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justkeepshuffling · 26 days ago

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Skeleton Flowers

I had toyed with the idea of releasing this album on 1/14/25, the 20 year anniversary of the first Red Yellow England show. I went with New Years Day. Perhaps I was antsy? Wanted to add something extra to be excited about in the new year? Knew my band mates would be awake to surprise them at midnight? Not sure.

Although inactive, having a band that existed (in some capacity) for the better part of 20 years and only releasing one full length album (12 years after forming) was never part of the plan. I always had a vision of albums 1, 2, and so on…

Now, there were some missteps caused by my own panic. I had turned 27 and didn’t die, so clearly I wasn’t a famous musician. But, outside of demos, I had never released anything formally. In 2013 I released an album under my own name that featured two Red Yellow England songs and four brand new tracks that would have been intended for the band. I was so worried these songs would never see the light of day, and if anything had happened to me, would there be any record of my existence? In a perfect world, Red Yellow England ‘Album #2’ would have featured the songs:

Here Without You

Too Little, Too Late

Don’t Let Go

Get In, Get Out

Cinderella Effect

Five Ring Circus

Things rarely go according to plan. So we push forward. We had three leftover b-sides from the ‘Still Frames Won’t Survive’ album which were “Lust”, “In The Rain” and a cover of “Let’s Go To Haiti” by The Exit. During the pandemic I was listening to Envy On The Coast’s ‘Ritual’ and felt as if the drums sounded simultaneously live yet… programmed. I got bored and started chopping Dave’s random snare, kick, cymbal and tom hits to see if I could build beats. What I built was the groundwork to “Burning Brighter”. Based on what I learned creating that song, I realized I could pretty closely build what would be named “Planting Begonias” as I heard it in my head. This overall project sat unfinished for years. In fact, the original artwork was watermarked with a 2021 copyright. My oldest daughter Ivy inadvertently came up with the title. I was pulling her in a radio flyer wagon and she pointed to an archway and said “look Daddy, skeleton flowers”. What she saw was pretty accurate. I immediately said “that would be a cool band name” and went on with life. After editing a photo I took in the since destroyed Avalon Nature Preserve, I figured ‘Skeleton Flowers’ could work as an album title.

Being a father of 3 and working 60 hours a week gave me every excuse under the sun not to finish these recordings. I read somewhere “if you write one page a day, at the end of a year you have 365 pages” and that got me thinking. Why am I not chipping away at this? I’d record bass tracks sitting on the floor in the living room while we all watched Bluey, some guitar tracks in the dining room with my pedal board on the table as my youngest napped, whatever I could. Finally, it took my wife going away for a weekend wedding for me to get serious and say “I’m taking this opportunity to finish”. I basically sacrificed a mere three naps and knocked out all the vocals. It took me 5 hours to finish what I put off for 5 years and now the dishes were finally done. I took off my musician/producer/engineer hat and put on my mixer hat. I completely understand why bands hire professionals and go to recording studios. It’s tedious going DIY. I’ve mixed every release in my car since that’s where I mainly listen to music. You’re realizing just how unglamorous this all is, aren’t you? Once I hit the point where I feel like everything sounds good in my car and every different type of headphones I own, it’s officially “ready”. I updated the artwork to 2025 and decided to release it as the ball dropped. I didn’t want to redo the artwork a third time if there was any delays in a 2024 December release. So, I played it safe and waited patiently for probably around two months, telling nobody the album was ready for release. It’s been a little over four months since ‘Skeleton Flowers’ came out and while it will never be the big studio production I hear in my head, I’m proud of what was captured and am happy it’s out there. To have my children ask Alexa to play our songs and sing along will never get old. Them wanting to hear “In The Rain” at their request was another motivator. I know as a band we’ve never had a wide reach but we did this for us. Anyone who enjoys it is the cherry on top. Thank you for reading and thank you for listening. I’ll go in depth with each song next. Stay tuned.

