2013 Recap: Donald's Year-End Awards

While Keep Calm and Carry On tried its best to show you the best possible image of what 2013 in music was like, the truth is, our own individual album lists can only go so far. There certainly were a lot of big stories behind the music of 2013, and in my annual tradition, I'll try to highlight some of the best (and worst) from 2013.

Song of the Year

 Fall Out Boy - "My Songs Know What You Did in the Dark (Light 'Em Up)"

There's a reason this track was selected as the first snapshot of Fall Out Boy's new sound. Featuring an opening crowd chant/clap segment that drives the track, Fall Out Boy announced their reunion in a bold way by bringing this song out, and the decision is still paying big dividends for the band (as of the publication of this post, the track has sold over 3 million digital copies). Thanks to Patrick Stump's newfound swagger and one of the band's most gigantic choruses, "My Songs" was the scene's soundtrack of 2013, paving the way for a huge year for Fall Out Boy.

Runner-up: The 1975 - "Chocolate"

Non-Music Related Story of the Year 

Ian Watkins of Lostprophets

There isn't really much to discuss here. By now, you likely know about the heinous crimes Ian Watkins, former frontman of LostProphets, was convicted of conspiring to commit. The details are readily available on many fine news outlets who could cover the story better than we at Keep Calm ever could, so we will leave that type of reporting to the true professionals. Keep Calm wishes only the best to the victims of Watkins's maniacal, appalling behavior. 

Cover Song of the Year 

The 1975- "What Makes You Beautiful," Originally performed by One Direction

While it never saw a proper studio production or official release, the cover that features two of the biggest acts hailing from the UK in the world takes this home thanks to The 1975's creative spin on the 1D smash that makes it seem like it was straight from the band's self-titled debut. The track shows just how great of a band The 1975 truly are, as they take a sugary pop track and add their ambient electronic spin to it, making it a haunting, pain-stricken love song. Side note:Radio BBC 1 does a lot of these, and if you have a few minutes (when you're done reading this, of course), it's worth spending them persuing their YouTube channel.

Runner-Up: Jimmy Eat World - "We Are Never Ever Getting Back Together," originally performed by Taylor Swift

EP of the Year 

You, Me, and Everyone We Know- I Wish More People Gave a Shit

The rebound that Ben Liebsch has been able to achieve since his entire band walked out on him a few years ago has been astounding. Liebsch has now released two EPs (a total of 7 songs) in the last two years, and this year's edition, I Wish More People Gave a Shit, is his most open and controversial yet. Tackling tough topics like rape culture ("Better Men") and the overall complacency of the average person ("I'd Contribute More Dead"), Liebsch's songs feature his classic tongue-in-cheek style, and as he widens his scope from his own issues to that of the world around him, it seems the scope of people his music reaches is about to expand as well. 

Runner-Up: The 1975 - Music for Cars

Music Video of the Year

 Foxing - "Rory"

The key track and first single of the band's debut The Albatross, "Rory"'s music video is just as cruel and upsetting as the song itself sounds. Showcasing the cruelty of schoolchildren, the track features a boy being tormented by three girls, while the band is seen in two separate rooms giving a subdued performance of the track, save for vocalist Conor Murphy, who conveys his emotional lyrics perfectly throughout the video. Foxing deserve an obscene amount of credit for how good of a song "Rory" is, but the music video helps add even more depth and impact to the track. On top of all that, it took the throne from Ylvis in the "Best Music Video to Feature a Fox Mask" category. And that's something we can all get behind.

Runner-up: Balance & Composure - "Tiny Raindrop"

Guilty Pleasure of the Year

 Falling In Reverse - "Alone"

There were so many polarizing releases this year, but this one seemed to garner the most universal hate. Falling In Reverse were bad to begin with, but when you have a song that features two rap verses, an auto-tuned bridge, an over-the-top chorus, and a mosh call, you become something more. You become the worst thing to happen to music in over a decade. Falling In Reverse sure know how to get people talking, and I guess they deserve credit for that, because for some reason, I've deemed them a guilty pleasure of mine. There's something so endearing about how laughably bad this song is, and every now and then, when I'm having a long day, I throw this song on, and remind myself exactly how much worse things can get. So thank you, Falling In Reverse. You make my life suck less.

Runner-up: Saying the word "suppy."

