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!

2013 Recap: Donald's Top Albums

Before we delve into the top 20, it is worth noting that this list was very difficult to make, thanks in part to a few albums that, for one reason or another, didn't quite stick with me, whether through my own negligence or delay in listening to them, the albums' lack of staying power over the long year, or just how good the other albums on this list were. Regardless, they are certainly worth mentioning, and at one point or another were considered for this list, so here we go.

Honorable Mentions: Vampire Weekend - Modern Vampires of the City, Phoenix - Bankrupt!, Tegan and Sara - Heartthrob, Drake - Nothing Was the Same, Silverstein - This is How the Wind Shifts, Senses Fail - Renacer, Bring Me the Horizon - Sempiternal, The Neighbourhood - I Love You., Foxing - The Albatross, Defeater - Letters Home, twenty|one|pilots - Vessel

And now, we're onto the Top 20! Obviously, these are my personal opinions, and are not to be taken as a direct reflection of the show, or anyone else other than me. Enjoy!

20. The National  - Trouble Will Find Me

There's bands that make sad songs, bands that make sad music, and then there's The National. Exploring the depths of human depression and sadness, the band have become one of the most powerful indie rock acts in the world, and on Trouble Will Find Me, the band continue to perfect their craft. 

19.  AFI - Burials

After a four-year absence after the release (and lukewarm reception) of Crash Love, AFI returned in 2013 with Burials, and album that blended their arena-ready emo with the stellar production of Gil Norton to create the sound and energy many felt the band couldn't come up with on Crash Love. Powered by massive lead single "I Hope You Suffer," Davey Havoc's lyrics and vocals are on-point throughout the album as well, reminding everyone what AFI are capable of. 

18. Dance Gavin Dance - Acceptance Speech

After volatile frontman Jonny Craig nearly torpedoed the band's career (again), Dance Gavin Dance needed something positive to go their way. And that positive shift came in the form of frontman-for-hire Tillian Pearson, whose presence on Acceptance Speech helps the band move forward with their progressive, jam-oriented post-hardcore sound. Jon Mess's screams have never sounded better, and the guitars provided by Will Swan continue to help set Dance Gavin Dance apart, as Pearson proves to be the spark the band needed to revitalize their career. 

17. A Day to Remember - Common Courtesy

To say it was a rough year for A Day to Remember would be underselling it. The band's tumultuous relationship with Victory Records has been a real hindrance on their career, but on Common Courtesy, they prove that all the negativity hasn't had the same effect on their music. The band's blend of pop-punk and metalcore still has its drawbacks, but the sincerity of Common Courtesy pours through the speakers, especially on tracks like "City of Ocala" and "Life @ 11." A Day to Remember are still as polarizing as ever, but on Common Courtesy, they've proven that they can still churn out athems begging to be played on Warped Tour's main stage.

16. Moving Mountains - Moving Mountains

Never a band to stay complacent, Moving Mountains have developed a reputation as a band that can change its sound successfully with every release. In a true showcase of their talent, the band dropped their post-hardcore/post-rock sound they experimented with on Waves, opting for a more stripped-down sound on their self-titled album. Greg Dunn's moody lyrics are accentuated perfectly with his droning croon, while the band sways between acoustic- and electric-guitar-driven tracks to create yet another album that showcases what they're capable of. After announcing an indefinite hiatus, this may be the last we hear from Moving Mountains, but fans will be comforted by the fact that the band went out with their best album.

15. Hands Like Houses - Unimagine

Sophomore albums are about as make-or-break for bands as debut albums. In the case of Hands Like Houses, Unimagine may end up being the album where people finally get to see how underrated they are. While their debut album Ground Dweller showed their obvious talents as songwriters, their spastic delivery was too much at times. Now, the band have come back more refined and focused, and the result is an album chock-full of anthems like "Weight," "Wisteria," and lead single "Introduced Species." If you've been looking for a band to step up and become the next Saosin, we may have finally found them.

14. Touche Amore - ...Is Survived By

Riding the success of Parting the Sea Between Brightness and Me, Touche Amore were certainly a band to watch coming into this year. Big things were expected from the band, who became the darlings of teenagers who just discovered how to use Photoshop on Tumblr, but no one expected the creative leap forward they took on ...Is Survived By. Brimming with emotion, Jeremy Bolm's signature shouts are still there, but rather than building for his often-quoted one-liners, Bolm takes a page from fellow emo/hardcore stalwarts La Dispute, and paints himself as more of a storyteller. While Bolm is exorcising his demons, the band behind him moves at blistering paces, and the chaotic mix churns out an album that not only surpasses its predecessor, but changes the entire perception of what Touche Amore are capable of.

13. The Story So Far - What You Don't See

Ever since Suburbia came out, the pop-punk defenders (er, I mean, community) have been looking for the band to play Robin to The Wonder Years' Batman. After the brimming energy and angst-driven athems of Under Soil and Dirt, many thought The Story So Far could be that band. On What You Don't See, the band stick to their own tried-and-true formula of fast-paced pop-punk, nothing less and nothing more. The result is yet another slew of catchy tracks, but with a little more maturity and attention to detail then before. It's as natural a progression the band could have made, and the results were a pleasant surprise in a year where many of the "new wave pop-punk" bands were major letdowns.

12. The Dangerous Summer - Golden Record

It's almost to the point where The Dangerous Summer are boring, in the best way possible. The band have pretty much become a safe bet release an album every two years, and for that album to be just as good (if not better) than the one before. On Golden Record, AJ Perdomo's vocals take a turn towards the aggressive, as his hoarse, emotive delivery makes the album all the more impactful. Newcomers Mat Kennedy (lead guitar, formerly of The Graduate) and Ben Cato (drums) prove to add a new flavor to the songs, as things change just enough to set the album apart from War Paint and Reach for the Sun, but never strays too far from The Dangerous Summer's unique sound. The band's choruses set their sights on gigantic stages, especially on "Knives" and "We Will Wait in the Fog," while "Sins" and "Miles Apart" showcase the band's depth and creativity. After a tumultuous series of events in the band, it was great to see The Dangerous Summer get back to the business of making great music again. 

