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Best of 2004
Let it be known that my list will be incredibly biased, just as any list will inherently be. I haven't written as much as I originally wanted to, but decided that writing very in-depth reviews on albums wouldn't really be in my best interest (I do have other things to do!). It's especially noticable down with the EPs... heh... kinda got burned out on writing, at that point. I'm more than happy to send sample songs to anyone who's interested; my music means that much to me. I'll try to keep it down with as many LJ-Cuts as possible, but I can only do so much. Feel free to de-friend me, if you want :P.

TOP 10 ALBUMS OF THE YEAR:

#10 ALBUM: TAKING BACK SUNDAY - WHERE YOU WANT TO BE

This album isn't anything special. Not really, anyway. In fact, I hate Adam Lazzara quite a bit. I think he's a pompous jerk, he can't sing, he can't write that well...

So why am I even including it?

Because Taking Back Sunday has survived without John Nolan, and they put out a decent album that I enjoy listening to. And it gives fuel to my utter fanboy dorkiness with the whole three-way band rivalry.

The first single, "A Decade Under the Influence," is nothing more than a straight-up pop-rock song. It's catchy. And I'm sick of it. So let's talk about the rest of the album.

The rest of the album is little more than not-so-subtle jabs at John and Michelle Nolan. But at least it's fun about it. What saves it, really, is Fred Mascherino (John Nolan's replacement). He can play, he can perform, and he can sing. It almost feels dirty and sad to know that someone's come in and taken John's place so effectively.

But let's just end this. It's a decent album. Nothing spectacular, but it's decent. Some standout songs ("Bonus Mosh Pt. II"), and silly petty fighting. I'll take it. Whatever. Technically, a more talented band deserves this spot (Jimmy Eat World, Letter Kills, Sum-41... anyone else who put out an album), but... blah.

#9 ALBUM: BAD RELIGION - THE EMPIRE STRIKES FIRST

The Process of Belief was absolutely one of my favorite albums of 2002. It had such a great variety of tempos and messages within in (which I suppose is classic Bad Religion)... but it just felt like fantastic, classic, updated, great, insane Bad Religion.

But that's not the album I'm talking about. If I were, it would have been higher up. This album is The Empire Strikes First, a pretty open jab at many things within the Bush administration, both in title and content. For some reason, it simply doesn't strike me as hard as The Process of Belief did. It took more repeat listenings to start differentiating the songs than previous albums.. which isn't always a BAD thing, but it did take a bit to get into. It just doesn't flow as a collective whole... I find myself skipping around the album, right now, as I write this.

There are a few definite standout tracks. Sinister Rouge might be my favorite track off the album, but that might also be due to the band putting the MP3 out long before the album and getting many a listen ahead of time. Social Suicide is also a damn catchy and FAST song. Of course, both of these picks are under the two-minute mark, which you can certainly classify as the classic Bad Religion song. Ya' know, I think I'll take that earlier remark back. My favorite song is The Safes of Me, the extra track on the Japanese import. It's just the right amount of catchy-hook, and it's actually three minutes long (well, 2:59)!

I wish I could write more in-depth about the messages contained within the lyrics and general musical expression of the album, but it just hasn't latched itself onto me enough to do so. It's a great listen, and I'd definitely recommend it (especially if you're already a fan of the band).

#8 ALBUM: FROM FIRST TO LAST - DEAR DIARY, MY TEEN ANGST HAS A BODY COUNT

Definitely not going to be up everyone's alley, it's more along the standard trend of what's being classified as "scream-o" these days. So what do I like about it? I probably shouldn't, since the band's original vocalist left before this album (I loved their 6-track EP, Aesthetic), and the musical direction was taking a slightly different turn. And Sonny (the new vocalist) sounds exactly like a 16-year old Bert McCracken... I've already heard The Used, and I'd be hearing their own new album, soon.

So what about this album grabs me? Well, it grabs me by the balls and doesn't let go. It just plain ol' simple rocks.

