Best Songs of 2015 – Part II

Here we go. This is why I’m excited to be alive for a new year. Who knew music can be so good?

14. Jason Derulo – Cheyenne

I couldn’t believe Jason was capable of such a song. He was a technically skilled singer who made boring ballads and silly sex songs. ‘Cheynne’ is a song that’s as catchy as it is powerful. Jason still sounds like a sex icon but a confused one. It’s a song about falling in love after getting used to getting girls easily and the shock of it all. Even if the title girl goes along with him (“You’re secure to make it”) he’s still overwhelmed by the fact that, for once, he ‘can’t stop’, he’s not in complete power. The musical backdrop suits it, too. A thumping dance track that also sounds a little menacing.

13. Hollywood Undead – Take Me Home

What genre is this, anyway? Hollywood Undead were a great, trashy band at first. This dirge-like song doesn’t sound like they imitate the Metalcore bands that influenced them. The song relies on a stomping drumbeat that makes it all sounds like a funeral march. The hedonistic nihilism now doesn’t sound so attractive. Also, although it has an anthemic side it never explodes into pure stadium-ness. It remains subdued, showing sadness that feels more genuine than any of their previous ballads.

12. Bring Me the Horizon – Happy Song

It’s scary how well it sums up the Nu Metal attitude. It’s emotional release through singing loud and cursing. The use of ‘fucking’ suits the song so well. Sykes sounds depressed, singing weakly throughout the verses and only bursting at the chorus. Sykes never sounds positive or like he’s out of his depression, but he sounds like he’s trying when the band slams and he shouts the album title. It’s one of the best songs about depression. It acknowledges the fact you might be able to solve it, but fuck it, let’s try anyway.

11. Hollywood Undead – War Child

The best example of Hollywood Undead’s attempts at blurring genres. It’s a confusing track which way you look at it. It has a bass drop, only a loud guitar dominates it. The verses are Hip-Hop and the chorus is Pop. All this genre-bending means there isn’t an audience for this. It’s too Rock/Dance/Rap depending on your audience, but it’s also proof you can make music that’s both creative and fit for parties.

10. Everclear – You

Social justice is a big thing now and people now acknowledge males also get raped. This isn’t an MRA anthem about how male victims are proof we don’t need feminism. It’s a chilling song. There haven’t been a song like this since Korn’s “Daddy”. The contrast between the driving riffs and Art’s vulnerability gives us the mix of anger and sadness the situation creates. Everclear always great lyrics, but now they reach a new levels.

9. Grimes – Realiti

We have this perception that reality is harsh. ‘Welcome to reality’ is a phrase we tell people to let them know they need to acknowledge terrible things. This sounds so joyous, though. Reality can be beautiful with mountains to climb. Someone once said Grimes sings like an anime girl and there’s cuteness to her vocals that makes this song even more blissful.

8. Fall Out Boy – Immortals

It’s like “Centuries”, only more friendly. It doesn’t make it any less brilliant. The band’s new found aggression made for an album that’s mostly too loud for its own good but the cockiness here is great. You can imagine the band playing this at a festival, and every band that will play after them will be out of spirits. The vocal acrobatics Stump does destroys anything by Sia or Adele. Vocal acrobatics are a sign of strength, not sorrow.

7. Everclear – Complacent

You’d think Everclear would’ve ran out of ways to write about depression and failure. They had something that no one else had. Failure after failure makes you detached eventually. On “Complacent” they throw themselves headfirst into that idea of giving up. You can hear how Art desperately tries to convince himself that he’s ‘not angry anymore’, but when he sings about not wanting to be that guy he’s weak and faithless. He promises he will try, there’s no hope it will work. It’s not even the best song the band made this year.

6. Everclear – The Man Who Broke His Own Heart

They say that no one will love you until you love yourself. This is a heartbreak song from the point of view of a man who has nothing. He can barely lash out at his heartbreaker. He ruined it all by first hurting himself over and over. Bad lovers aren’t just assholes who use you only for sex. The guy who can’t stop hating himself is just as undesirable, even if it’s less politically correct to admit it. This both gives him a voice, but explains why it was reasonable to dump him. What a pessimistic song.

5. Melanie Martinez – Mrs. Potato Head

A lot of pop singers tell us we’re beautiful despite what people say. It’s easy to say it when you’re pretty. Melanie is the outcast, and on “Mrs. Potato Head” she finally tells society to fuck off. It’s been a while since someone made fun of our obsession with beauty. Someone needed to write the line “No one will love you if you’re unattractive”. The best thing is how serene Melanie sounds. She’s sneering at society throughout the song and doesn’t even view the Beautiful People as someone worth fighting. They’re just ‘mrs. potato heads’.