11. Jimmy Eat World - Damage

Despite the album's oddly amateur artwork, Jimmy Eat World continue to be the trusted veterans of the alt-rock/emo world, able to churn out meaningful, complete albums whenever they choose to. With Damage, the band give their usual attention to detail a back seat, and focusing on a sound similar to what they showcased on 1999's Clarity. Described as an "adult break-up record," there's something listeners of all ages can relate to, from the melancholy goodbyes ("Bye Bye Love," "Please Say No," "You Were Good") to the angry venting ("Appreciation," "How'd Have Me"), with a few classic JEW cuts like "I Will Steal You Back" and the album's title track intertwined. It's great that Jimmy Eat World have earned enough respect that fans can expect great things every time they release something, but it's even better when they're able to fulfill those expectations. And on Damage, they do just that.

10. Bastille - Bad Blood

The indie rock/indie-pop world gets so few chances to shine in the mainstream music world each year, but Bastille is determined to make the most of it. Upon the eruption of their big single "Pompeii," the band's debut full-length Bad Blood was released in the US in September. What listeners have discovered in listening to that album is that the band is much more than a one-hit wonder. Thanks to introspective, synth-laden tracks like "Flaws," "These Streets," and "Oblivion," the album's anthems like "Laura Palmer," "Icarus," and the undeniably catchy "Pompeii" are able to shine with even more power, giving Bad Blood a continuity and cohesion that very few albums were able to achieve this year. The indie-rock world has seen its fair share of flashes in the pan, but one listen through Bad Blood will be more than enough to prove that Bastille are here to stay.

9. Cartel - Collider

Cartel proved with Cycles that their best days were not completely behind them, even if a substantial amount of their momentum (and, unfortunately, their fans) had been lost. Nevertheless, the band have moved forward with an uncompromising vision for their sonic direction, and the result is yet another wildly catchy collection of pop-rock anthems. Collider feels like even more of an accomplishment now, considering the band self-released the album, and it was produced by frontman Will Pugh, who also picked up bassist responsibilities on the album as well. Pugh's production proves to be a key element on the album, as he adds very few extra effects, and lets the band's core sound be the focal point. The results are wonderful, booming tracks like "Uninspired," "Mosaic," and First Things First," to name a few. There are a few tender, slower moments as well, seen in "Take Me With You" and "Thin Air," but it's the more aggressive tracks like "Sympathy" and "Best Intentions" that showcase Cartel's talents best this time around. While some may say that Cartel will never top Chroma (and maybe, to a certain extent, those people are correct), but if they can still make music like this, there will always be a place for them.

8. letlive. - The Blackest Beautiful

It would have been understandable if letlive. weren't able to create an album that lived up to the hysteria they created with their empassioned debut Fake History. Hell, it may even have been acceptable if they hadn't. But thankfully for all of us, they have. The Blackest Beautiful finds the band taking the same creative approach to post-hardcore, with Jason Aalon Butler's chaotic presence booming forth on each track. Guitarists Jean Nascimento and Jeff Sayoun continue to provide excellent guitar work throughout the album, complementing Butler's erratic delivery and heartfelt bravado. Lead single and opening track "Banshee (Ghost Fame)" opens with a damning examination of the ways people attain fame in the world, which paves the way for the jaded, dissatisfied view of the world Butler showcases in his lyrics. With other highlights like "That Fear Fever," "Pheromone Cvlt," and "Virgin Dirt," letlive. are starting to build something very special, and it's time you starting paying attention.

7. Balance & Composure - The Things We Think We're Missing

With Separation building more and more momentum since its release in 2011, Balance and Composure were on everyone's short list of bands that could become huge. This year, with the release of The Things We Think We're Missing, they started to bring that hope into a reality, with an album that took them to places no one imagined. With feature articles on such publications as Spin, Pitchfork, and a music video debuted on RollingStone.com, Balance and Composure's name spread exponentially this year, and it all began with their new breathtaking sophomore album. While the aggression in Jon Simmons's vocals faded slightly, the musicianship of the entire band took a huge step forward, with lead guitarist Erik Petersen providing the perfect tones for Simmons's patented morose lyrics. The biggest improvement this time around, however, is drummer Bailey Van Ellis, who provides an impactful backbone to each track, especially on "Lost Your Name" and "Cut Me Open." Throw in an appearance from Anthony Green on "Keepsake," a couple of great singles in "Reflection" and "Tiny Raindrop," and a few breaks that went their way, and 2013 will be remembered as the year Balance and Composure started to put everything together and become the scene's next great band.

6. The Devil Wears Prada - 8:18

In 2013, we rang in the New Year by saying goodbye to one of the best metalcore bands of all time, Underoath. They were a band who, despite the pressures of major labels wanting them, never compromised the vision they had for themselves, who made music for themselves in a genre that had run rampant with bands chasing the dollar. Now that they are gone, there is a sizeable hole to be filled. Thankfully, The Devil Wears Prada have emerged as a band who could fill that void. Thanks to Chris Rubey's innovative, ever-evolving musicianship positions him (yet again) among the top guitarists in the scene, while Jon Gering's amospheric synthesizers provide an eerie feel to the entire album. But it's in the lyrics of Mike Hranica that 8:18 finds its true power. Displaying once again that he is a man at odds with himself, Hranica's lyrics are self-loathing, melancholy, and dark as ever, as his vocals continue to show the wear and tear of being a full-time screamer for almost a decade. Hranica sees his voice changing, however, and embraces it, as he adds a harsh yell to his arsenal, similar to La Dispute's Jorden Dreyer and the aforementioned Jeremy Bolm of Touche Amore. Jeremy De Poyster's vocals have also taken a harsher path this time around, as he strays away from using vocal effects, as he had in the band's previouw work. All of these individual successes add up to a rich, heavy album that any metalcore fan will appreciate. 

