Though mainstream pop music has gone to the kids (like Miley Cyrus or Justin Beiber, whoever she is), sometimes you hear a song on the radio that gives you some little glimmer of hope. This year's best chance at giving the mainstream a taste of real music is from a group hailing from, oddly enough, Utah. It's catchy, has an indie feel to it, but can really come in handy at your next party. And though they share a label with Ms. Beiber, you can tell there's a sense of sincerity in the Trees.

Chiodos- "Thermacare (Unreleased Demo)"- Likely the last song Chiodos recorded with Craig Owens as their lead vocalist, "Thermacare" may also be the best song the band has ever written. The chorus is as stinging as it is catchy, Owens's vocals are as strong as you'd expect them to be, and the breakdown can easily cause some damage in the pits. However, the song is a bittersweet listen, because while it is a vintage Chiodos track, it also makes the listener think that if this was the direction was going for their next album with Owens, the decision to kick him out of the band was dumber than originally thought.

Moving right along, let's take a look at what's next this year. In no order, here is the most anticipated albums for the rest of the year:

You, Me, and Everyone We Know- Some Things Don't Wash Out (Release Date: August 31): The heir apparents to the pop-punk throne release their debut full-length, celebrating their first release on Doghouse Records as well. 

Valencia (Release Date: Unknown): The band opted not to tour Japan or play the Bamboozle Festival to record their follow-up to the beautiful We All Need a Reason to Believe. If their next release is anything like Believe, Valencia could become the leaders of the pop-punk revival.

Underoath (Release Date: October): The band's first album without Aaron Gillespie will surely be different, but let's face it: this has been Spencer Chamberlain's band since Define the Great Line, and their two releases with "Spee" as their main songwriter have been incredible. 

My, what a year it's been. And with the list of bands who could possibly release an album before year's end including Manchester Orchestra, the revamped Chiodos and Craig Owens's new project, Senses Fail, and Hellogoodbye, I have a feeling it's only going to get better, making the construction of my Top 10 Albums list all the more difficult. But hey, that's what this is all about.