#( by lyric based i mean lyric one liner etc etc. maybe i will add in more for context if an idea hits me )

[erabundus]

by the way, if any MUTUALS would be interested in a small lyric-based starter, you're welcome to give this post a like!

[shark-myths]

“From Now On, We Are Enemies”

I am pleased as hell to present you with A GUEST POST BY THE BRILLIANT @leyley09, who I am endlessly grateful to have met and even more thrilled to be hosting tonight! They destroyed me for days on end with theories about this song, and I have been singing it on loop all week. I hope the same happens to you. 💜

This is a bonus track from the Believers Never Die: Greatest Hits album that sustained so many of us during the hiatus. The title here isn’t in quotation marks just because I’m a grammar nerd; it’s actually a quote from the film Amadeus. If, like me and the members of the band, you were a kid during the 80’s and 90’s, you’ve probably seen this film. If you haven’t, you should. A lot of the surface interpretation of the song can be easily connected to this film about Mozart - a kid genius who flew too high too fast and burnt out too soon.

But that’s not what we’re here for, is it? :D We’re here because the chorus of this song caught my attention the other day, and I messaged shark-myths that we should talk about this, and I got a little ramble-y, and then I made her cry. So let’s see if I can do the same to anyone else!

shark-myths and I have been talking a lot recently about the conversations that take place in so many Fall Out Boy songs. Regardless of who you feel that they are between, there are clearly two points of view represented in a number of songs. Some of them are pretty obvious, and I think this is one of those songs.

If you listen carefully, you can hear the difference between the intro/refrain - I just want to be better than your / Your head's only medicine - and the rest of the song.

It's a different volume, it's a different tone. It’s less forceful than the verses, less confident about what is being said. To me, it sounds more like Patrick - actual Patrick, in conversation Patrick - than the rest of the song. And please remember, Patrick is a voice actor in addition to being our most favorite vocalist. He knows how to use his voice to be different people.

I don’t know who’s responsible for which pieces of this song, but that feels like Patrick. Because when you care about someone who struggles with the kinds of things that Pete has/does, the last thing you want to do is add to the problems. You can read “better” in more than one way -- that could be “better” as in “I want to work better than your medicine”, but also “I want to be better for you than your medicine.” Because all medications have side effects, and some of them are very unpleasant.

When you follow that immediately with the first verse:

A downward spiral, just a pirouette G-getting worse 'til there's n-n-nothing left What good comes of something When I'm just the ghost of nothing, nothing?

That’s an immediate contrast between “I want to be better than your medicine” and clearly this medicine isn’t working because that’s the kind of thing that it’s supposed to prevent. There’s also the contrast of the volume at which they’re sung. The intro is at the volume of someone speaking quietly, especially in comparison with the loud, almost aggressive way the verse is being sung. It’s practically someone speaking to themselves.

I’m going to skip over the pre-chorus and the first part of the chorus, not because I don’t think they have anything to say (and even though shark-myths has mentioned that fall to your knees is an interesting recurring lyric), but because for me (and probably for you if you’re on this blog reading this post), the most important part is the last part of the chorus:

A composer, but never composed

Singing the symphonies of the overdosed

A composer, but never composed

Singing, "I only want what I can't have"

"I only want what I can't have"

Because Patrick's not really as composed as he might want to appear, is he? We’ve heard, especially in the past, about Patrick’s temper. And he might appear to be calm and collected in comparison with some other people, but everything’s relative, right?

Oh but wait. Because I’m obnoxiously thorough, I had to pull out my copy of BND to see if the lyrics in the liner notes look different than the ones on genius.

And they do.

There are two things I really like to lecture about. Music and writing. So bear with me a moment while I grammar-lecture. (There’s a point, I promise.)

Here’s what this section looks like straight from the liner notes:

A composer but never composed / Singing the symphonies of the overdosed / A composer but never composed / ‘Singing’: “I only want what I can’t have”

The first difference is the lack of a comma from the first line. The comma in the lyrics from genius makes that second phrase almost off-hand, like an afterthought. The lack of a comma changes that -- “but never composed” isn’t an afterthought now. It’s a key part of that clause.

Next: ‘Singing’: “I only want what I can’t have”. The single quotes around singing draw attention that word. Those are the marks you’re representing if you’ve ever done the “air quotes” thing. It strongly suggests that singing isn’t really what’s going on -- or maybe that singing is a code word for something else.

One option is that this is a reference to the often-mentioned idea that Pete ‘sings’ through Patrick.