5. The Wonder Years - The Greatest Generation

So you thought The Wonder Years could top The Upsides. Then Suburbia came out, and it was even better. But it came with a price. Now that they'd outdone themselves once, surely they couldn't do it again. Surely they couldn't write an opening track as fitting and as powerful as "Came Out Swinging." They didn't have enough in the tank to come out with a lead single better than "Local Man Ruins Everything." There's too much pressure on them to come up with another album that's solid from start to finish. And even if they did, how would they be able to cap it off with a closing track as complete as "And Now I'm Nothing"? You know what? Maybe we should just keep doubting The Wonder Years. Because every time we do, they come out with something that shows us how great they are. The Greatest Generation does just that. "There, There" opens the album somberly before bursting out with energy. "Passing Through a Screen Door" shows frontman Dan "Soupy" Campbell at his most open and vulnerable. The album features tracks that highlight every band member's talents, like "Chaser," "Cul-de-sac," and "Dismantling Summer." And, in a fashion The Wonder Years have become reliable in, the album's closing "I Just Want to Sell Out My Funeral" brings the entire album into the fray to create a seven-minute epic that is without doubt the best song the band has written thus far. The Greatest Generation is a powerful, gripping album, and the maturation of The Wonder Years has proven itself to be unending. 

4. The Front Bottoms - Talon of the Hawk

The Front Bottoms' breakthrough self-titled album was so peculiar. The singing wasn't all that great, the musicianship was interesting, but not that talented. But there was a charm and a charisma the band displayed that was so undeniably endearing, that the band showed a great deal of potential. On Talon of the Hawk, some of that potential has begun to be realized, as the band take their free-spirited, acoustic guitar-driven rock and take it to new highs. The tracks are more structured, sure, but Brian Sella's unique vocal delivery and painfully relatable lyrics benefit from the newfound structure. The band maintains their loveable persona well, thanks to fun tracks like "Skeleton," "The Feud," and "Swear to God the Devil Made Me Do It." However, it's the deeper tracks like "Funny You Should Ask," "Everything I Own," and Song of the Year candidate "Twin-Sized Mattress" that hit the listener's hearts the hardest, and will last in the minds of anyone who comes across the album. Thanks to Talon of the Hawk, The Front Bottoms have proven that they have the talent to stay around for years to come, and their best material may still be ahead of them.

3. Kanye West - Yeezus

I have a difficult time trying to find a singular word that describes Kanye West's sixth studio album, Yeezus. Nothing seems to fit. Maybe "ambitious"? That's a good start, considering West's sample of "Strange Fruit," which propels the haunting "Blood on the Leaves," but some of those ambitions lead the album slightly off course. Would "wacky" work? Some people could dismiss it as such, thanks to the lack of "radio-friendly" tracks on the album, but that takes away from its creativity. Perhaps "self-indulgent"? Kanye's always leaned that way, and it's evidenced by his music video for "Bound 2," which features his topless wife showing off her post-baby body, but that doesn't really have anything to do with what went into the creation of the album itself. How about "raunchy"? You may have something there, considering the sex-crazed rhymes West unleashes throughout the album, most readily heard in "I'm In It," "Send It Up," and "On Sight." Inescapable? Sure, "Black Skinhead" and it's drum-based beat showed up everything from cell phone ads to the theatrical trailer of Leo DiCaprio's new movie The Wolf of Wall Street, but even that may not do it justice. Because none of those words help display how eye-opening "New Slaves" was when it was first seen as a projection on the sides of buildings in the major cities of the world. None of them touch on how vulnerable West shows himself to be as Kid Cudi croons over the beat of "Guilt Trip," or when Justin Vernon of Bon Iver adds his vocals to the mix in "Hold My Liquor," which also features Chief Keef in what was likely the strangest collaboration of the year. No, none of the words I tried will do. The only way to describe Yeezus, really, is the only way any one will ever be able to use to describe Kanye West: genius. 

2. Fall Out Boy - Save Rock and Roll

It had been brewing right under our noses, and we never even knew. While we anxiously awaited their return, Fall Out Boy were silent. They denied every reunion rumor. They made it seem as if it were never coming. They lied. Because beneath the cloak of their indefinite hiatus, Fall Out Boy had been working on a new album. An album written and recorded on their own terms, to insure that no label, agent, manager, or anyone else could have any influence. And when they announced that they had returned, they meant business. The world was introduced to "My Songs Know What You Did in the Dark (Light 'Em Up)," and promised that a new album was forthcoming. When that album finally came out, it was clear: Fall Out Boy hadn't lost a step. In fact, amidst all of their individual indulgences across the hiatus, they gained a few new tricks. The result is a unified effort that redefines what a Fall Out Boy album could be, thanks to synth-heavy tracks like "Miss Missing You" and anthemic album-opener "The Phoenix." Patrick Stump's vocals have grown immensely, seen readily on "Young Volcanoes," "Just One Yesterday," and "Rat a Tat." Joe Trohman wanted a bigger role in the band, and his thumbprint is all over "Alone Together" and "My Songs." Andy Hurley's drumming remains a key element throughout, while Pete Wentz's songwriting is at its finest, especially on "Miss Missing You" and the album-closing title track. The collaborative effort that is Save Rock and Roll was exactly the kind of album Fall Out Boy needed to make to ensure their reunion was for real, and it's even sweeter that it's one of their best albums to date. 

1. The 1975 - The 1975

Every year, we think we've got it all figured out, and then a band comes out of nowhere and changes everything. This year, that band was The 1975. After being an unsigned band for nearly ten years, enduring different sounds, names, and identities, the band finally scored their breakthrough thanks to a brilliant campaign of four EPs, leading up to their eponymous debut full-length. While the success of singles "Sex," "Chocolate," and "The City" are likely what drew many listeners into the album, it's what they hadn't heard yet that sets this album above the rest in 2013. Thanks to the combinations of hip-hop drums, indie rock guitars, R&B vocal melodies, and pop sensibilities tying it all together, The 1975 became a genre-bending behemoth that never once crumbles under the weight of its ambition. The ambient opener "The 1975" makes way for "The City," and then the pop-minded "M.O.N.E.Y." preps the listener for the one-two punch of "Chocolate" and "Sex" (which I'm sure everyone can agree is always a great combination). With the three lead singles out of the way, the album's second have delves deeper into frontman Matty Healy's memories, from the pursuit of a potential partner (the saxophone-enhanced "Heart Out") to the melancholy of the hopeless romantic ("Robbers," "Girls"), and from the imbalance between friends and drugs ("She Way Out," "Menswear") to the existential issues of being in a band and missing loved ones on the road ("Pressure," "Is There Somebody Who Can Watch You"). While a debate can always be made for other albums released this year, to me, no album was as carefully crafted, well thought-out, consistently catchy, easily relatable, or as meaningful as The 1975. The band's vision of what their music can be has no limits, which is complemented by their immense talent and creativity, and driven home by each and every track on this extraordinary debut album. 