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justkeepshuffling · 7 years ago

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21 Albums From 2017 Ranked

I probably don't need to explain anything since nobody really seeks my opinion on these matters, but this isn't a "Best Of 2017" from a guy who digests ton's of releases. These are albums that were (mostly) already on my radar by bands I already enjoy and I'm listing those particular albums in order of my level of enjoyment. It's been a few years since I've done this, but I'm working overtime until 4am and what better way to stay awake and stimulated? Ah, music...

21) Circa Survive - 'The Amulet'

I literally downloaded this album and never listened to it. I think I checked out two music videos and thought, "This seems pretty Circa Survive". I technically still haven't fully digested 'Violent Waves'. Sometimes that happens for me. Someone puts out a record before I've fully absorbed the prior one and I just never catch up accordingly. My full listen through 2014's 'Descensus' did nothing for me, unfortunately. I'm not sure if these guys are doing any reinventing. It mostly feels like mid tempo monotony.

20) Maroon 5 - ‘Red Pill Blues’

This album holds a special place in my heart since my daughter really took to the single “What Lovers Do (Feat. SZA)”. When my wife told me this was her favorite song I thought she was just being a cute Mom. Winds up no matter how fussy she is, the baby stops and smiles when the opening starts. I could go on about how I miss Maroon 5 having real drums and how little James Valentine gets to let his guitar shine (especially after releasing such a beautiful signature model Ernie Ball guitar), but there’s catchy material all over the place. It’s the Adam Levine show and nobody wants to get off that money train, understandably. At least I can always think of a beautiful little newborn enjoying music with her beautiful Mama when I think of this album.

19) Kelly Clarkson - 'Meaning Of Life'

Yet another album I never got a front to back session with. When tracks come up on shuffle I'm usually impressed though. Once again, I never gave 2015's 'Piece By Piece' a full front to back, nor 2011's 'Stronger'. I was too busy being in love with 2009's 'All I Ever Wanted', which still stands as her masterpiece.

18) Less Art - 'Strangled Light'

If you know anything about me, you're probably aware my love for anything Thrice related. This band features the brotherly rhythm section of Riley Breckenridge (drums) and Eddie Breckenridge (bass in Thrice/guitar in Less Art) so I had to investigate. While the post hardcore soundtrack is within my taste, the vocal delivery, sadly is not. I'm a melody man, myself. I cannot say enough good things about the production. This is how guitars should sound. The low end is so thick and distinct. Everything cuts through. The guitars are heavy but you hear every note within the chords. Just beautiful. Hats off to the engineer, producer and mixer for achieving tonal supremacy.

17) The Killers - 'Wonderful Wonderful'

I may have fizzled out on this band with 'Battle Born', but I was hopeful. After a full once over, I don't find myself coming back to this often. Standard rock record, but maybe a little wavering and uninspired. If they continue putting out records for another decade or so, I'd be curious what gets played from this particular collection.

16) St. Vincent - 'Masseduction'

There's something about Annie Clark. When I stop and think about her entire catalog, I sometimes ponder if she's overrated. I honestly think she's just so damn cool that it's hard to say anything negative about her. She certainly has some great songs and she's a phenomenal guitarist. I tend to cherry pick with her songs. I was a bit thrown off by the creative choices on this album. I certainly don't worship at the altar of Jack Antinoff so I don't understand why everyone seeks him out as a producer (Note: his taste in women is uniquely questionable). The production is bare, all electronic drums, and less guitar than I would have hoped. Standout tracks like "New York" and "Los Ageless" are catchy but not much else gripped me. Expectations are high post Grammy win. I felt a little let down.

15) Katy Perry - 'Witness'

Speaking of high expectations... Katy's part of the pop machine now. The songwriting credits on this album are absurdly astronomical. 2013's 'Prism' was mature and inviting with real raw moments mixed in with the colorful fun. The few moments on ‘Witness’ that had real possibility didn't pop where they needed. "Chained To The Rhythm" had a ton of potential but the chorus lacked the brightness to make it stand out. It just fell flat, like most of the album. The pre-release tag of “Purposeful Pop” bit her in the ass post-release. My theory, there were probably 30+ songs written (some of which were, in fact, social conscious) but didn’t make the final cut. A week prior to the release, there were still only two titles out of about thirteen that were listed on iTunes, which I feel proves she was slighted by the powers that be. If you don't have full say in your career decisions, maybe don’t make bold statements about your upcoming album.