Tour of the Year 

Underoath's Farewell Tour

As the greatest metalcore band of the 2000s once said, "It's all in your goodbyes." Boy, do Underoath follow through with their own proclamations. Bringing out fellow stalwarts mewithoutyou as direct support, along with the original lineup of As Cities Burn and letlive., one of the most promising bands in the scene today, Underoath crafted a concert experience that was consistently loud and impactful, with each act building upon one another until the energy burst for the band's farewell set in each city. It's always sad to see bands go, but there's always a nice sentiment when it feels like a band went out on their terms, and Underoath's farewell tour makes it seem like the band accomplished everything they wanted to. And no band deserves that more than they do.

Runner-up: Fall Out Boy's Save Rock and Roll Arena Tour with Panic! at the Disco and twenty|one|pilots

Vocalist of the Year

Patrick Stump, Fall Out Boy

Fall Out Boy's reunion album Save Rock and Roll is among their best material to date, and the main reason for that is the leap forward Stump's vocals have taken. On several occasions, Stump's voice simply overpowers every instrument the band throw at you, and as I listen to this album now, I find myself admiring Stump's work even more. Fall Out Boy are truly in a place where their next material can go in any direction they want, and they have Stump's vocals to thank for that. 

Guitarist(s) of the Year 

Matty Healy and Adam Hann, The 1975

The 1975's debut album toes the line between guitar-driven tracks and electronic-based tracks, but it's the guitars provided by frontman Matty Healy and Adam Hann that combine to add depth to each track. The duo's intricate, groove-based style keeps things fresh throughout the self-titled album, and even when the band takes a turn towards electronics, the subtle sounds they conjure are the perfect touch. It's clear Healy and Hann have found a formula that works, and The 1975's music was able to stand out in such a big way because of it.

Runner(s)-up: Jean Nascimento and Jeff Sayoun, letlive.

Drummer of the Year

 Bailey Van Ellis, Balance & Composure

Balance & Composure's sophomore effort The Things We Think We're Missing was a huge step up in the band's songwriting capabilities, thanks in large part to the band's constantly improving musicianship. The most individual improvement, however, came from Bailey van Ellis, the band's drummer. van Ellis's improvements are seen all over the album, as he pounds his kit throughout, though his efforts on single "Tiny Raindrop" and "Cut Me Open" are most noteworthy.

Runner-up: Elliot Babin, Touche Amore

Bassist of the Year

Andy Trick, The Devil Wears Prada 

The Devil Wears Prada's new album 8:18 is their darkest and heaviest material yet, and if you're going to make a great heavy metal album these days, your bassist needs to be on the top of his game. That's exactly what Andy Trick accomplished on the album, providing the perfect backbone for TDWP to create their bleak landscapes that they've become known for.

Runner-up: Ross MacDonald, The 1975

Songwriter of the Year

Gregory Dunn, Moving Mountains

While this award is part "Songwriter of the Year 2013" and part "Lifetime Achievement Award," Gregory Dunn certainly deserves your attention for his efforts on Moving Mountains' self-titled full-length this year. Dunn has been the mad scientist behind the band's schizophrenic, style-shifting sound, and on Moving Mountains, he churns out some of his best songs of the band's cut-too-short career. The band's turn towards more somber, subdued tracks showcase their versatility and talent across the rock spectrum, and it's all thanks to Dunn, whose vision for the band's direction was unrivaled in the current scene. Moving Mountians will be sorely missed, but give them credit: they went out with their best material.

Runner(s)-up: Patrick Stump/Pete Wentz, Fall Out Boy; Matty Healy, The 1975; Kanye West

Guest Feature of the Year 

Kendrick Lamar, on Big Sean's "Control"

The verse that put the entire hip-hop world on blast, Kendrick Lamar took his chance on "Control" and blew it out of the water. Featuring scathing lines about how he's trying to establish himself as the best rapper alive and a fast-paced flow that's sure to get your head spinning, Kendrick's verse was so good that Big Sean's verse on the song, perhaps the best of his career, goes largely unnoticed. 

Runner-up: Sir Elton John, on Fall Out Boy's "Save Rock and Roll"

Individual Performance of the Year

Will Pugh, Cartel

Cartel haven't been as relevant in recent years as we'd like them to be, but Will Pugh seems hellbent on keeping the band alive, even if he has to do everything himself. On the band's fourth full-length Collider, Pugh picks up the bass in the stead of Jeff Lett, who left the band after they toured behind Cycles. Without a record label, Cartel were forced to self-fund and self-release Collider, and Pugh stepped up yet again, producing the album himself in order to save the band some money and allow more creative control for the band without any outside influences. And on top of all of that, Pugh's vocal efforts on Collider, most readily seen on "Sympathy," "Mosaic," and "First Things First," along with some of his best songwriting of his career, and he carried Cartel to another solid pop-rock album. 