“I don’t think Pete thinks of himself as a bass player. I think he thinks of himself as a singer. He sings through me.”

That’s an interesting idea, because it makes these two lines a comparison between Patrick - the composer who sings Pete’s words - and Pete - the ‘composer’ who ‘sings’ by writing those words.

It gets even better (or worse) if you read this section without the line breaks

A composer but never composed signing the symphonies of the overdosed

A composer but never composed ‘singing’: "I only want what I can't have"

But let’s assume for our purposes here that composer always means Patrick. Not only is Patrick "never composed", but he is never composed in those two circumstances to an extreme enough degree that it’s worth mentioning them directly - never composed any time he's singing something Pete wrote, and even more specifically, when singing I only want what I can't have.

When Pete says “never composed” here, what exactly does that mean?

Composed: calm; tranquil; serene

And the opposite of that: agitated; nervous; upset; worried; distressed; excited; angered; annoyed; aroused

He also calls Patrick a composer, which we already know means to create a piece of music, but it also has several other meanings which I personally think are interesting in relation to Patrick.

to make or form by combining things, parts, or elements

(We know Patrick combines sections of Pete’s lyrics to create a lot of their songs)

to be or constitute a part or element of

to make up or form the basis of

(If you don’t think Pete considers Patrick a very important base (if not the very important base of this band) we’ve been watching very different people over the years)

to put or dispose in proper form or order

(Art.) to organize the parts or elements of (a picture or the like).

to create (a musical, literary, or choreographic work).

to end or settle (a quarrel, dispute, etc.)

to engage in composition, especially musical composition.

to enter into composition; fall into an arrangement

All emphasis mine, especially that last part which really falls square in the lap of shark-myth’s Tryst Theory™ and just makes me giggle.  

Point: Patrick is someone who does some and/or all of those things, and he becomes someone who is agitated; nervous; upset; worried; distressed: excited; angered; annoyed; aroused when he's singing stuff Pete has written about how Pete only wants what he can't have.

Which is Patrick.

At least Pete thinks so, which I suspect would be directly related to which “not composed” reaction he thinks he’s seeing. A Patrick who is annoyed or angry singing that stuff? Most likely a Patrick he can’t have, be it temporarily or permanently.

Which is why I think you get more of that secondary point of view, after the second chorus

A composer but never composed signing the symphonies of the overdosed

A composer but never composed singing "I only want what I can't have"

I just want to be better than your head's only medicine

Once again, it’s quieter, smoother. That second chorus is practically being shouted by the time it ends, and the refrain is layered under it, almost like someone in the background trying to make a point but not willing to shout to do it -- someone who isn’t quite sure that they are better than the medicine, that they aren’t making things worse. Someone who is some kind of agitated having to sing things that they know are about them (I’m sorry every song’s about you, anyone?), SONGS THAT ARE WRONG because it’s not that Pete can’t have him, but that he shouldn’t have him. If he’s not better than the medicine, if he’s making things worse, THEN IT’S BETTER FOR PETE TO NOT HAVE HIM AT ALL.

But it doesn’t sound like Pete’s listening or understanding because the song goes right back to that other voice to repeat the bridge and chorus again, a chorus that ends on an extended repeat of "I only want what I can't have" and a particularly desperate-sounding note.

By the time this song ends, no one is composed.

(And that includes me.)

[benandcoblog]

Nashville's Next Sweet Country Belle w/ Melanie Meriney

Melanie Meriney is an up and coming urban pop country artist who is a hat tippin', boot wearin', word slingin', country singer-songwriter making big moves in Nashville, Tennessee. I was lucky to grab her before the end of the year to ask her a few questions before she receives her first Grammy for influential and inspiring music. During our interview she mentioned she needed some help with her independent companies branding, I offered to help define her art and production company logos. Nothing like collaborating with like minded individuals striving to make something through passion and dedication.

[Ben]: You were born in Pittsburgh, what were your first 15 years like as a youngster?

[Melanie]: I was actually born in Los Angeles, and we moved to Pittsburgh when I was just three. I had a pretty awesome childhood. My parents and siblings were always supportive of my music dream, and I spent a lot of my younger years singing in church choirs, local choruses, open mics, and talent shows. I played travel ice hockey as well as field hockey at school and tried to keep my grades up so I could come to Nashville for college!

[Ben]: When did you decide to move to Nashville? Were you inspired by someone or something?