14) Weezer - 'Pacific Daydream'

I walked into this album expecting disappointment. 2016's self-titled "White Album" was right on par with every other self-titled color release in their catalog as their best work. Seeing another album coming down the pipe a year later that had an off title left me uneasy. This album is in a similar vein, albeit not as great as it's predecessor. It plays a bit more like a good b-sides record from those album sessions. Very worth the listen, and makes up for some of the mess that 'Hurley' and 'Raditude' left on their hands.

13) Envy On The Coast - 'Ritual'

This EP has been explained as a revisiting of old idea's through the lense of the reformed present. While Envy On The Coast is "back", it's missing three original members. When your drummer is as incredible as Dan Gluszak, it's noticeable when he's not there. I've had many discussions about how a band is never the same after losing their drummer. It's such a strong part of the blueprint. I'm not overly familiar with Dillinger Escape Plan's Billy Rymer, but the drumming on this release could have been done by anyone. Envy vocalist Ryan Hunter drummed on 2010's 'Lowcountry' with descent results, I'm not sure why they didn't go that route again. Songs like "Virginia Girls" sit right in play with where they had left off. The songs are a bit straight forward/on the nose. Perhaps some of the songwriting flare left with the eloped members. I think this release was to get the lingering idea's of the past out of their system so they can properly attack a full length album next. Considering how meandering all the post breakup projects were, I'm excited for the future.

12) Glassjaw - 'Material Control'

Fifteen years between full lengths is not ideal. Most began to give up hope on this mystery record. That Billy Rymer kid played on this album too! Unlike 2002's 'Worship & Tribute', some of the songs tend to blend together with only a few true standouts. Further parallels with Envy on the Coast include writing songs without an official drummer. With Daryl and Beck doing all the heavy lifting, I can't help but feel that when the time comes to show a studio drummer 12 songs, structure gets watered down. The tracks lack a sense of adventure, complexity, hard left turns. The vocals are buried in the mix at times, which lends itself to the aggressive bite of the guitar/bass attack. Alas, it's just nice having something come out finally.

11) Foo Fighters - 'Concrete & Gold'

As my wonderful bass player Joey P. said, "After two career defining albums late in your career, this is the inevitable letdown". The man is a wordsmith. Sad but true, and yet... it's worth noting their mediocre effort is still better than most. The Greg Kurstin production choice makes zero sense, still. I think Dave thought it would yield something incredible and people would be amazed by his oddball idea that really paid off. It did not. The musicianship is always crisp, so they can hang their hat on that since the songs aren't something you'll come back to again and again. This is sadly a mostly forgettable album by the biggest band in the world.

10) Haim - 'Something To Tell You'

I waited years for this album. Chomping at the bit. Anxious. Excited. Impatient. Guess what... I barely listen to the damn thing. I was obsessed with their debut. Every song was perfectly crafted. There's some real head scratching moments on this album. Like producer Rostam Batmanglij using an obvious vocal effect he used on Vampire Weekend albums. One song features awkward silence as a bridge. The closer "Right Now" has this off beat drum loop that is damn near impossible to follow which takes you way out of the song because you're trying to nail down the confusing timing. The girls still shine, and perhaps I just forget that the album is there but I thought with the amount of time invested in writing and recording it would be at least on par with their first album.

9) Brand New - 'Science Fiction'

The elephant in the room. Sexual misconduct allegations aside, I'm going to concentrate on the music because there's three other band members who invested everything into creating this album and discrediting them would be a disservice to their efforts. That being said, I listened to this album a lot. People lost their minds over this surprise release. I did not. I was excited, yes. But let's be clear, peoples obsessive nature for this band clouded their judgment. It's a good album. It's not the masterpiece people sold it as. Considering their penchant for reinvention via back to back releases like 2003's 'Deja Entendu' and 2006's 'The Devil And God Are Raging Inside Me', which both served as career defining milestones, an eight year wait should have yielded a much more refined and impressive product. Still, this record is more tainted by Jesse Lacey's admittance of exploiting his status to take advantage of female fans more than the fact that a very good record isn't a great record. Who'd have thought that their cheeky T-shirts saying "Brand New 2001-2018" was a much more ambitious timeline than they had anticipated...