With that, 2013's album recap has come to a close. There was so much to dive into this year, as with every other year, and as usual, this list was very difficult to make. Impossible really. So, won't you help me out? What did I miss out on this year? Which of my rankings did I completely mess up? By the off-chance, do you agree with any of them? Leave your thoughts in the comments, and let's get a discussion going. The 2013 Recap will continue with a few more goodies, and after that, Keep Calm has a big year ahead of us. Bring on 2014!

2013 Recap: Maddy's Top Albums

   
     With all the great albums released this year, it's hard to even listen to them all, let alone rank them.  However, after lots of time and effort, I've compiled a list of my favorite albums of 2013.  While some are a solid and welcomed addition to a band's discography, others are classics-in-the-making with each listen increasing their chance of being one of my favorite albums of the decade.  Feel free to comment with what you agree with, what you don't, or which albums you think should've made this list.  Thanks to Craig's great idea: if you haven't heard of an album listed below, check out the my favorite songs listed which can also be found in the Spotify playlist at the bottom of this article.  Finally, here it is. The great music of 2013 in a nutshell:

Honorable Mentions: Stray from the Path- Anonymous, Have Mercy- The Earth Pushed Back, Lydia- Devil, Anthony Green- Young Legs, Tallhart- We are the Same

20. twenty|one|pilots- Vessel: Twenty|one|pilots cracked the code in writing music that takes what is great in multiple genres and making into cohesive material. With poppy choruses, rapped verses, dance beats, and screaming bridges, it seems as though the Ohio duo covered all their bases without any single element getting lost.  2013 brought these guys an explosion of popularity and recognition for their unique sound, which is well-deserved.  

• Key Songs: "Car Radio"; "Holding on to You"

19. A Day to Remember- Common Courtesy: In any ordinary situation, A Day to Remember would've had a tough time making an album that I would deem "okay," let alone "good."  Add in the a long and bitter legal battle with Victory Records and this record should have been the band's last stitch mess to finally just give us new material, especially after releasing the first single almost a year before Common Courtesy's debut.  But in one final plot twist in this album's dramatic story, ADTR actually came out with a career-saving album that proves they are capable overcoming even the most treacherous of obstacles.  

• Key Songs: "City of Ocala"; "Sometimes You're the Hammer, Sometimes You're the Nail"

18. Citizen- Youth: In a very similar genre as Balance and Composure, Citizen had a lot to compete with.  However, they came out swinging, giving fans the second album in the past two years.  Comparing 2013's Youth to 2012's Young States, the learning curve is ever apparent as they finally figured out their gritty sound and biting lyrics that first album couldn't quite accomplish.  Citizen is definitely improving and making a name for themselves.  Give it some time and a big tour (like The Wonder Years tour that they'll be on this Spring), this band is one to keep an eye on.

• Key Songs: "Roam the Room"; "The Night I Drove Alone"

17. Senses Fail- Renancer: Although Senses Fail did not necessarily need to reinvent themselves, Renancer makes me glad they did.  The overall heaviest album to date, this release serves as a reminder that this band still kills it even 10 years after From the Depths of Dreams.  While the sound might be heavier, the lyrics take a turn towards hope and life, an overall theme not typically associated with Senses Fail.  If that's not enough for you, Buddy Nielsen takes it a step further with the first single "Mi Amor," with the verse's vocals in Spanish. Renancer is a breathe of fresh air for Senses Fail fans, although not particularly needed but certainly appreciated.

• Key Songs: "The Path"; "Renancer"

16. The World is a Beautiful Place- Whenever, if Ever: I've been a fan of The World Is since their 2011 release Are Here to Help.  So when this highly anticipated album leaked months early, I was extremely concerned about how it would be received when officially released and whether or not it would be able to generate buzz.  However, all my worries subsided when the band and album alike got great reviews and feedback.  This album, reminiscent of the angriest of Bright Eyes' songs, attacks society's expectations and the human condition while highlighting flaw and emotion, making it apparent that both are acceptable things to have, despite others' opinions on such.

• Key Songs: "The Layers of Skin we Drag Around"; "Getting Sodas"

15. Listener- Time is a Machine: With the spoken word genre continuing to gain popularity, Listener vocalist Dan Smith remains an icon for aspiring lyricists.  Although this album does not meet up to the emotional intensity of the 2009 release Wooden Heart, Time is a Machine highlights the instrumental capabilities of the band in songs such as "Not Today" and "I Think it's Called Survival" that other albums lacked.  Overall, this album's sound is much fuller compared to their past releases, complimenting Smith's raw southern accent as opposed to being simply background noise.  With this newfound combination of building drums and guitars with the expected introspective lyrics on all things dealing with the heart and mind, Listener did not disappoint.

• Key Songs: "There are Wrecking Balls Inside Us"; "Good News First"
• This album isn't on Spotify but you can listen/ buy it here!

14. Dance Gavin Dance- Acceptance Speech: With a turbulent past with the cancer that is Johnny Craig as well as a rotating line-up that could never seem to solidify, the future of Dance Gavin Dance seemed grim.  However, the introduction of ex-Tides of Man vocalist Tilian Pearson gave new life to their dwindling career, reminding us of the talent this band hasn't been able to tap into in recent years.  Pearson's clean vocals compliment the vocals of Jon Mess so well that it's almost upsetting that Pearson only signed up to do this one album with DGD.  Therefore, once again, the future is unknown for this band.  For now, however, we can appreciate the revival of Dance Gavin Dance's career.