[Melanie]: When I was in third grade, I went to a Shania Twain concert with my parents. I watched her from my dad's shoulders with binoculars and thought she had the coolest job in the world. The next day, I asked if I could take voice lessons and I've been pretty single-minded ever since. I picked up a guitar and began trying to write songs. I knew Nashville was my next step after high school, so I applied and got accepted to Belmont University.

[Ben]: Do you notice a difference in the communities between Pittsburgh and Nashville, such as midwestern hospitality? Or is everyone more or less the same?

[Melanie]: There are slight differences. I'm not sure Pittsburghers identify with the midwest so much as they do with the east coast. People in Pittsburgh are pretty straight-up, as in, they tell you what they think and don't try to dress it up, for better or worse. That's different from the south, where people can be sweet to your face while masking their actual feelings. Strangely, a lot of my closest friends in Nashville are from northern states—I think we just naturally gravitate towards people with similar attitudes.

Both cities give me a strong sense of community. I feel at home in Pittsburgh, and now Nashville is also home. I've been living here going on nine years, so I think I can pretty much call myself a local.

[Ben]: Parents have a significant influence on our lives… did yours push you to become a musician? Did they ever have a doubt you shouldn’t be in music and encourage you to pursue something else? Were they always supportive of your decisions?

[Melanie]: My parents were integral to my development of musical tastes and style—my dad would play all the '80s rock bands he loved, and my mom would always have country radio on in the house. Both have been my biggest supporters while keeping me grounded. I talk to them pretty much every day to let them know what's going on with music and get their advice. They're the best.

They (and I) want me to be independent and have the ability to get a job that supports my main career aspirations. So, I attended Belmont as a dual English and Songwriting major, and then went on to get my Masters in Education. I admire the whole all or nothing path that some of my peers have taken, but I don't ever want to be dependent upon someone financially if I can help it.

[Ben]: Was there ever a time in your life when you essentially almost hit rock bottom via money, job, emotions, and/or feelings? What happened, where were you in life, and how did you overcome it? (I ask because I’m currently at this stage, and on vacation for winter writing and interviewing awesome people!)

[Melanie]: Aw no! You'll climb out! I pretty much have a breakdown every other month, honestly. It's such a conundrum choosing a career in a volatile field like music and still needing some sense of stability and sanity. I occasionally get anxious and depressed when I feel like nothing I do is working or mattering, and I'm struggling to break even financially or can't afford career moves that I feel are important. It's easy to look at the highlight reel of other people's lives and think that everyone is doing it better than you. But I've found that life is more like a rollercoaster—when you're low, you have to know that you're going to go up again.

I try to surround myself with people who remind me of my worth. A good support system is my perpetual saving grace. Make a list of everything you are accomplishing (even if it doesn't feel like a lot to you at the moment) and then catch lunch with someone who cares about you and can keep you motivated, on the right path.  

[Ben]: Can you share a song you've written that has a hidden meaning or one that is emotional to you and your future as a growing musician/artist?

[Melanie]: I love writing tongue-in-cheek songs because I'm pretty sarcastic. One song you may have heard is the title track of my last EP, “Up in Lights.” It talks about the pressures of the entertainment industry, like the way we dress, act, perform, network, interview, etc., and how easy it can be to lose your sense of self. The song says ridiculous things like, "Nobody got anywhere by being just who they are," and, "You're only as good as they're saying; you may not be you, but your name is up in lights." I hope that listeners pick up on the sarcasm and understand that song actually means the opposite! As an artist, your most important responsibility is hanging onto the values and the tenets that make you YOU.

[Melanie]: I don't doodle when writing, although I always loved drawing and art when I was younger. Sometimes, to de-stress, I'll put my phone down for two or three hours and paint with watercolors. I'll show you [Or here is] a bird I painted a few weeks ago when I was especially stressed!

[Ben]: There are many musicians out there wanting to break into the industry. Most start their careers through social sites such as Instagram or YouTube. How were you found? Do you have advice for others?

[Melanie]: A solid fan base will always be the most effective way for an artist to become relevant. Finding your fan base can be easier with social media, primarily if you have limited resources and can't fund an entire cross-country tour. I've made a lot of great connections through live streams, DMs, and have been working on building my YouTube presence. We are creatures with short attention spans, so content is huge—I try to post at least once a day (sometimes I'm better at it than others) to keep a constant stream of engaging content going, whether that be music, videos, live streams, or pictures. Socials are a great way to start!