8) Portugal. The Man - "Woodstock"

Just a good catchy rock record from a great workhorse of a band. "Feel It Still" getting radio play should be a victory for us all. There's a lot of winning moments on this record. They deserve every bit of success they've worked so long to achieve.

7) Bush - 'Black & White Rainbows'

Yes, I like Bush. Gavin is the reason I switched to guitar and became a front man. Since their "reformation", this music has been questionable, at best. I hadn't realized how much Nigel and Dave reigned in the songs until they were absent from the process. Most of Gavin Rossdale's lyrics in the 2010's are complete garbage. Just meaningless phrases thrown against the wall. How many ways can one phrase "Don't lose yourself", you ask? Aside from "what the hell does that even mean?", too many ways apparently. Here's the thing about this album for me... I loved the production. The dry, tight drum sound spoke to me. The guitars/amps had a vintage pawn shoppe vibe. It was Hi-fi Lo-fi done to perfection. Then, out of nowhere... months later the album is re-released as a "Remaster" with a completely different track listing, two new songs and the lead single has an extended outro chorus. Lead guitarist Chris Traynor didn't have an answer as to why this happened. It helped the drums cut through harder and the kick became more vibrant. It was the right call. I just wish I was able to blast this album with windows down without feeling embarrassed someone's going to hear the lyrics and lose all respect for me.

6) Dreamcar - 'Dreamcar'

What happens when you mix all the core dudes from No Doubt and AFI's Davey Havok? You get 80's pop rock bliss! I was super excited to hear this album and I probably don't listen to it as often as I should. Not having any expectations or label constraints truly comes across in the music. It's the musicianship you've come to expect from Tom, Adrian and Tony with the vocal theatrics of later-era AFI with touches of The Cure, Kraftwerk, and countless other New Wave/Post Punk influences.

5) SAINTE - 'Smile & Wave'

I wasn't familiar with Tay Jardine's prior band We Are The In Crowd. I'm not even sure how I stumbled upon this band. Maybe Youtube? Either way, this 7 song EP blew me away. The production is pristine. The drums sound huge, the guitars and bass are so full, almost like an Eric Valentine produced record without the gritty/metallic/digital tinge he sometimes gets. The melodies soar, they're memorable, they're fun. I wish they had perhaps waited and recorded another 3 songs to make a proper full length. I can't imagine the challenges of being a female rock vocalist in a post-Paramore landscape but if this is a band finding it's leg's, the future is incredibly bright.

4) Minus The Bear - 'VOIDS'

I'm realizing drummers are a recurring theme in this post. Minus The Bear traditionally wrote the foundation of their records with guitarist Dave Knudson and drummer Erin Tate. After Erin's vague dismissal, they had to regroup. It's odd hearing a release without the heavy handed hi-hat work, but it still feels like a Minus The Bear album. A casual listener may not take notice, but it's certainly an adjustment with keyboardist Alex Rose taking lead vocals on 3 of the 10 tracks. While some tracks hit the mark, there's a few slow drones in the mix. The only unfortunate moment is the climactic ending on closer "Lighthouse". The "A Day In The Life" style noisy build to a cool 16-bit, glitchy, audible seizure seems like an idea they tacked on to a song that was in the same key but doesn't quite follow the songs chord progression. It confuses the musician in me. Sometimes you have to let an idea go, no matter how much you love it. Serve the song. This was a transitional period navigated better than most. The next release will be the true test of their ability to gel with the new method of songwriting.