I had originally heard "Note to Self" on the band's PureVolume page quite some time before the album was due out, and found myself impressed. I didn't have anything against it. It wasn't anything revolutionary, but it was a good amount of hook, singing, music, and screaming.

If there's anything I can "fault" the album for, it's for following the current trend of instrumental openings and intermission instrumentals. Luckily, I like both ("Soliloquy" and "Minuet" respectively). So only half a complaint there.

Perhaps one of my favorite tracks, right off the bat, was/is "Emily." It's nothing more than Sonny and an acoustic guitar... but it works. Many times a band of this nature will try to "strip down" their sound to something acoustic, and it doesn't quite work. But this does. The song is quite basic (it's about a girl *eye roll*)... but man, I just LIKE it. There's a couple standout tracks ("The One Armed Boxer..." in addition to the other tracks I've named), but the album flows as a nice whole, as well. There's some really nice distinctions in musical styles and ambient noises (check out "I Liked You Better Before you Were Naked on the Internet"), and the traditional "I think I'm listening to The Used" (obvious in "Featuring Some of Your Favorite Words").

It's just an all-around great album if you're into the style. And even if you're not, you'll find at least two or three tracks you can really dig.

#7 ALBUM: I CAN MAKE A MESS LIKE NOBODY'S BUSINESS - (SELF-TITLED)

The instant the album starts, you can hear the television programs in the background. You turn around to see if your TV is on. It's not. Is that the CD? Yep. Why are they doing that? Well, I'm sure there are a few reasons. From what I understand, it's meant to represent the insanity, un-focused-ness, and distractions of life. Sure, whatever floats your boat. If you want to notice it, it's there. If you don't, it's quickly over-powered by the actual music.

Wow. What music.

The diversity in musical styling is probably only rivaled by American Idiot, this year. There's your straight-up emo, your folk, your country... it's such a laid-back, "Wow, this is cool..." album. What makes it even better is knowing we almost didn't get it. But we did. And man, am I thankful.

For a while, Drive-Thru just wasn't going to release it. Don't know what was going on there. Next it was going to be scrapped and re-done for a dual-CD Early November release (Ace Enders, vocalist, is also vocalist from The Early November). Then songs started showing up on Drive-Thru samplers. And finally the CD was leaked and released.

Woooooooooooooooow.

It's a beautiful listen, and I'd certainly recommend it to all the artsy-fartsy friends :). The organs in "Whispering, Actually" are gorgeous. The sing-along tunes of "Timshel" remind me of a classic Dashboard Confessional song. The catchy-hook of "The Best Happiness..." feels like a regular acoustic Early November song, with some funky beats to go along with it. One of the most interesting songs is "But When the Little Fellow..." with its straight-up folk-rock story and acoustic guitar and sing-along chorus.

I can't help but smile as I listen. And I like to smile. Don't you?

#6 ALBUM: THE GET UP KIDS - GUILT SHOW

The instant "Man of Conviction" started and I heard Matt's voice, I felt like a high-school kid all over again. James sliding up and down on the piano only made me feel more at home.

THIS is something to write home about.

Most fans will agree that On a Wire was a mixed-bag. Personally, I didn't like it AT ALL when I first heard it. It literally took me two years to warm up to it. I still don't LOVE it, but it's definitely got a new place in my heart. Guilt Show, however, almost makes me cry in sheer delight from hearing the band that HOOKED ME FOR LIFE into the whole "scene" with 1997's Four Minute Mile just as I remembered them.

Even though I've already made the obligatory nod to the band's second full-length, I'll keep it up; it's expected. This album isn't QUITE up to the (admittedly unapproachable) height of Something to Write Home About... but it's on the right track. It makes no apologies for being fun, catchy, foot-tapping, folk-y... god dammit, this is The Get Up Kids. "Whoo Hoo Hoo!"