[Ben]: The holidays came and went like crazy! It seems like just last month we had filled our bellies with Thanksgiving turkey, stuffing, gravy, and Grandma Barb’s famous strawberry rhubarb pie. What’s your favorite holiday? Do you believe in Santa? And since Christmas just flew by, can you tell us your favorite present so far from a friend, family, or someone else?

[Melanie]: I have a tie for my favorite holidays, which are Christmas and the Fourth of July! I love Christmas because it's cozy and you're surrounded by family; and the Fourth of July because it's right in the middle of summer, providing some of my best memories. I believe in Santa in the spiritual sense—someone who brings together the most important things in life!

My favorite gift ever was my childhood kitty, Kristey. I got her in second grade. My parents put her in a cute little box, and she was my best friend until college when she passed away.

[Ben]: I’m a stickler for creative puns and jokes, though when it comes to music, it isn’t my forte. Puns like mine could get me in treble, they also usually fall flat, and people get tired, so I might give this sentence a full rest. Maybe if I had some sheet music, I’d take a lot of notes. Can you give us your best one-liner?

[Melanie]: (Laughing) I love it! Um... I'm definitely not the funny one in my family—that'd be my brother... hm... is your fridge running? If so, you better go catch it! (Best I got, sorry everyone.)

[Ben]: What’s next? Do you have a 3- and 5-year goal?

[Melanie]: My goal for 2019 is to put out new music and fill my calendar with tour dates! You can find them on my website at melaniemeriney.com! Even though I'm a planner, I'm finding this career path difficult to schedule. In five years, I would love to have a record deal with some solid radio airplay! Ultimately, I want to be financially secure and able to work on my music full time.  

[Ben]: You currently have a crowdfunding campaign; can you tell us more about it? Is it hard to fund new endeavors? Do crowd campaigns for an already established musician provide more exposure while your backers get something to take home?

[Melanie]: I do! The last day to donate was December 24th (Christmas Eve). Our goal is $10,000 for recording and marketing new music. It's definitely a grassroots endeavor and takes a lot of humility to ask for help. Luckily, I'm able to give back in the form of signed CDs, t-shirts, hand-written lyric sheets, Skype concerts, and backer-selected cover songs. Crowdfunding is a great way to find out who truly cares about your career, and it's not always who you expect! The support has been phenomenal.

[Ben]: This wraps my interview questions for you, would you like to add anything else for our readers? Any words of inspiration?

[Melanie]: You are where you are in your life for a reason—whether it's to learn something, meet someone, or hear a good story. Embrace where you are knowing that as long as you are doing what you love, you won't look back with regrets.

[Ben]: Thank you, Melanie. That's excellent advice that I can certainly take to heart, and I'm sure others will as well. I've been loving your music since I first heard you, and know our readers will be just as inspired as your music continues to evolve and delight.

We look forward to hearing and seeing what you've got in store for us in 2019.

Melanie Meriney is an up and coming pop-country artist from Pittsburgh, PA now living in Nashville. She has opened for popular acts such as Little Big Town, The Commodores, Restless Heart, and Steve Augeri of Journey, as well as having been nominated for a Nashville Independent Music Award for Best Female Solo Artist. Her single, "Lifeboat," rocketed to #2 on both the UK HotDisc chart and Music Row (with the corresponding video receiving GAC rotation placement). Melanie is a "2018 Artist to Watch" on AXS and has received multiple mentions in Billboard, Country Aircheck, and Music Row Magazine. She is currently promoting her newest single, "Flame," with a music video release this month.

Follow Melanie Meriney on Instagram @melaniemeriney, Twitter @melaniemeriney, Facebook @melaniemerineymusic, and YouTube at /user/melaniemerineymusic.

For tour dates, you can find Melanie’s most recent touring schedule on her website at melaniemeriney.com.

[brokensoundkuci]

Top 10 of 2017

It took me a long time to not only decide on my top 10 albums of 2017, but to also write this whole thing up once I finally got my list all straightened out. If anyone reads this, I hope that you enjoy what I have written and check out some of the albums that I have included on my list if you have never listened to them before. Thank you to everyone (including all of the awesome musicians out there) for another great year in music and on the radio. I am very thankful for everyone who has ever listened to and/or supported Broken Sound in any way, shape, or form. Thanks again and see you all in 2018! P.S., there are a lot of records that came out this year that I haven’t listened to yet that I’ve heard are pretty awesome, so don’t be upset if they aren’t on this list. There’s a good chance if it isn’t on here, I haven’t listened to it yet. Also, this is not an objectively ranked list (i.e. these are the 10 albums that I enjoyed listening to the most this year).