• Key Songs: "Acceptance Speech"; "Strawberry Swisher pt. 3"

13. The Story So Far- What You Don't See: When this album first came out, I was so disappointed and thought this would be the let down of the year.  Turns out, it was the most played album in my iTunes library this year and Transit released Young New England; it's safe to say I got a couple things wrong.  After sitting down and really listening to this album, the great aspects became much more prevalent.  This album might not have the overt angst of Under Soil and Dirt but rather recognizes gaps in self-confidence and flaws in relationships. Lyrically, Parker Cannon graduated from the cutting one-liners to a more mature explanation in song.  While it might not be the guilty pleasure that their first LP was, this release shows growth and flexibility as The Story So Far takes the pop-punk scene by storm.

• Key Songs: "Things I Can't Change"; "Stifled"

12. The Devil Wears Prada- 8:18: The Devil Wears Prada has built on every release, each one better than its predecessor, making so much progress that they won't even touch the first two LPs when playing live.  8:18 is a culmination of the strides TDWP has taken to continue changing and improving even after the success of their last two full-lengths. It seems to be common practice for metalcore bands to release a few albums that sound very similar and then slowly fade into the background.  However, the ever-evolving TDWP continues to stay relevant as 8:18 incorporates punk and screamo influences to reinvent their dark metalcore sound while others in the genre stay complacent.

• Key Songs: "8:18"; "Martyrs"

11. Moving Mountains- Moving Mountains: One of the more mellow on my list, it is bittersweet that Moving Mountains announced the indefinite hiatus after releasing such a moving album.  On one hand, we will always remember Moving Mountains as an innovative band that continuously reinventing their sound without losing their roots.  Yet, I can't help but wish we were getting another album since this one is just so good. Goodbye, Moving Mountains.  Thanks for everything.

• Key Songs: "Swing Set"; "Eastern Leaves" 

10. Touche Amore- Is Survived By. . . : Simply put, this album was exactly what Touche Amore needed.  While Parting the Sea Between Brightness and Me put the band on the map and made them a post-hardcore fan favorite, the song-writing was not quite up to pare with other up-and-comers.  It seemed like every critique of that album was addressed and fixed for this one while not compromising the witty lyrics of  Jeremy Bolm.  With some songs surpassing the 3-minute mark and  building to tell a story instead hitting you with one line here or there, Touche Amore figured out what set them a part from other post-hardcore bands and ripped it into pieces.  If this is the difference two years makes in song-writing and album development, these guys have a ton of potential up their sleeves.

• Key Songs: "DNA"; "Is Survived By"

 9.  Silverstein- This is How the Wind Shifts: For an album that I wasn't particularly excited for, this was a pleasant surprise.  After the release of Discovering the Waterfront in 2005, a staple album for any post-hardcore fan, Silverstein failed to impress with several lackluster albums.  However, it was in 2013 that Silverstein got their act together to create yet another incredible post-hardcore album to remind us why we fell in love with them in the first place.  Dropping the poppy and cheesy melodies for their old edgier sound, the band refused to stay in the funk the last couple years has brought them.

• Key Songs: "Massachusetts"; "In a Place of Solace"

 8.  Jimmy Eat World: Damaged: A very solid addition to Jimmy Eat World's discography, Damaged left many fans content after waiting a couple years for a new album.  While it might not be as influential as Futures, the band still displayed the straight forward lyrics and melodies that illustrate the pains and thoughts that accompany any breakup.  However, in a scene with many teens and young adults taking over, it's almost a breath of fresh air to get the adult perspective of a breakup, with wisdom and maturity that this music often lacks.

• Key Songs: "I Will Steal You Back"; "Appreciation"

7.  letlive.- The Blackest Beautiful: The biggest complaint I've heard about this album is the production quality.  But hey, rock and roll, dude. In a time where bands pumps tons of money into production just to create a clear-sounding crappy album, I appreciate albums like these- with all the energy put into great music by a great band.  To combat any complaints about the overall quality of the sound, just see these guys live and you won't have anything to say about it.  Extremely dynamic and bursting at the seams with energy, they had the best set at Warped Tour this year, with Jason Aalon Butler ending up in a tree by the middle of the set.

• Key Songs: "Banshee-Ghost Frame"; "That Fear Fever"

6.  The Front Bottoms- Talon of the Hawk: As one of my most anticipated of the year, The Front Bottoms somehow exceeded expectation.  Without losing the quirkiness of the self-titled album, the band upgraded to a fuller sound that brought their songs to the next level.   Vocalist Brian Sella and drummer Matt Uychich keep the energy up while still addressing heavy topics, exemplified in "Lonestar" which addresses an unplanned pregnancy.  The growth of The Front Bottoms is just as apparent live.  In just a short year, they've sold out several venues during what seems like constant touring, controlling the stage and playing one of the most entertaining sets I've ever seen, playing almost their entire discography in a two hour set.  2013 was very good to The Front Bottoms and from the looks of it, 2014 will be even better.

• Key Songs: "Twin-Sized Mattress"; "Funny You Should Ask"

5.  Defeater- Letters Home: This is hands-down the best hardcore album of the year and it's not even close.  It really bums me out that this album did not get as much attention as it should have but it's time to give credit where credit is due.  Letters Home follows a family during World War II and as the title suggests, is centered around letters and post-cards between family members.  Although Defeater does an excellent job of making the album a unified story, vocalist Derek Archambault hits hard with catchy one-liners that will stay in your head for days, such as the hook in the album opener "Bastards," saying "And still all I see is the bastard in me." The rest of the album follows suite as the dark lyrics with heavy-hitting instrumentals that will knock the wind out of you.  If you are like many and have overlooked the album or simply forgot to listen to it, I wouldn't wait any longer.  It is no easy task to create an album better than Empty Days and Sleepless Nights but somehow, Defeater continues to progress and outdo themselves.

• Key Songs: "Bastards"; "Hopeless Again" (really just listen to the entire thing)

4.  The Dangerous Summer- Golden Record: The Dangerous Summer is something special, mostly because they've yet to write an album that I haven't wholeheartedly loved.  At Keep Calm and Carry On, we rank the three TDS albums from best to third best because we refuse to label any of their albums as the "worst album."  The band has found the secret to write catchy music with substance through instrumentals that compliment the building lyrics that tear the heart apart.