Runner-up: Matty Healy, The 1975

Breakthrough of the Year

The Front Bottoms

Coming from modest beginnings and a cult-like following with their self-titled debut album, The Front Bottoms became the darlings of the scene this year. After supporting Bad Books on two different tours, the band announced their sophomore effort, Talon of the Hawk, which included a tour video featuring a new song from the band, "Twin-Sized Mattress." The song sent fans into a frenzy, as it quickly entered the discussion what the band's best song was. After Talon of the Hawk came out to good reviews (especially from all of us at Keep Calm), the band parlayed that success into a sold-out headlining US tour, a set during Made in America Festival, and a fall tour supporting Manchester Orchestra. Then, when Brand New was looking for openers for their discography shows, they tapped the New Jersey natives to open their Starland Ballroom date. The Front Bottoms were one of the scene's best-kept secrets, but in 2013, the world started to figure out what all the fuss was about.

Runner-up: Balance & Composure

Band of the Year

Fall Out Boy

There's not enough room to list all of the amazing things Fall Out Boy did in 2013, but I'll give it a shot:

-Announced their reunion by releasing a new single, new music video, and announcing they had a new album ready to be released in a few months.

-Played three intimate shows in three different cities in as many nights to celebrate their reunion.

-Sold out a full US tour in a matter of seconds (thanks a lot, scalpers).

-Headlined Skate and Surf Festival 2013.

-Filmed and released music videos for 8 of the 11 songs on Save Rock and Roll, with the videos for the remaining songs on the way. 

-Appeared on nearly every late night talk show, the NBA All-Star Game, Dick Clark's New Year's Rockin' Eve, the Today Show, The Ellen DeGeneres Show, and made countless other TV appearances.

-Went on a full US arena tour, where shows sold out more often than not.

-Made every other great band reunion over the last few years (Yellowcard, blink-182, The Early November) look like a poorly-planned mess. 

Plain and simple, no band put everything together in as masterful a way as Fall Out Boy this year, and when the year started they weren't even a band. Their influence has never been larger, their music has never been better, and their future has never been brighter. 

Runner-up: The 1975

As we draw 2013 to a close, it's been one interesting year for music. Did I miss anything that you feel deserves to be mentioned? What were your favorite songs, artists, and moments of 2013? Leave your thoughts in the comments, and let's get a discussion going!

Album Review: You, Me, and Everyone We Know- I Wish More People Gave a Shit (EP)

They say the destination is never as important as the journey you take to get there. Try arguing that with Ben Leibsch. The singer has been the primary singer, songwriter, and the face of You, Me, and Everyone We Know for about a decade, and the journey the band has taken him on has been a winding, difficult one. The destination has been changed, altered, reexamined, and nearly given up on on several occasions. Yet Liebsch, two years removed from having every member of the band leave him--for the second time--has continued to churn out material, albeit at a much more low-key rate than fans were hoping for after the solid following built by the band's first and only full-length to date, Some Things Don't Wash Out. After last year's three-song EP A Great Big Hole, Liebsch discovered there was still interest in the band, and fans discovered that the journey of You, Me, and Everyone We Know hadn't ended. Which brings us to the band's new four-song EP, I Wish More People Gave a Shit.

Before delving into how good each individual song is, let's air something out very quickly: the title of this EP is not a whining complaint about the band, like most will likely assume (they're probably the same people who thought Fall Out Boy actually sought out to Save Rock and Roll). Rather, it's Liebsch's analysis of the world around him, and in his own tongue-in-cheek way, he's saying that there isn't enough being done to improve. This is readily seen is "Better Men," which finds him analyzing the victim-blaming, slut-shaming society that has developed. "We call ourselves 'better men'," he sings, "As we watch them ruin daughters like that," and then continues in the song "Proper ladies don't get to have fun,/ they just lost self-control/you shouldn't have dressed like that." The lyrics are biting, and any male listener will be forced to examine his own actions, and wonder if Liebsch is talking about him when he sings "There was more you could have done."