1. Makthaverskan - III

Out of all of the awesome records that came out this year, this was the one that I probably looked forward to listening to the most after it was first announced. If you have never heard of Makthaverksan before (it’s ok, a lot of people haven’t heard of them), they are a Post-Punk/Dream Pop band from Gothenburg, Sweden. The first time that I ever listened to these guys was during my first quarter at KUCI back in 2013. Around that time, they had just put out their second album entitled II, and as my one of my first assignments as the Punk Genre Assistant at KUCI, I was asked to listen to and review that record. After spending a few minutes reading the label and figuring out how to pronounce their name, I noticed that Makthaverskan were signed to Run For Cover Records, so I thought to myself, “If Run For Cover put this out, it must be good, right?” Needless to say, my assumption was correct. Fast forward to the year 2017, where after taking some time off from one another, Makthaverskan made their long awaited return to the scene and put out what many (including myself) consider to be their best work yet (i.e. III).

Makthaverskan are such an awesome band, and for so many reasons. I think what I like the most about them is how they are able to combine Post-Punk instrumentation, Pop melodies, and Punk angst all into one unique sound that not only breaks all of the barriers that are associated with the happy-go-lucky Swedish Pop scene, but that also pays homage to two of my favorite bands of all time in the Smiths and The Cure. In addition to that, I’m also a huge fan of their singer Maja Milner’s melodic voice and brutally honest lyrics. While discussing things such as heartbreak, rejection, loneliness, and suffering, Maja is not one to sugarcoat things. By dismissing the use of metaphor to express her feelings, Maja is able to describe in great detail and with no remorse what her pain is, what it stems from, and how terrible it is. With this being the case, it should go without saying then that this record can be emotionally taxing at times. On the other hand, it can also be therapeutic as well. By being up front and personal in describing her feelings, Maja allows the listener to relate their experiences to her own in a way that brings about feelings of harmony, solidarity, and mutual respect.

Long story short, Makthaverskan are a band whose songs really make you feel something when you listen to them. This record (as well as their previous two records) are chock full of relatable one-liners that will hit you right in the feels and that will stick with you for life (ex: “No one cares to know me the way you do,” “When I see you I cry,” “Humanity equals misery,” “Time can be my biggest enemy,” etc.). This album helped me get through a lot of tough times this year, especially the song “Days Turn Into Years.” I really hope that after reading this, more people check these guys out, and in doing so, allow their music to help them get through anything and everything that is troubling them and/or causing them pain. Even if you are just looking for some cool new music to listen to (as opposed to musical therapy), I would still recommend these guys in heartbeat.

2. Alvvays - Antisocialites

The coolest thing about this album making it onto my list is that I basically discovered it by accident. One night during my show, I was browsing through some CDs in the new releases section of the KUCI music library (something that I usually do every week during my show), and after sifting through about thirty CDs or so, there was only one that really caught my eye that night, which, you guessed it, was Alvvays’ newest album Antisocialites, which at that time had just come out. I had never heard of Alvvays before that night, so it’s hard to explain why I was so drawn to this album. Maybe it was the artwork or the way that Alvvays spell their band name. Anyways, after reading the label and seeing that Alvvays were signed to Polyvinyl Records (one of my favorite record labels), I made a mental note to myself to check them out whenever I next had the chance. After procrastinating for a few weeks, I finally listened to both of Alvvays’ albums, and needless to say, I was not disappointed. Alvvays are such an awesome band, and in my opinion, Antisocialites is nothing short of a masterpiece. Characterized by jangly guitars, dreamy synth parts, poppy vocal melodies, and lead vocalist Molly Rankin’s soothing voice, the songs on this record sound as though they were taken straight from Indie Rock/Dream Pop heaven. While listening to this album, one can easily lose themselves in the dreamy nature of some of these songs. That’s not to say by any means that this record “drags on.” In fact, no two songs sound alike on this album, which definitely showcases the versatility of Alvvays’ musicianship as well as their ability to keep listeners on their toes. I like every single song on this record, which rarely happens to me (I usually find at least one or two songs that don’t appeal to me on any album that I listen to). Low key, I’ve probably listened to this album twenty times since it came out, and if it wasn’t for my emotional attachment to the Makthaverskan record, it would probably be my album of the year. To quote one of my favorite bands of all time in Motion City Soundtrack, Antisocialites will always go down as being one of “my favorite accidents.”