I first heard "Martyr Me" a couple months before the album's release, an MP3 put online by the band, themselves. I almost couldn't believe my ears. I could picture Matt smirking and nodding his head along as he sang, "It's a good life, end of discussion."

If I could make love to a band, it would be The Get Up Kids.

The music is fairly consistent and upbeat throughout the whole album, and it will bring a smile to your face, just as I keep saying. Over and over again.

I'm not sure if non-fans would be able to appreciate the album. It's DEFINITELY a fun listen, especially if you're into a folk-rock sound with some keyboards ('cuz... well... that's what it is). Matt Pryor's voice is something that has brought me comfort and a smile to my face for as long as I can remember, and I get sniffly just thinking about how much I love the music this band puts out. But now I'm not even talking about the album... I'm just being a biased dork.

The last two tracks are a mixed bag, and maybe are what both hold this album back and push it forward, at the same time. "Is There a Way Out?" sounds like a mid-80's ballad heavy on the synth, slow tempo, and distorted vocals. "Conversation" almost sounds like a toss-back to The Beatles-esque experimentation. They're both amazing tracks... AMAZING... but I'm not sure how I feel about their inclusion with the rest of the album. Not quite the same flow. Their contribution to Rock Against Bush - Vol. 1 ("Lion and the Lamb") would have made a more "systematic" (does that make sense?) and obvious choice, but I'm not really faulting anyone for anything here. I don't think I'm even making sense.

I'm extremely sad I can't make it out to their 10th anniversary shows. This is the band that took me on a trip to where I feel I am, today, and this is going to be an album that I don't forget.

#5 ALBUM: SAY ANYTHING - SAY ANYTHING IS A REAL BOY

"Aaaand the record begins with a song of rebellion."

Despite the somewhat cliche statement for an album opening, the instant "Belt" starts playing you know you're listening to something you haven't quite heard before. The album is just the perfect mix of irony, politics, smart humor, stupid humor, and yes... rebellion.

Next up is "Woe," which I heard maaaaany months earlier offa Absolute Punk. I've gotten honest... I didn't get it. It was... "neat"... but I didn't get it. Or particularly like it.

God, I'm a dolt.

The vocals on this album are "powerful" in a way that doesn't usually mean what I mean. If that makes sense. I guess it makes the most sense when you see them live and see just feel the aura of the band, the music, the vocals... and Max, really. Geeeeze, this is just ending up being an album that that I want to write and write and write and write about, but the words escape me. It honestly speaks that much more for volume on its own than I ever could.

In fact, like Jason Tate's review for the album, I'll let "Admit It" speak for itself.

"You spend your time sitting in circles with your friends, pontificating to each other, forever competing for that one moment of self-aggrandizing glory in which you hog the intellectual spotlight, holding dominion over the entire shallow pointless conversation. Oh, we're not worthy! When you walk by a group of quote-unquote normal people, you chuckle to yourself, patting yourself on the back as you scoff. It's the same superiority complex shared by the high school jocks who made your life a living hell, and makes you a slave to the competitive capitalist dogma you spend every moment of your waking life bitching about."

And hey, if that doesn't do it for you:

"I worry about how this album will sell, because I believe that it will determine the amount of sex I will have in the future."

I will be more than happy to send songs from this album to anyone who IMs me at anytime. It's *just* as important as "American Idiot" is, in a slightly different way. Yeah, I'm putting it up there. It belongs there. This is definitely going to be one of the CDs I (hopefully "we") all look back upon as a defining point in our musical history. And if we don't, I'm blaming it all on you. Yes, you. The one looking around. You. What say you? And all your friends?

#4 ALBUM: MY CHEMICAL ROMANCE - THREE CHEERS FOR SWEET REVENGE

The perfect pop-punk-goth-rock album, and would certainly have been "Album of the Year" had it not been for a couple albums with a little bit more to them, artistically :).