• Key Songs: "Catholic Girls"; "Into the Comfort"

3.  The Wonder Years- The Greatest Generation: From a band that created Suburbia, also known as one of the best pop-punk albums written to date, I'm not sure anyone expected The Wonder Years to write an album that could match it, let alone write an album that's better.  But 2013 was a wacky year and they did just that.  As the band grows up, so do the albums as TWY gives us the third chapter of their book on tackling adulthood.  Addressing issues from teen parenting ("Teenage Parents") to loved ones with illness ("Dismantling Summer") to dealing with life itself ("A Raindance in Traffic"), this album focuses on problems bigger than teen angst and the stereotypical pop-punk struggle of trying to leave this town.  With their original fan base growing up as well, this could not come at a better time to hold on to old fans while grabbing the attention of new fans as well.  This album proves The Wonder Years matured from a group of pop-punk teenagers with small town problems to adults who view the troubled world with a keen eye, giving words to situations that leave most speechless.

• Key Songs: "There, There"; "Dismantling Summer"

2.  Balance and Composure- Things We Think We're Missing: Through reading other's Top Albums of 2013 lists, there seems to be a general consensus: no one knows why they like Balance and Composure so much but they just do and they don't fight it. The grunge influences and lingering melodies of B&C were perfected in this album, filling in the gaps in cohesive sound present in Separation. Upon the initial listen, I actually got goosebumps as this album really hits you in the gut, although I still cannot clearly explain why.  It's an absolutely stellar album by a band that is making strides to be one of the best in the scene.

• Key Songs: "Reflection"; "Notice Me"

1.  Fall Out Boy- Save Rock and Roll: With a reunion and an amazing album, 2013 was the year of Fall Out Boy.  The album was extravagant to say the least, from the big instrumentals to over-the-top guest appearances (Elton John, seriously?!).  While it may not be solely a rock album, this is one of the best pop-influenced albums released in this decade. Opening the album with “The Phoenix,” featuring dramatic strings and drums, this anthem starts this comeback with a bang and had left us hitting the tables and screaming the lyrics in the station on numerous occasions.  From there on, the album exceeds expectations as FOB demonstrates their artistic flexibility and possibility, touching on several different sounds without missing the mark.  It’s obvious the band has evolved with the times as seen with the hip-hop influences and Big Sean feature in “The Mighty Fall” while “Young Volcanos” brings out the acousticy-pop sound Train has been trying to figure out for years.  Of course, the album closes with the mother of all songs “Save Rock and Roll,” accentuating Patrick Stump’s beautiful lyrics and vocals, not to mention the one and only Elton John is featured on this track.  They aren’t legends for nothing.  While it might not be another “Take this to your Grave,” Fall Out Boy has outdone themselves, keeping things interesting, relevant, and as extraordinary as ever.

• Key Songs: "The Phoenix"; "Where did the Party Go"

2013 Recap: Craig's Top Albums

Here we are at the end of 2013, which means it is time for another annual compilation of my favorite records I listened to this year. This year features one of the strongest crops of Album of the Year contenders I can remember, and as such I had a really difficult time putting my list together. If your favorite record isn't represented here be sure to tell me why and try to convince me to give it another shot, or give it a shot for the first time. I can't possibly listen to every album that comes out in a year so I may possibly have missed it. For those readers who want to check out an album I talk about below, but don't have time or energy to listen to the each of the records, I have provided key tracks for each album. These key tracks are represented in the handy Spotify widget below, where you can give each album a quick two song preview. Enjoy!

Best of the Rest

30. Alcoa- Bone and Marrow
29. Saves The Day- Saves The Day

28. Citizen- Youth

27. The Neighbourhood- I Love You

26. Tegan and Sara- Heartthrob

25. The Story So Far- What You Don't See

24. The World Is a Beautiful Place and I am No Longer Afraid To Die- Whenever, If Ever 

23. The National- Trouble Will Find Me

22. Touche Amore- ...Is Survived By

21. Senses Fail- Renacer

The Top 20:

20. AFI- Burials

In the four years since AFI released Crash Love, an uneven but promising experiment that attempted to answer the question, "What would an AFI album sound like if it ventured even more into mainstream rock?" the band returned with the aptly-titled Burials, a dark, occasionally ambient, occasionally in-your-face record, that has the band sounding downright pissed off. The lead single "I Hope You Suffer" is vintage, angry AFI, while 17 Crimes wouldn't be out-of-place on the band's breakthrough album Sing the Sorrow.

Key Tracks: "I Hope You Suffer", "17 Crimes"

19. Vampire Weekend- Modern Vampires in the City 

The indie darlings Vampire Weekend released their third full-length album, Modern Vampires in The City, and it's the first of their albums that has taken me by the throat and made me care deeply. While I found the band's first two albums a little too scatter-shot and unfocused to catch on with me, Modern Vampires seems to take the band's already great songwriting and refine it to perfectly mesh with vocalist Ezra Koenig's unique lyrical perspective.

Key Tracks: "Hannah Hunt", "Diane Young"

18. Kanye West- Yeezus 

In a year where many hip-hop albums were very impressive, this was by far the very best of them all. The production is top-notch, as one of the world’s top producers enlists an A-list crew of producers including Rick Rubin, Daft Punk (who truly ruled the music world this year), and frequent collaborator Hudson Mohawke. Kanye’s wild, sometimes unfocused ramblings may not be the best of his career, but his perspective on racial relations is wildly interesting to track over the course of Yeezus’ running time, from the high octane “On Sight” to the Nina Simone-sampling “Blood on the Leaves.”

Key Tracks: "Black Skinhead", "Blood On The Leaves"

17. Hands Like Houses- Unimagine
Saosin fans take note: Hands Like Houses may be your new favorite band while you wait for that next Saosin album that’s never coming. Rise Records continues its hot streak over the past two years, as Hands Like Houses shows tremendous growth on their sophomore release.  To continue the Saosin comparisons, the band seems equally adept at “Sleepers”-like driving post-hardcore (See the devastating “Introduced Species”) as they are emo ballads like “You’re Not Alone” (the stunning album closer “Fire on a Hill”).

Key Tracks: "Introduced Species", "Weight"

16. Bastille- Bad Blood
This maybe looked back on in a few years as the album I put way too low on here.  The arena-ready indie rock (as my co-host Donald Wagenblast has termed it) follows in the footsteps of Imagine Dragons and AWOLnation on the path to mainstream success. But the band retains a unique sound and tremendous vocal harmonies on the way to one of the best pop releases of the year.