3) Incubus - '8'

So many polarizing, conflicting feelings with this album. How do you wrap your head around an album with such catchy songs yet such garbage production? Let's start with the negatives. This album is really only 9 songs. The instrumental track is a total throwaway and the mariachi joke song "When I Became A Man" should have been a hidden track at best. If you combine the prior EP "Trust Fall Side-A", you have a proper full length to be proud of. Now let's talk production. Holy hell, it's God awful. Dave Sardy apparently made Brandon do a million vocal takes and when his voice was good and shredded, used the last wreck of a take. Guitarist Mike Einziger, a Harvard grad, and a wildly underrated and innovative guitarist had the batshit crazy idea to have Skrillex come in and mix the album. Dr. Wubwub Laptop Millionaire went even further and restructured songs and removed pre chorus' on top of it. I'm hoping for the 20 year anniversary edition of this album they'll release the album we should have received. I want to know Incubus' vision and perhaps a proper mix that doesn't sound like noisy kids trying to blow out your car speakers. The redemption? It's hooky as hell. There's a reason these guys are huge. They write catchy rock songs. There's a few odd lyrical moments, but I can get past it. Lead single "Nimble Bastard" is way to similar to the aforementioned EP's "Dance Like You're Dumb". I'm still hoping to find out the "vision" for this album. If I had to guess, they wanted a hard hitting gritty garage rock sound that was a nod to their debut full length 'S.C.I.E.N.C.E.' to compliment/balance the more refined rock they currently create. Still, nothing will touch 2011's Brendan O'Brien produced 'If Not Now, When?'. This album might have been a knee jerk reaction to the atmospheric, sparse, mellow vibe of that record. I would have been equally as happy with a continuation of that mindset. Though, a hard rock record still feels right for this band.

2) Paramore - 'After Laughter'

The last time I did one of these lists was 2013, and Paramore's self titled album was my number one pick that year. Here we are in 2018, reviewing 2017 and boy was it close. So close! I probably listened to this album the most over the course of the year. Negate the artsy back patting exploration of "No Friend", which serves nothing more to the album than a self indulgent excuse to have the Me Without You singer inaudibly mumble over a painfully droning outro to "Idol Worship", and you have a perfect record. Now that we have that out of the way, we can discuss everything they did right with this album. The 80's aesthetic even has a place in the experience. After the prior albums brilliance, it was a logical move to stick with producer Justin Meldal-Johnsen. Where the prior album had bells, whistles and flourishes all over the place; 'After Laughter' has a more spacious sound. Not to say if you don't pay close attention you won't find wonderful additions all over the place, but the production and mix on this album was a bit more bare bones. The structures are simpler, the songs are dancier, and the flow is damn near perfect. The guitars shine when necessary, and the neck pickup finds it's place on the bouncier riffs. Zac Farro's return to the drum riser shows off what he learned in his time away. Groove. The drumming is not that of a rock drummer. It's someone who's peppering in rhythmic atmosphere and holding back when necessary. I was so invested in the upbeat tone of the music that I hadn't noticed the writing on the wall. The lyrics should have tipped me off that things weren't so great in Hayley Williams' camp. When she announced her very quick post nuptial split from NFG microphone hog Chad Gilbert, the information was in front of us the entire time. The dark lyricism over the backdrop of uplifting tunes is reminiscent of early Saves The Day records, which, considering the reach of their influence was likely a conscious decision. This might not have been a step forward in their sound, but a playfully necessary sidestep for a band that felt they were maturing faster than they wanted to.

1) Michelle Branch - 'Hopeless Romantic'

Oh the shit-eating grin on my face right now. I didn't expect this either. But holy effing hell! What an album! I downloaded this out of sheer curiosity. 2017 was the year of overdue albums and this one beat Glassjaw and Brand New by a mile. It seemed odd for such a big pop star to go without releasing a full length for fourteen years. Then to find out she had the Black Keys drummer Patrick Carney producing/performing seemed really interesting. Winds up the guy is incredible at producing. Every song is a perfectly crafted pop song. Not bubble gum pop, but rock songs that could all be radio singles. If I had to chose a criticism, it would be that "Knock Yourself Out" sounds too Michelle Branch-y. Like, the Michelle Branch of the early aught's. There's a vintage feel to the soundscape. The bass is plucky, the drums are dry and punchy, and the melodies are what dreams are made of. This collection has been a reminder that you can worry about a million aspects of a song, but a solid catchy melody is what we're all looking for. It's brought me back to what truly counts in song writing. A song you can sing along to. There's not much more I can say about this album. My inability to dissect this album is truly it's strong suit. When a great song works, it just works. Sometimes it comes together so quick you can't even explain the process. Imagine that 12 times over. Sometimes it's that simple.