3. The Menzingers - After The Party

If you know me well, you shouldn’t be surprised to see this album on my list. The Menzingers are of a rare breed of band that is able to consistently put out amazing records from front to back no matter how old they get or how long they have been together. Ever since their humble beginnings, The Menzingers have always been good, but after releasing two flawless albums in the early 2010’s (On The Impossible Past & Rented World), they have cemented themselves as being one of the best Punk Rock bands on the scene today. We now fast forward to the year 2017, where it comes as no surprise that The Menzingers have once again blown me away with yet another great record. In what has been described as sort of a concept album, the main theme that is repeatedly discussed on After The Party is that of the transition that takes place both mentally and physically as one grows older and moves from their twenties to their thirties. While this is a concept/feeling that I cannot directly relate to (yet), it is one that The Menzingers communicate in great detail and with a tremendous amount of emotion; almost to the point where I can put myself in the band’s shoes and feel the pain/struggle that is described in each of these songs. This has always been one of The Menzingers’ greatest strengths as a band and as songwriters. Combine that with the band’s patented brand of catchy hooks, sing along choruses, and angst filled vocals, and you have 13 awesome songs to add to The Menzingers’ already stacked/banger-filled discography. Long story short, check out The Menzingers because even though I think that every single song on this record is great (which as I said earlier, rarely happens), it’s hard for me to confidently say that After The Party is their best album (On The Impossible Past still holds that title in my opinion). However, I can confidently say that it is one of the best Punk records to come out this year (once again, only my opinion), so don’t sleep on these guys.

4. Tigers Jaw - spin

This record felt like it took forever to come out seeing that many of us Tigers Jaw fans had been talking about it ever since their last record Charmer came out in 2014 along with the announcement that Tigers Jaw would from now on be a two-piece band solely featuring founding members Ben Walsh and Brianna Collins. Would they be able to make a record by themselves? Would it sound as good as the original lineup? Two questions that had lingered for quite some time amongst the Tigers Jaw fan base. After making us anxiously wait for over three years (which producer Will Yip made even more dreadful by dropping little hints about the album here and there for like six months), Tigers Jaw finally released spin earlier this Spring, and as you would expect, it was definitely worth the wait. Tigers Jaw have always been an awesome band who have consistently put out great records from front to back, so for me to say that spin is their best album would be kind of stretch, but it’s pretty damn good and should be in that conversation. While staying true to the sound that the original five piece version of Tigers Jaw developed, Ben and Brianna were still able to add their own personal touches to the songs on this record, especially since they were both in charge of song writing duties for the first time (spin is the first Tigers Jaw album that Brianna has contributed songs to). The thing that I like the most about spin is that you can really tell that Ben and Brianna spent a lot of time on these songs and put their best effort forward to make them the best that they could be in every way. Every song on this album is well crafted both musically and lyrically. No two songs sound the same and everything sounds perfect down to the smallest detail. I really appreciate great musicianship like that, and I look forward to hearing what Ben and Brianna have in store for us next as they continue to keep Tigers Jaw not only alive, but alive and thriving.

5. Phoebe Bridgers - Stranger In The Alps

The way that I discovered Phoebe Bridgers was a lot different from how I usually discover new artists. About a week or so after her debut full length record entitled Stranger In The Alps came out, I saw a bunch of people in other bands that I really like talking about it on social media and saying how good it was. Chad Gilbert of New Found Glory, Greg Barnett of The Menzingers, Jeremy Bolm of Touché Amoré, and Julien Baker (just to name a few) all had amazing things to say about this album, so I said to myself, “If these guys all love this record, then it must be good, right?” Needless to say, my reasoning was correct. Phoebe Bridgers, while still very young and new to scene, has already in a short amount of time won the hearts of numerous people through her patented brand of what many call “Emo-Folk” music. Characterized by mid-tempo/ballad-esque folk instrumentation, beautiful vocal melodies, and emotionally compelling lyrics that discuss topics such as intimacy, relationships, depression, and death, the sounds heard on this album can be compared to what I like to imagine a collaboration between Motion City Soundtrack and Bob Dylan would sound like. Even if you don’t agree with my comparison, the point that I’m trying to make is that this record breaks down a lot of the barriers that are typically associated with both Emo and Folk/Acoustic music and can/should be consider as a genre defining album (hence the term “Emo-Folk” music). Even though this album is really sad and can be taxing on one’s emotions, I still consider it to be nothing short of a masterpiece. If this is only the beginning for Phoebe Bridgers, then I can’t wait to hear what she has in store for us next. A lot of people are already calling her the next Julien Baker (who she toured with earlier this year), and I can see that comparison, but I have a feeling that she may grow into something/someone even bigger than that (especially after seeing how many famous/well-known artists support her music). Only time will tell.