I was certainly anticipating this album a great deal. I had only recently gotten into their previous album, and was slightly addicted to "Vampires Will Never Hurt You." When the first songs leaked ("Helena" and "Thanks For the Venom"), I knew I'd have that new favorite rock-out album I'd been waiting for. While "Thanks For the Venom" probably still remains my favorite track on the album, everything else is just sooooo up there on the enjoyability factor... I think I'd just like to make up words to describe them all and how much they rock my socks off, but I won't.

"I'm Not Okay" is probably the most-pop song on the album, which made it an obvious choice for a "single," but don't let that single song guide you on the album. The distorted vocals in "Give 'em Hell, Kid". The drums in "To the End". The jazzy-swing of "You Know What They Do...". The.... Old West?... of "Hang 'em High".

This album HITS you in the gut.

Another one I'd LOOOOOOOOVE to write more about, but can't because I'm too busy rocking out in my chair as I listen. "So gimme all your poison, and gimme all your pills, and gimme all your hopeless hearts and make me ill..." I want to dance and flail around SO BAD when I listen to this...

Oh, and the cover-art is amazing.

#3 ALBUM: STRAYLIGHT RUN - (SELF-TITLED)

What can I say, what can I say? I haven't written enough about this band. That said, I'll make this the longest of these mini-reviews.

HAHA, just kidding :P. I'll try and keep it short.

Probably my most anticipated release of the entire year. I saw Taking Back Sunday with the original line-up RIGHT before the split happened. It seemed as soon as it did, Tate had the Straylight demos up on the site. I was all over them. The music was just so refreshing. It wasn't particularly "whining"... at all. It made me feel good. Songs like "The Tension and the Terror" made me smile.

So we all sat and waited for the album. *AN* album. Christ, even an announcement of what freakin' LABEL it would come out on.

And though it was slightly delayed, Straylight Run's self-titled album came out on Victory Records, and from what I understand, is the label's best-selling band's-debut album. Not hard to imagine.

I feel that some of the songs are a little over-produced on the album (of course, this is all fixed if you just go see 'em live). They're all magnificent, though. Nolan's (and Nolan's) jabs back to Lazzara are MUUUUUUUCH more covert, clever, and significant than the return could ever hope to be. They're also easier to relate to, as a good songwriter should have them be.

I've written enough. Most of the people reading this already own the album, anyway (and for that, we all thank you). John's calming, honest, yet raw voice. Michelle's gorgeous vocal compliments (and hey, even some leads). Sean's rather intense bass (listen to "It's For the Best"). Will's non-obtrusive, yet clearly defined drumming (can't think of anything better to write... heh).

Yeah.

#2 ALBUM: MIDTOWN - FORGET WHAT YOU KNOW

These are my boys. New Brunswick, Rutgers, Livingston, Quad-jects REPRESENT. For what seemed like forever, Midtown was in limbo. The nonsense went down with Drive-Thru, and they were without a label. Were they with MCA? Were they back on just Drive-Thru? Nope. Neither. They were Midtown. Who was producing the album? Butch Walker? Didn't he produce Avril's album? So Trombino's gone, ne? Recording the album with no label? Huh, Columbia? Oh, man.

Well, each of those decisions were the best the guys could make. And I couldn't be more thankful. This is the Deja Entendu of 2004.

I had actually seen Midtown SEVERAL times live before the album was even being recorded (the last time I saw them, they were flying down the next day to go record it). I got a taste of the songs many times live... and they slowly began to creep into my mind. I learned them. I heard them in my sleep. Songs I would later come to know as "Is it Me? Is it True?" and "Nothing is Every What it Seems" were haunting vocals in the back of my mind. Was this where Midtown was heading? How did I feel about that? What about the pop-rock from the last two albums?

This is Midtown, and this is Forget What You Know.

The masters of the three-part vocal harmony lend the talents to a somewhat new style of Midtown music, and they SLAM you with it after the chanting build-up of "Armageddon" kicking into "To Our Savior". I guess I'll just continue with the Deja Entendu (Brand New, 2002) comparison... because that's what it feels like. It's such an incredible growth for the band as musicians, lyricists, and performers.