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justkeepshuffling · 8 years ago

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Alkaline Trio - “Mr. Chainsaw”

This is off the first album that I really fell in love with and fully absorbed by Alkaline Trio. Looking back, I’m now realizing that it was left a little unfinished. There’s no vocal overdubs/harmonies, and I’m not sure if the guitars are all double tracked even. Still, this song was a fun standout. I love the interplay with the simple guitar work and the moving bass line during the verses. Mike Felumlee’s drum technique is all his own, though I wish Derek Grant had his stank all over these songs. He’s just a machine, and the trio upped their game ten fold when he became their official drummer. This may have been the final album of highly resonant lyrics before Skiba became a bit cheeky and a slight caricature of his morose self. Brilliant lines like: “I’m having nightmares all the time of running out of words that rhyme” while simple, are poignant and hit very close to home for any songwriter.

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justkeepshuffling · 11 years ago

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Tegan & Sara - "Call It Off"

Remember when they played acoustic guitars and did the whole singer/songwriter thing? This was one of the finer moments. Short and sweet. Just a pretty song.

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justkeepshuffling · 11 years ago

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10 Albums I Listened To This Year & The Order In Which They Ranked In Conjunction To One Another

I used to absorb music on a whole different level. It was all about insatiable hunger. I had to find new bands. I anxiously awaited everyones new releases. Constantly searching. Now, it's much different. I'm not sure if it's age, laziness, or my increasingly busy schedule of adult responsibilities, but the search has mostly ceased. I'm content with the artists I already love and simply await their next album. This isn't so much a list of the top ten albums of the year from someone who searched for the best of the best. This is a list of the albums I devoted time to and the order in which they affected me. My love affair with music hasn't wavered at all, it's just more refined. Without further adieu... the list is as follows:

10) Sons Of The Sea - 'Sons Of The Sea'

When Brandon Boyd of Incubus fame released a 4 song EP earlier in the year called "Come Together" under the name Sons Of The Sea, I was desperate for more. The EP was phenomenal. I wasn't aware there was a full length coming down the pipe in a few months. Be careful what you wish for... you just might get it. Winds up the 4 songs were the best songs of the batch, by far. Still a worthwhile listen, but "less is more" may have been the right approach. All the music is performed by producer Brendan O'Brien (Springsteen, Pearl Jam, Incubus) and he’s quite impressive at every single instrument. The style is quite different from Incubus. It shows that Brandon can stand on his own, but reminds you that Incubus is more than the sum of its parts.

9) Jimmy Eat World - 'Damage'

Good ol', trusty, reliable Jimmy Eat World. They can do no wrong. Except with their 2010 album 'Invented'. It was a disjointed mess of OK songs mixed with less OK songs, each of which apparently inspired by a different photograph. So when JEW (lol, yeah) returned to form on this recent release, I was pretty content. I'm all for bands pushing boundaries and challenging their own sound, but some things you want to stay the same. I need a reliable band to fall back on when others disappoint me. The guitar tones are bright and shimmery, the drums are subtle and the songs are strong. The album makes sense as a whole, it's a cohesive body of work. I never realized how important that was until they released an album that seemed like a jumbled collection of songs. ‘Damage’ is where the band needed to go.

8) Dustin Kensrue - 'The Water & The Blood'