Liebsch is also seen attacking the complacency and laziness of some in "I'd Contribute More Dead," a pop-punk track that will be pointed to as the most nostalgic track of the four-song set. Here, he looks back at the "decade-long walk" his mind has taken on the journey of You, Me, and Everyone Know. Overall, the track finds Liebsch in a state of confusion as he tries to find his footing in today's music scene, and even today's world in general. The sociological investigation makes its way to consumerism on "The Big Mistake," where he examines the spend-spend-spend mentality of the average American. "I've made a big... no, WE'VE made a big mistake, and we keep paying for it," Liebsch sings as the song builds to a raucous, loud ending. Working alone just as he did on A Great Big Hole, Liebsch enlisted help from the EP's producer Trevor Simpson to provide the instruments on the songs. Simpson will likely not get too much of the spotlight (let's face it, much of the appeal of this band comes from Liebsch's songwriting abilities), but he does a great job of creating backdrops for the lyrics Liebsch has concocted to come forth and shine properly. The EP ends with a short track called "The Winds Won't Change," which features Liebsch playing a ukulele, the only instrument he is credited with playing on the entire EP. The closer is a somber number that has a hazy bar feel to it, much like the short track from the band's So Young, So Insane EP "A Symptom." The track ends with the audible sound of pages turning, and it's a perfect way to end this snapshot of the current state of You, Me, and Everyone We Know: turning the page, and moving forward.

The Bottom Line: Another year, another solid EP from You, Me, and Everyone We Know. Though the fact remains that no one knows the destination Ben Liebsch is headed towards, but as long as the journey sounds this good, there should be plenty of people who are willing to come along for the ride.

Recommended if you rock: Valencia, Transit, Mayday Parade/Go Radio

12 Days of Christmas, Day 12: Top Albums of 2010

After a few delays thanks to finals, family parties, and other various distractions, the 12 Days of  Christmas special has finally come to an end, and it  will end on the strongest article yet. The process for determining the top albums of 2010 has been such an ongoing process that I actually finalized the list just last night. So without any futher delay or rambling of mine, let us begin the countdown of the top 30 albums of 2010:

Show Recap: You, Me, and Everyone We Know at Maxwell's Bar and Grill (Hoboken, NJ)

As you walk through the doors of Maxwell's Bar and Grill in Hoboken, New Jersey, the thought that will likely first come to mind is "there's no way they're having a concert here." Many people had congregated to the hole in the wall to take a load off from a hard day's work, and the quaint little place was buzzing, especially on a Tuesday. As I arrived, I looked for the first person who resembled a waitress and asked her for help. "Are you here for the show?" she asked, and I nodded. She pointed to the right of the bar area, and we were on our way. It was then I learned that Maxwell's is the venue-equivalent of a mullet: business in the front, party in the back. Let me write this sentence to make sure you realize the emphasis on party. And thankfully, the party was a live one; what were we celebrating, you ask? That's a tough question. For one, we were celebrating the release of  You, Me, and Everyone We Know's debut full-length, Some Things Don't Wash Out. But on the other hand, we were celebrating the re-birth of pop punk.

Up first was This Condition, who were added to the lineup of the "Can We Do Laundry at Your House? Tour" for a three-show run through New York and New Jersey. The band combined their stellar musicianship with quirky Hellogoodbye-esque lyrics and choruses to give the crowd something to move to. They did an excellent job of getting the crowd involved, which is rare for an opening band to do, but there was plenty of fun to be had throughout the band's brief set.

To add to the emphasis of the show's fun aspect, Take Cover took the stage next. The band was the only one on the tour not to be from the East Coast (they hail from Minnesota), but they seemed well-versed in the ways of a typically energetic New Jersey show. The band's blend of pop-punk was upbeat and energetic, and they had the live show to perfectly compliment that. The band's songs were easy to remember lyrics from, and many fans began to sing along to once they acquired a taste for the band. Their set highlight was, by far, a cover of Jimmy Eat World's "The Sweetness." While covers are really overdone these days and covering Jimmy Eat World is almost like lighting a Bible on fire, the band were able to pull the song off nicely, staying true to the original very well. While their set was highlighted by a cover, there was still enough from Take Cover's set was more than enough to give me some interest in the band for the future.

While it can be argued that pop-punk has gone to the neon-clad scenesters like Forever the Sickest Kids and Mayday Parade, it goes without argument to say that Man Overboard have been defending the better, less glossy aspects of it. With a simplistic approach and big sounding live show, there is plenty on the band's phenomenal full-length debut Real Talk to enjoy. While they were the second band on the card, it wouldn't be outlandish to say that 45% of the crowd at Maxwell's was there to see MO. Included in that number was Senses Fail's Buddy Nielson, who has shown his unabashed love for the band on his blog for Alternative Press and his postings on Absolutepunk.net as well. With so much respect swirling around the band, they sure did deliver. A great set was turned in, and I can wait to see Man Overboard defend pop-punk in the years to come.