6. Incendiary - Thousand Mile Stare

Hard, angry, and political. Three words that perfectly describe Incendiary’s newest album Thousand Mile Stare. One of the things that I like the most about Incendiary is their nonchalant attitude toward the status of their band as well as their “obligation” to put out records and tour. In an interview conducted with Incendiary’s lead singer Brendan Garrone over three years ago, he had the following to say about Incendiary:

“Incendiary has never been a full time band and that isn't going to change, but we have never let that stop us from doing as much as possible. I don't subscribe to that weird local band mindset where everyone’s complaining about their jobs and how they have no time. Most of us work 50+ hours a week and have a lot of responsibilities outside of the band, but we are all on the same page as far as making the band a priority in our lives.”

To put things in perspective, before Thousand Mile Stare came out, it had been four years since Incendiary had put out a record (i.e. Cost Of Living) and quite some time since they did any extensive touring. In my head, I like to imagine the band getting together for lunch one day and saying something like, “Hey, we’ve got some free time coming up, why don’t we make another album?” And just like that, Incendiary comes from out of nowhere and drops a massive bombshell of a record that many Hardcore/Metal publications have described as being one of the best if not the best Hardcore/Metal album of the year as well as a seminal record in both of these genres’ histories. Whether or not this is really the case will be debated for years to come, but I will say that Incendiary have taken themselves to new heights with this album (all while staying true to their ‘90s NYHC influenced sound) and have filled a void in the Hardcore scene that many have felt has needed to be filled for quite some time. Not only does this record hit hard musically, but lyrically as well, seeing that most of the tracks on this album discuss/condemn many of the hot-button issues that have plagued our country all throughout  Trump’s short yet tumultuous presidency such as: hatred, racism, discrimination, intolerance, inequality, violence, etc. With that being said, it is my opinion that this record is just as important if not more important socially as it is musically, and because of that, it will be remembered and celebrated for many generations to come.

7. Julien Baker - Turn Out The Lights

The first time that I encountered Julien Baker was when I saw her open up for Touché Amoré at a one off show that they did at Chain Reaction about two years ago. At the time, she had just released her first record entitled Sprained Ankle (which was low key one of best records to come out that year), so not a lot of people in the audience (including myself) really knew who she was. Mesmerized by her beautiful voice, emotionally compelling lyrics, and sheer confidence in being able to get up and perform on that stage all by herself that night, I knew right there and then that Julien Baker was going to be a star one day. Fast forward to the year 2017, and what had once seemed to be a well-kept secret (i.e. Julien’s music) has now been discovered and has made its way into numerous people’s homes/music libraries. After hitting the mainstream so-to-speak and being signed to an absolute powerhouse in Matador Records earlier this year (some of my favorite artists have been/currently are signed to Matador), Julien released her second album entitled Turn Out The Lights, which has been described by many, including myself, as a total masterpiece. While staying true to a lot of the lyrical themes discussed on her first record (i.e. depression, anxiety, addiction, substance abuse, etc.), Julien does expand on her sound quite a bit on this record through the use of multiple vocal tracks, piano leads, and more intricate guitar work. Even though the songs on this album are still depressing as fuck, there is a new sense of hope/control communicated all throughout the record seeing that Julien has been working to overcome her struggles with depression over the past year or so. This is refreshing to hear, because all things music aside, I really feel for Julien and hope that she finds happiness and relief through the success that her music has garnered her (even though she has mentioned on numerous occasions that she makes her music for herself, not for financial gain/public approval).