If you told me a Christian worship album would ever be on this list (or something I listened to. Hell [blasphemous!], even enjoyed!?) I'd have called you a liar. But this is Dustin Kensrue of Thrice we're talking about. A man I'd follow into fire. While my agnostic viewpoints are still in tact, I'm able to dive into such a release because this is a man who's music I've held very close to my heart, both figuratively and literally (I wear the lyrics "I Love You Most Of All" around my neck from Thrice's "A Song For Milly Michaelson". An amazing gift from my fiancé). So when my beloved Thrice went on indefinite hiatus and Dustin became a Worship Leader for Mars Hill Church in Seattle I was a bit distraught but wanted to remain supportive. 'The Water & The Blood' pushes the boundaries of the genre by challenging the conception of Christian music. It's not a bunch of simple lyrics over major chords for people to mindlessly chant along to. While the music may have a more pop production value than the edgy post-hardcore of Thrice, the fuzzier muttled tones of the guitar and bass combined with the less prominent drums create a nice backdrop for Dustins wavering vocals. The lyrics are intelligent, insightful, informative and thoughtful. There's no fluff. This is a caliber of songwriting not many can achieve. To be able to have such a heavy (and perhaps controversial, depending on where your views stand) subject matter that is presented so brilliantly without alienating those who don't necessarily have the same beliefs, well that's the most impressive part of the project. It's a call to arms for other songwriters. I urge every Christian artist to take note. This is how it's done.

7) Coheed & Cambria - 'Descension'

This is the second half of the "Ascension/Descension" installment ('Ascension' came out late 2012). While I was much more impressed by 'Ascension', my excitement over Josh Eppard's return behind the kit was enough of a distraction. Zack Cooper fits in effortlessly as he replaced Mick Todd on bass (it winds up holding up a CVS for Oxy's with a cell phone that says you have a bomb is a bad career choice. Who knew?). There's a ton of great moments on this album. Between the 90's-esque chunky riffage of "The Hard Sell", the heavy metal B-52's groove of "Number City", to the melodic classic-Coheed perfection of "2 Is My Favorite 1", there's a lot to be impressed with. Descension's flow isn't as concise as it's former half Ascension, but it rounds out the project nicely without taking away from the initial awe of it's near perfect first half.

6) Katy Perry - 'Prism'

In case we haven't met, I have a major sweet spot for female pop vocalists. Katy is my favorite. She's got the voice to backup the songwriting chops. Unlike most pop princess', she knows how to play guitar. Her earlier songs feature chord changes and inversion that show just how well of an understanding she has of the instrument. While I miss that earlier era of major/minor shifts and full band rock songs, 'Prism' was a major leap forward. The songs are mature and well crafted while still hanging onto the pop sensibility. The majority of the songs are mid tempo and feature electro dance rhythms, which I didn't quite expect. Though, whenever my fiancé puts the album on, I'm pretty OK with it. There's moments that certain songs sound very similar to songs from 'Teenage Dream'. Like, too similar. Redemption comes in the form of a song like "Ghost", for example. Autobiographical storytelling over infectious verse/chorus structures. It's how pop music should be.

5) Saves The Day - 'Saves The Day'

Now that I'm looking at everything, seeing this album land at number 5 is a bit of an anomaly. Overall, for the standards I hold for a Saves The Day album left this one feeling very underwhelming. That didn't stop me from listening to it front to back all the time. It's worth noting that with every release Chris Conley's voice strangely sounds younger and higher. I also felt that the production of the drums and the less trebly sound of the guitars were an attempt at achieving the sonic greatness of 2001's classic 'Stay What You Are'. This is the first of their albums to not have a stand-out track. It works more as a cohesive body of work than an album I listen to for specific tracks. In that regard, bravo. But who doesn't like a super catchy awesome song every now and again?

4) Alkaline Trio - 'My Shame Is True'

Sometimes it takes a trio to remind us that it can all be so simple. Guitar, drum, bass, vocals, end of story. Most reviews of this album were pretty polarizing. Some felt it was a return to form while others thought it was a collection of throwaway songs. There's certainly a few of Matt Skiba's songs that are phoned in, but Dan Andriano is always at the top of his game. There's something interesting about the dichotomy between Matt's morbid alcohol driven heartache tracks and Dan's sincere love songs. Drastically different approaches that compliment each other so well. Production duties were masterfully handled by Descendents drummer Bill Stevenson who was able to get a big studio sound out of Derek Grants drums. This was a welcome change after 2010's compressed, supposed-return-to-form of "This Addiction" which sounded more like "Crimson" than "Goddamnit", as they may have been shooting for. Overall the album has balls and is catchy as hell. Solidifying the Trio's status as one of my favorite bands for over a decade.