Key Tracks: "Pompeii", "Laura Palmer"

15. Paramore- Paramore

All year, I have been inundated with people telling me how bad the new Paramore album is, but I don’t give a damn. This is an album, though inconsistent, full of some of the most powerful, and well-written pop-rock songs of Paramore’s career. Sure, it is basically a glorified Hayley Williams solo album, but to me there is absolutely nothing wrong with that. She has never sounded better in her career than she does on the bridge of “Still into You,” while the riotous “Ain’t It Fun” is a giant send-off the Farro Brothers-era of the band in the most tongue-in-cheek way.

Key Tracks: "Still Into You", "Daydreaming"

14. The Dangerous Summer- Golden Record 

The third-best album by a band that has three albums, but notice that I didn’t say “worst” album. Golden Record is still a tour-de-force in emotional songwriting, vocalist AJ Perdomo puts together a heart- and throat-shredding vocal performance, and there are still those defining climactic moments which make for such great sing-alongs (See “the chorus right after the big, drum fill in “Miles Apart” for one particular moment.) 

Key Tracks: "Catholic Girls", "Knives"

13. Lydia- Devil 

Those readers who read my favorite albums of all-time feature know the potential this band has for creating an album that hits me in a particular way. Devil is not that album, and Lydia may well never come close to achieving that same potential again. But it is the second best album by Lydia, and that is, in this particular case, good enough. The album is carried by the powerhouse voice of Leighton Antelman, which can make even the most droll musicianship seem evocative and emotionally-gripping (see his other band The Cinema for reference.) Devil luckily combines this vocal prowess with a refreshed lyrical approach. Whereas the band’s last two releases have gotten stale overtime, Devil proves itself to be a grower.

Key Tracks: "Knee Deep", "Devil"

12. Cartel- Collider

Cartel proved on Chroma that a pop-rock band that new exactly what it wanted to be could find success without interference from outside parties. Their subsequent release, a self-titled album, was tarnished by a massive major label budget and the tampering of one Dr. Pepper-sponsored bubble. But 2013 gave us a marvelous thing, a Cartel album free from expectation. And boy did it deliver. Collider is pure pop-rock gold. Hopefully, this is the album that revitalizes Cartel’s fading career, although initial sales projections do not seem to indicate such a resurgence.  If this is the last album we get from Cartel, then Collider is a damn good way to go out. 

Key Tracks: "Uninspired", "Sympathy" (*Collider not available on Spotify*)

11. Silverstein- This Is How The Wind Shifts 

Struggling band leaves label that only cares about them as a money-making entity instead of an artist, joins a label that allows the band to maintain their artistic vision and releases their best album in a number of years. Stop me if you’ve heard this script before. Though this very well could’ve been the tale of All Time Low’s 2012, instead it is their Hopeless Records labelmates Silverstein who return to form with the pseudo-concept album This is How The Wind Shifts, a dynamically heavy master stroke in lyrical storytelling.

Key Tracks: "Stand Amid The Roar", "Massachusetts"

10. A Day To Remember- Common Courtesy 

Speaking of bands who left Victory Records for greener pastures, here comes the surprise of the decade. A Day To Remember looked dead in the water, their single, debuting almost a full-year before the album, was an atrociously generic bungling of the band’s metalcore roots, the band was embroiled in a nasty legal dispute, and the release of the new album seemed inevitably distant on the horizon. Yet somehow, A Day To Remember found a way to release Common Courtesy- and what’s more, somehow it was really, really good. Not only does Common Courtesy build on the band’s previous three albums in almost every conceivable way, it keeps the band's momentum moving upwards- an idea no one thought possible before the album's improbable and sudden release. 

Key Tracks: "City of Ocala", "Sometimes You're The Hammer, Sometimes You're the Nail"

9. Balance and Composure- The Things We Think We're Missing

I’m not sure exactly what it is I love so much about Balance and Composure. It seems near impossible to explicate what it is that draws me to their music. Vocalist Jon Simmons doesn’t have the most objectively appealing or commanding voice, though his vocal delivery did improve drastically on this release. The musical backing is greatly indebted to the grunge stylings of Nirvana and other like-minded bands- yet here they are in 2013 having released their second eviscerating release in a little over two years. There doesn’t seem to be another band out there making music that I can connect to spiritually in the same way I do with Balance and Composure. They get me.

Key Tracks: "Reflection", "Tiny Raindrop"

8. Jimmy Eat World- Damage 

This may well be Jimmy Eat World’s most straightforward release in their history. It may not have the same spark that the band’s classic Clarity or fan favorite Futures have that make them connect with new audiences so many years later, but what it does have is a decidedly focused lyrical narrative. Jim Adkins described the record before its release as an “adult breakup record,” and that description proves stunningly accurate for the record's sub-38-minute run time (the shortest of their career). The band’s lyrical approach continues to be its greatest strength, balancing adeptly along the delicate tightrope that is writing about heartbreak.  

Key Tracks: "Damage", "I Will Steal You Back"

7. Letlive. The Blackest Beautiful

Initially, I had written a write-up for this album that included the line “If it wasn’t for the production issues, this could perhaps have been a top 5 release.” However, I have decided to completely expunge that line of thinking from my perception of this album. Yes, the production is muddled, yes the drums sound like they were recorded underwater, and yes, it is not as clean or “produced” as the band’s previous album Fake History. But the question I am now asking myself is, “Why would I want it to be?” Letlive. is not widely regarded as the most “tight” live band, but I would venture to say they are among the two or three most energetic and entertaining bands I have ever witnessed live. That same liveliness courses through the tracks on The Blackest Beautiful, and it is electrifying.