8. Power Trip - Nightmare Logic

The first time that I came in contact with Power Trip was when I saw them open up for Title Fight on their Hyperview tour back in 2015. I’ve always had a soft spot for Thrash music (an oxymoron I know), so you can probably guess that I more than enjoyed their set that night and that I listened to all of their music the next day. These guys are a really unique band because even though their sound/image harks back to some of pioneers of Thrash music (i.e. Metallica, Anthrax, Slayer, etc), they don’t limit themselves to being just another knock off of one of those bands. In fact, these guys’ influences extend across multiple genres, especially the genres of Hardcore, Punk, and Crossover (one can definitely pick out influences of the Cro-Mags and Leeway in their music). With that being said, it should be no surprise that Power Trip have become a household name in the genres of Hardcore, Punk, Metal, Thrash, and Crossover. It should also be no surprise then that their newest album Nightmare Logic, which came out earlier this year, has made its way onto numerous people’s best of 2017 lists (including my own). After listening to Nightmare Logic, it’s safe to say that Power Trip didn’t really re-invent the wheel so to speak on this record. They pretty much stay true to the sound that we all know and love them for (i.e. tasty guitar riffs, heavy breakdowns, and raging vocals). One thing I will say is that all of the songs on Nightmare Logic sound as though the band did pay a little bit more attention to detail (both musically and lyrically) when crafting these songs than they did with the songs on their previous record (Manifest Decimation). I also feel like the band has more confidence in themselves as well as the formula that they use to create these absolute ragers that they call songs. All in all, Power Trip bring a fresh perspective to a genre that a lot of people grew up on and still enjoy to this day and do it in way that feels all-inclusive to music fans alike. They also put on a hell of a show, so if you really want to understand how awesome these guys are, go check them out the next time that they are in town. Also, if you do decide to go see them live, make sure to bring your moshing shoes. There will be slamming.

9. Death Bells - Standing At The Edge Of The World

If you have never heard of Death Bells before (it’s ok, a lot of people haven’t heard of them), they are Post-Punk band from Sydney, Australia. The first time that I encountered these guys was actually through KUCI. I was driving around one day while running some errands and a song of theirs come on while I was tuned into DJ Swansty’s show “Obstacle None” (shout out alert), and as soon as I got home, I looked them up and proceeded to check out all of their music. Needless to say, they did not disappoint. What I really like about these guys is that even though their sound is derived from Post-Punk, a genre that is mostly characterized by slow/offbeat instrumentation, melancholy vocal melodies, and dark/gothic vibes, they have this kind raw energy/spark about them that can be heard in all of their songs and that brings new life to the genre in which many of their influences are categorized under (i.e. Joy Division, The Cure, Gang Of Four, The Cranes, etc). By mixing different elements of Pop, Emo, and Indie Rock with some of Post-Punk’s most patented traits (i.e. thick baselines, chorus-affected guitars, wavy synth interludes, and haunting vocal melodies), you get a really awesome band with a pretty unique sound that is still somehow flying under the radar, despite putting out one of the best Post-Punk-influenced records that I’ve heard in quite some time (in addition to the Makthaverskan record that I mentioned earlier). Long story short; check out Death Bells so that you can be one of those trendy people five years from now who says that you liked them before they were famous (lol).

10. Citizen - As You Please

Believe it or not, when As You Please was first announced, I had no intention of listening to it. The crazy thing about that statement is that if you know me well, you know that I used to listen to Citizen all of the time back when their first record Youth came out because they were always touring/mentioned with some of my favorite bands at the time (i.e. Turnover, Balance And Composure [R.I.P.], Tigers Jaw, Basement, Title Fight, etc.). I’ve never been a diehard fan of Citizen’s, so after listening to the failed experiment that was their second album entitled Everybody Is Going To Heaven, I kind of swore off of them for a while. After I heard that they had a new record coming out, I just assumed that they were going to continue to develop the sound they decided to go with for Everybody Is Going To Heaven, which is why I decided to pass on As You Please at first. However, after caving in to all of the hype surrounding the album’s lead single entitled “Jet,” I was pleasantly surprised to hear that Citizen had not only made a return to their old sound, but that they had refined their sound to appeal to more of a diverse audience. This is the case for all of the songs on As You Please, not just “Jet,” which made As You Please quite a pleasant surprise upon listening to it for the first time. Much like some of their contemporaries’ latest work, As You Please is by far Citizen’s best and most complete album to date. By combining the best qualities of Citizen’s old sound (i.e. catchy yet intricate guitar riffs, powerful/explosive choruses, and angst fill vocals) with a new found sense of confidence, wisdom, and maturity, as well as more elaborate song structures and piano interludes, you get what in my opinion is the best version of Citizen that has ever existed.  Who knows what the band holds in store for us next, but for now I am happy to say that I was wrong to judge Citizen so fast and to almost not give this awesome record a chance.

Honorable Mentions:

1. No Vacation - Intermission - EP

2. Forced Order - One Last Prayer

3. Sorority Noise - You’re Not As ____ As You Think

4. Great Grandpa - Plastic Cough

5. Turnover - Good Nature