3) Alexander Rivera - 'Persona Non Grata'

I'm not above shameless self promotion. My official solo album came out on May 28th, 2013 and I listened to it more than any other album. Mostly because I had to mix it myself which requires an absurd amount of replays. The experience was a rewarding learning experience. To think I could formally release something on my own recorded at home on my iPad digitally still blows my mind. I'm super proud of it. The album features 5 songs from when I was in a band called Seconds To Sundown, 2 songs from my current band Red Yellow England, and 3 new songs. Topics range from your standard relationship observations, my plethora of Daddy issues, the death of a young olympian, to the Walking Dead. The album title came about in an unconventional manor. I had overheard a co-worker Pat use the term "Persona Non Grata" and interrupted to ask what the term meant, as I'd never heard it. I researched the meaning to learn it is a latin term that meant someone who is ostracized or unwelcome. Needless to say, it hit close to home. It also reminded me of early albums by one of my favorite bands the Police (who's first three albums were 'Outlandos D'Amour', 'Regatta De Blanc', and 'Zenyatta Mondatta'). The term is also used by the police force. I felt this was an odd sign considering I dispatch for the police as a profession. Bottom line, the album title fit so perfectly, and I love it. Sadly, Pat is now gone and never got a chance to hear it. I wish I could have told her how important she was in that aspect. I had such a blast playing with different guitars and different tones, pedals, settings to paint a musical soundscape. It's one of those things that is probably only noticeable (or even matters) to the performer, though it makes the whole experience a lot of fun. Ideally, I would have released an album with my band but our schedules are much more difficult these days. I was happy to finally have descent versions of old songs that deserved a proper recording. I'm filled with pride whenever I listen to this album, even though not many people will ever hear it. I'm just glad to have left something in the world for when I'm gone.

2) HAIM - 'Days Are Gone'

Every album thus far has been by a band or an artist (who came from a band) I've been listening to for years. HAIM was a recent discovery for me. Rolling Stone magazine had been speaking their praises for months so I checked out their single "The Wire". I was hooked. The song was infectious. Everything I love. Female vocals, overdriven guitars, huge hooks, fantastic harmonies, the whole shebang (side note: "shebang" wasn't autocorrected so it's apparently a word and not just a Ricky Martin song). I downloaded the album and was not disappointed. The usage of clean palm muted guitars in syncopated rhythms is everywhere. Every song has a great chorus. The vocals are strong and raw. The hip hop influence is much more prevalent than I expected considering the first time I heard "The Wire" it was a live version. I didn't think the drums would all be electronic but it doesn't take away from the rock feel too much. I’d have certainly preferred a live drummer in the studio, of course. Don't get me wrong, it's still a rock act for sure. Front to back this album is phenomenal and I have high expectation for the future of the three Haim sisters.

1) Paramore - 'Paramore'

Big year for self titled albums huh!? Anyways. Perhaps it was my low expectations after the loss of primary songwriter and lead guitarist Josh Farro and brother/drummer Zac Farro between albums that made the shock level so high after my first listen. Paramore likes to spout that they're a band, but a singer, bassist, and guitarist does not a band make. Logistics aside, these three made the most awesomely perfect album of 2013. Scott Heisel of Alternative Press agrees, and he's a fat guy with a beard! Where to begin, honestly? Songs like "Now" do No Doubt better than No Doubt can anymore. "Ain't It Fun" is one of the catchiest dance/rock/pop songs I've heard in years. "Still Into You" sucked me in after my first listen. Every single track could be a hit. The guitar work is so much more chimey and spastic. Hailey Williams vocals are so damn strong and youthful. I found myself so much more impressed with Jeremy Davis' bouncy bass work (even if his slap bass is too subtle in "Ain't It Fun". He should have used a P-Bass). Recruiting Ilan Rubin on drums wasn't a terrible move either. This is more than just a cohesive collection of songs that make sense together. This is an album of potential singles. It's like a greatest hits album of songs you've never heard before. I'm not sure how you top something like that. Then again, I wasn't sure how a band could top 2008's "Riot!" which was another perfect album of all amazing songs. So it's doable, but the bar has been raised extremely high. Congratulations Paramore, you've given the rest of the music world something to reach for.

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