With Trombino gone, we can finally hear THE BAND, again, on the album. No gross over-production that plagued Living Well is the Best Revenge (which was, and still is, a great album, amazingly... I guess the band's talent still shines through). No more endless songs about typical relationships (not that it was ever COMPLETELY like that... but there was the Drive-Thru influence, undeniably). It's just about life and dealing with life, but not in the same way that I hear it from the words of other bands.

Despite how amazing this album is, there's something somewhat unapproachable to it. It's not that non-Midtown fans can't like it, and it's not that previous Midtown fans won't like it. Perhaps it's a bit too raw. Perhaps it's not "hook-y" enough. It's definitely under-appreciated, not all that mass-media-friendly... I think it's just too honest for some people. And there's nothing wrong with that... because, quite frankly, it's better than what you're listening to right now ^_~. How's THAT for honest?

#1 ALBUM: GREEN DAY - AMERICAN IDIOT

Concept album. Punk rock opera. It's punk. It's pop. It's ska. It's doo-wop. It's classic rock. It's jazz. It's innovative. It's been done before. It's gotten critical acclaim. It's gotten terrible reviews.

Call it whatever the *&^# you want to call it... it's the album of the year.

I won't even begin to try and relate the entire story contained within this 13-track album, but it revolves around a central character named "Jesus of Suburbia" (title of track 2), and traces him throughout most of his life (rebellious teen to old, sad man). Concept albums have been done before, I know. To put one out doesn't make you innovative. It doesn't inherently make it good, either. Why should we even listen? It's Green Day. Wasn't their first radio single about masturbation?

Just listen to "Jesus of Suburbia." LISTEN. The first of their two 9+ minute, multi-chapter anthems, they're literally proclaiming "I don't care if you don't care."

Any sentiment that you've ever felt in your life, no matter if you're young, middle-aged, or even old and decrepit... it's expressed in this album. Rebellion, hope, disgust... god, I just can't even keep typing. I have to listen to "Dearly Beloved" (chapter 4 of "Jesus of Suburbia") before I continue.

OK, let's go on.

Let's ignore the story for a bit. Just toss it out the window and concentrate on the music, itself. No lyrics, just the music.

Every song is so diverse (especially the two 9+ minute songs, but that's a given) that it's almost impossible to fathom. "American Idiot" and "St. Jimmy" take the classic rebellious attitude style of dirty punk-rock music. "Holiday" reminds me more of an uptight, almost prudish punk-rock approach (performed differently, I can picture Morrissey playing it).

OK, I have to stop, again, and listen to "Boulevard of Broken Dreams."

"Are We the Waiting"... I can just imagine with a multi-thousand person audience screaming back the lines... it almost brings a tear to the eye (a sentiment I feel dozens of times throughout the album, really).

The only big fault, I guess, I can find with the CD is that the title track ("American Idiot") doesn't do much in the way of the story, other than possibly setting up a mood. The characters and settings aren't even introduced until the next song ("Jesus of Suburbia"), and seems more like an "intro" to the album and style than being anything actually relevant. Whatever.

God, I'd love to just sit and go into detail about each and every song, but I don't want to end up writing an entire thesis on the album; I'll leave that to those still in college... man, that would be such a great paper to have written... damn me for being done with school...

In fact, I'll make this my final paragraph on the album. I'd love to keep writing about it, but I'd actually prefer to sit back, close my eyes, and listen to it instead. Everything you've been told about this album is absolutely true. Sometimes there's a reason why things get the acclaim and hype they do... luckily this time it's the real deal. It's an absolutely breath-taking album from beginning to end, and I have no doubts in my mind that it's going to be THE album of our generation (being... ya' know... whatever I/we are). It's that important. If you don't own it, go. Right this second. I'm not kidding. And with that, I'm done.

And I got through it without the obligatory "Tommy" reference.

... dammit.