I will never be bashful or shy about my love for You, Me, and Everyone We Know. They've been a favorite of mine ever since So Young, So Insane graced me with its presence in 2008, and given the band's illustrious, drama-riddled career, it's a small miracle that they got to this point, given their share of near break-ups and breakdowns. Regardless, Ben Liebsch and Co. took the stage for about an hour and fifteen minutes, and relished every moment of it. The band's set spanned their two EPs (So Young, So Insane and Party for the Grown and Sexy), and did a great job of sprinkling in the prime cuts from their new album Some Things Don't Wash Out (including the title track, which opened the set, and "Bigger Point of Pride"). The energy was high, the crowd was rowdy, and there wasn't a better place to be that night than in the back of Maxwell's, celebrating the (hopefully) continued success of not just YMAEWK, but all of the stellar bands that blazed the Maxwell's stage. And while the show was intended to celebrate the release of Some Things Don't Wash Out, we also got to celebrate the revival of pop-punk from the neon-clad madness its turned into, with You, Me, and Everyone We Know and Man Overboard emerging to lead the way.

Fall 2010 Concert Forecast

On Tuesday, a great deal of change was initiated in both my world and the world as everyone else sees it. While I began my segue into teaching America's youth for the rest of my life, the Autumnal equinox was upon us, and Fall had officially started. Over the years, the fall has stood for the beginning of school, football season, and the early Christmas for little kids, Halloween. Now, however, it means the start of Fantasy Football season, the MLB playoffs, and this year, the beginning of the best series of concerts there has been in the Philly/New Jersey area in years. No big paragraph needed here, let's get to the shows you'll find me at this fall. I'll see you there.

Valencia @ School of Rock East, South Hackensack New Jersey, October 1st
With support from Automatic Loveletter and Jersey darlings Jet Lag Jemini, Valencia will mosey into New Jersey with what is likely to be their stellar follow-up to the incredible We All Need a Reason to Believe, just days away from release. And while new gems from Dancing With a Ghost are sure to show up, it's pretty much set in stone that favorites like "The Space Between" and "Safe to Say" will line a setlist that will help to prove Valencia's underrated earnesty and determination to their craft, which is the best pop-punk we've seen since The Starting Line.

Four Year Strong @ Starlight Ballroom, Philadelphia Pennsylvania, October 3rd
Touring with hardcore legends Comeback Kid and promising newcomers The Wonder Years, Four Year Strong's "Tonight We Feel Alive! Tour" is shaping up to be a colossal night full of moshing, with Four Year Strong asserting themselves as one of the best live bands out there. The bearded Bostonians will be out in full force, as they will be making up for a show in Philadelphia earlier in the year that was cancelled due to a fire alarm going off in the venue. Their set should make up for lost time, while spinning the wonderfully-crafted Enemy of the World's standout tracks (and there are quite a few of them) to thank the fans who were shafted in the previous show.

You, Me, and Everyone We Know @ Maxwell's Bar, Hoboken NJ, October 12th
I will plug this band until they're on every iPod in the world. The blend of pop-rock they put out is honest, endearing, and catchy as you can imagine. Now, with debut full-length Some Things Don't Wash Out due out at the end of the month, You, Me, and Everyone We Know are embarking on a headlining tour to take their hard-earned shot at the spotlight to the masses. The New Jersey crowd will be raucous for the band, as the band has stated on numerous occasions that New Jersey is the place they enjoy playing the most. The night is sure to be a light-hearted affair, but has the potential to be one of the shows you'll remember going to for a very long time.

Circa Survive @ The Stone Pony, Asbury Park NJ, October 16th
Coming off a tour supporting prog-emo juggernauts Coheed and Cambria to showcase their stellar new album Blue Sky Noise, Circa Survive are finally bringing the Noise to New Jersey with a headlining tour, and what better venue than the intimate Stone Pony to display the intricate, beautiful sounds of one of the year's best albums. This is one of those tours where the support doesn't make too big a difference for me, but I'm excited to see Dredg, who could come out of nowhere and win the crowd over. Nevertheless, the show promises to provide a great time for Circa fans new and old, and not a better time will be had this year (at least by me).

A Day to Remember/Underoath @ Asbury Convention Hall, Asbury Park NJ, November 5th
Rounding out an incredible Fall concert schedule for me is the tour that has quite possibly my two most anticipated albums for the remainder of the year. Underoath will be mere days away from the release of Disambiguation, their first release without Aaron Gillespie, while A Day To Remember will release What Separates Me from You on the 16th of November. It's shocking to me that Underoath would take a spot supporting A Day to Remember rather than taking out a few of their Solid State labelmates, but the fan will ultimately benefit from this, as they get to witness a metalcore legend opening for pop-punk/hardcore legends in the making. Bring your moshing shoes, kids; it's going to be a wild night in Asbury.