Key Tracks: "Banshee (Ghost Fame)", "White America's Beautiful Black Market"

6. Moving Mountains- Moving Mountains

In case you, dear reader, did not hear the news, Moving Mountains announced shortly after this album was released that they would be going on an indefinite hiatus.  Those who are long time viewers of the blog or long time listeners to the show know that Moving Mountains know they are among my favorite bands. It is with a heavy heart then that I write this album write up. But I, for one am thankful that we got one last release before the hiatus, however long it lasts. Their self-titled release is one that is worthy of carrying the band’s name as its title, as it is absolutely the definitive record to sum up the 8 year career of a band that was constantly innovating. It, in and of itself, charts the course of an evolution, an evolution from a band that was unsure of themselves and the band that they could be- one that would lean on their collective inspirations too heavily at times- into a band that was so self-assured that it eschewed all those inspirations in favor of a sound that is uniquely suited to them.

Key Tracks: "Eastern Leaves", "Swing Set"

5. twenty.one.pilots.- Vessel

On the second of three occasions that I saw twenty.one.pilots perform live this year, vocalist Tyler Joseph said a very peculiar thing on stage. He said, “Thanks for buying into these weird songs we make.” Joseph may have been speaking from the perspective of a self-aware artist, but he has a fair point. The music twenty.one.pilots makes defies classification. While it is undoubtedly a pop album, it also displays elements of dance, hip-hop, punk, screamo, emo and countless other genres. The deeply introspective lyrics would not be out of place on a Jimmy Eat World album, yet here they are on an album that also contains the lyrics “lean with it rock with it, when we gonna stop with it.” And somehow, even with all this contradiction and binaries, it all just works.The band successful eschews the ideology that all pop music must exist in a neatly defined box to find success, and I hope more bands follow suit.

Key Tracks: "Car Radio", "Holding On To You" 

4. The Wonder Years- The Greatest Generation

The best album by a band that once released my Album of the Year 2011, and it doesn’t even make the top 3? 2013 was rough like that. This is nothing against The Wonder Years, who crafted the most well-written pop-punk album since the genre’s heyday in the early 2000s (In fact, in a tweet, I believe I called it the greatest pop-punk album since Tell All Your Friends), it is just a simple testament to how strong the Album of the Year candidates were this year. On The Greatest Generation, an album that vocalist Dan Campbell has called the “third in a trilogy about growing up” the band takes on the difficult tasks of setting a bildungsroman to music, and do so in a way that would make even the master of the form, Charles Dickens, proud. Whether it is the understanding of parents doing anything they can to provide a child a better life than they themselves had (“Teenage Parents”,) or the difficulties associated with battling depression (“The Devil In My Bloodstream”), or even the simple inevitability of dealing with death and tragedy (“Dismantling Summer”), The Wonder Years convey the experience of the human condition in such visceral and acute detail that it’s a wonder they became musicians and not psychologists.

Key Tracks: "I Just Want To Sell Out My Funeral", "The Devil In My Bloodstream"

3. The Front Bottoms- Talon of the Hawk

I mistakenly failed to listen to The Front Bottoms debut full-length, a self-titled album released in 2011, until 2012, resulting in the album not being included in my countdown the year it came out. I would like to apologize for that mistake and offer this album write up as a sort of apology. However, little did I know that my love for The Front Bottoms would only grow with the release of their second full-length, Talon of the Hawk- an album that arguably contains the band’s two best song “Twin Size Mattress” and “Funny You Should Ask.” The band has always had a penchant for releasing catchy, quirky anthems (see the single on their first album, “Maps”), but on Talon of the Hawk they add to that quirk, adding an even deeper dimension of heart and sentiment to the at times chaotic nature of their lyrics. This isn’t the same band that released the self-titled two years ago, they have grown both in maturity and in number (the band has added two more members to their lineup), but all the same characteristics that made listeners, including myself, fall in love with The Front Bottoms in the first place are present on this release in spades. And if it continues to grow on me just as much as their first record has, I may one day regret putting Talon of the Hawk even this low on this list.  

Key Tracks: "Twin Size Mattress", "Funny You Should Ask"

2. Fall Out Boy- Save Rock and Roll 

Fall Out Boy wins reunions forever, end of discussion. But in all seriousness, who could possibly have seen this coming? February 4^th was the fateful day, and on that day they could’ve just announced a Take This To Your Grave tour/show and been done with it, but instead they came back with a bang. Three reunion shows right away (one which Don and I were lucky enough to attend), a full tour playing a selection of songs from their full discography, a new song, and most importantly and album announcement. That album was Save Rock and Roll, and it opened up the discussion of what Fall Out Boy’s best album is. Hopping from hip-hop influenced rock with arena flare, like “My Songs Know What You Did in the Dark,” to campfire sing-along-esque tracks like “Young Volcanoes,” to poignant, piano-led ballads like the title track, Save Rock and Roll is a diverse and unique pop album from a band that has diverted further away from their pop-punk roots with each subsequent release, with great success. This is, in essence, a perfectly written pop-rock album. Yes, it doesn’t have the same straightforward “intensity” as the band’s debut, the aforementioned Take This To Your Grave,” but it replaces it with scathing lyrics hidden under pop-song exteriors, such as the biting gem hidden within the seemingly 80s style jocking “Miss Missing You”: “Sometimes before it gets better, the darkness gets bigger. The person that you’d take a bullet for is behind the trigger.” It is this toying with conflict and binaries that makes Save Rock and Roll so interesting to analyze, and what makes the album one of the year’s best albums.

Key Tracks: "The Phoenix", "Save Rock and Roll"

1. The 1975- The 1975

In a year full of surprises, a year in which Fall Out Boy not only reunited and toured, but released a new album, a year in which Cartel and Silverstein released their best albums in seven years, a year in which Relient K and Transit disappointed us all with surprisingly atrocious releases, while A Day To Remember did the reverse with their album, perhaps the biggest surprise of them all is how a little band from Manchester, England that I had never heard of before when 2013 kicked off ended up releasing my favorite album of the year. The band’s self-titled album is as good a debut as I’ve heard since I heard Moving Mountains’ Pneuma, or perhaps even earlier than that. Never has a band’s debut record struck me as so self-assured in vision and aesthetics as The 1975. Perhaps this is a product of the band’s extensive pre-the 1975 history (it has gone through several lineup and name changes in years past) or perhaps it is a product of their release history (with four EPs preceding this album release over the past two years), but The 1975 know exactly who they are, and they do what they do better than anyone else.

Key Tracks: "Sex", "Chocolate"