TOP 2 EPs OF THE YEAR:

#2 EP: HELLOGOODBYE - (SELF-TITLED)

Can you REALLY pass up a free download? Drive-Thru offered the five-track hellogoodbye EP for free download, complete with cover art. Crazy sampling, insane keyboarding, hilarious mastering/production techniques, and some great vocal performances. It's like Reggie... but younger and... not Reggie.

#1 EP: COPELAND - KNOW NOTHING STAYS THE SAME

I was first introduced to Copeland by seeing the video for "Walking Downtown" on (then) CTN (now MTVu). I liked it. Shoot forward.

EP comes out. Holy crap this is awesome gorgeous perfect.

This is how cover songs should be done. They're the originals, but there's somewhat of a new take on the songs that make them "new." The cover of "Another Day in Paradise" is perhaps one of the best of the year. I rarely describe male vocals as "beautiful" without feeling/sounding a little strange, but that's just how it is. The arrangement on all of the tracks feels just perfect, like you're floating in the clouds and... well... never mind.

You owe it to yourself to listen. This band is going to get big.

MOST DISAPPOINTING RELEASE OF THE YEAR:

SIMPLE PLAN - STILL NOT GETTING ANY

Simple Plan was always our guilty pleasure. At least the first album had something in the way of lyrical variety. But now... geeze. You just wanna jump? Your life sucks? I already don't like Good Charlotte.

MOST SURPRISING RELEASE OF THE YEAR:

SENSES FAIL - LET IT ENFOLD YOU

After being delayed for more than a year, it finally came out... on a different record label. The rumors of the jump to Vagrant were aaalllll over the 'net months in advance, but I wasn't really paying much attention to them (I mean, honestly... it made no sense. They had the best-selling EP on Drive-Thru, EVAR). It's nothing extraordinary by itself... it's really just a downgrade from the original EP. It's fun to listen to. Nothing I'd recommend, though, unless you already know them.

INSERT-INSTRUMENTAL OF THE YEAR:

MIDTOWN - "THE TRAGEDY OF THE HUMAN CONDITION"

2004 was the year of instrumental openings and mid-album insert songs. Technically, I think Blink-182 started it off last December with "The Fallen Interlude," but 2004 really took it. My Chemical Romance, From First to Last, and even Midtown. But Midtown nailed it. Very dark, almost a hint of funk, very rock. I believe it's the first "menu music" (year 2000 videos) on our AMV DVD. Check it. So awesome.

SONG OF THE YEAR:

GREEN DAY - "JESUS OF SUBURBIA"

There's really no debate here. The first of two 9+ minute, multi-chapter orgasms of music on the new album. Clearly defined yet seamless musical transitions and styles, the introduction to the story and main character... this is music at its perfection.

TOP 5 MOST-ANTICIPATED ALBUMS OF 2005:

01) Finch (but it'll suck, I just know it...)
02) Fall Out Boy
03) Brand New
04) Reggie & the Full Effect
05) Motion City Soundtrack

I'd have Acceptance in there, but I've already got the unmastered advance... >.>

TOP 10 PREDICITONS FOR 2005:

01) The Get Up Kids will release a final EP (and the long-awaited and long-overdue DVD) and call it quits.
02) James will then join New Found Glory as a full-time sixth member (in addition to Reggie).
03) Acceptance will become huge.
04) Over It will reach Story of the Year mainstay/popularity.
05) Fall Out Boy will release the album of the year.
06) Finch's new album will (sadly) be the disappointment of the year.
07) Saosin will, in turn, rock your booty off.
08) Brand New will release an amazing CD, just not quite up to Deja Entendu's level.
09) Yellowcard will milk Ocean Avenue for at least two more singles.
10) Taking Back Sunday will break up for good, mostly due to Adam.

I'm getting sick of fixing syntax, typos, and such... so I'll just be done editing for now. Eyes are bugging out. Heh. Sorry for the vertically-scrolling post. It will not happen again!