4. Celldweller – Heart On

It’s epic. Why Celldweller doesn’t score all sci-fi films? Maybe because they’re not worthy of his music. “Heart On” is a Progressive-Bass-Rock-House music whose every drop is different until it climax in an anthem that sounds pretty hopeless. Klayton sings about all the things he’ll do for the girls, isn’t needing to do all that means she doesn’t care much? The song moves from section to section, never losing its focus. A genius is someone who can connect unrelated things, and here Klayton finds a balance between Progressive, House, bass wobbles, rock and even a pseudo-rap verse.

3. Faith No More – Superhero

It’s worrying at first when Patton screams. We had enough of him doing silly things with his voice. When the chorus kicks in the song reveals itself to be something else. This is the good Faith No More who made angst rock, but weirder. What makes this song so good is how it moves from a simple Nu Metal song to a more progressive atmospheric one. The shift isn’t even sudden. The bridge between the two parts takes the anthemic chorus and the atmospherics of the later part and gives us a smooth transition. Patton also sounds very hateful.

2. Enter Shikari – Aneasthetist

A pattern appears, but then again it’s an ideal one. Songs that encompass multiple ideas and genres are often the best. “Aneasthetist” is barley three minutes long but it manages to do so much – Hip-Hop, Metalcore, Big Beat and sounds effects from a hospital. It’s just the variety. The breakdown is one of Shikari’s best, with hospital sounds making accompanying the saw-like riffs. There’s always fear Shikari will revert to making generic rock (Because this is ‘unoriginal’ because it doesn’t sound like Led Zeppelin) but so far, they’re only getting weirder.

1. Celldweller – Jericho

It’s not as progressive as anything else on the album, but it’s unique. Most songs about wishing for someone’s downfall are anthemic in a way that invites everyone to do vocal acrobatics. “Jericho” always remains subdued. There are no guitars but just a bassline and a stomping drumbeat. All this makes it sound more sinister. Klayton’s vocals doesn’t need to explode, he doesn’t need to convince himself. He sings like he knows that the subject’s person walls will fall, and there’s a cruel smile all over the song.

0. Periphery – 22 Faces

There isn’t anything profound in this song. It’s just perfect. Every part, every line contributes to the whole. The structure is verse-chorus-verse, only every verse and every chorus is different. It makes me wonder why bands who just want to rock out don’t make songs like this. On the final chorus the singer everything explodes, a ‘fuck me’ that sounds spontanous and the riffs hit even harder. There might not be anything emotionally deep here, but this is everything I want in Rock music.

Coldplay – X&Y

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This must have been a disappointed to people to who loved Rush of Blood. They must be disappointed by a lot of records, because failures like Rush of Blood aren’t that common. If I first heard of Coldplay through that album, I’d be really surprised. They didn’t pull a Minutes to Midnight – that’s another predictable step. They just made an album that doesn’t hint how huge you are. I guess that explains why it took me a long time to understand why this little soft rock band sells out stadiums.

X&Y discards the previous album’s experimental approach. Instead, it tries to fix Coldplay’s biggest flaw – their weak songwriting. Even the decent Parachutes relied more on sound and atmosphere rather than melodies. This might make the album sound tame and ‘uninspired’, but it’s a wise decision by a band who’s awful at pushing limits. In fact, making a tame album is exactly what this Piano Rock genre thing is all about. Why would you want to hear these supposedly gentle songs over Def Leppard production values?

They didn’t completely get rid of this production style. This album is clearly made by a band with a huge audience and enough money to make a rap song about it. “Square One” and “A Message” got walls of guitar noise that Reznor loved using in The Fragile (Only not that aggressive). The difference is that this production is pushed to the back. The huge sounds in “A Message” are there to lift the melody a little, but Chris Martin and what he’s singing are always at the center.

Speaking of the devil, Martin’s approach also changed. Since melody is now what drives the song, he puts a lot of effort on not ruining the songs. He uses the falsetto a lot less often. His normal voice isn’t exceptional, but it suits the music much better. It’s slightly muscular, but not completely. It becomes a perfect fit for music which uses a lot of guitar noise but has no aggression.

Maybe “White Shadows” and “Talk” would have been better with the production of Parachutes. There’s an attempt here at making something intimate and warm. Martin sings calmly about trying to talk to someone. That wall of guitars in “Talk” is out of place, and removes some of the emotional punch the song could have had. Still, when the album’s at its best it offers some of Coldplay’s best hooks in “White Shadows”, “Swallowed in the Sea”, “A Message” and “Talk”. There’s nothing here that deserves to be a global hit – only “Talk” does, and I’m completley fine with borrowing the melody from Kraftwerk – but it’s all good enough.

It’s bad less often than their previous album, but when it’s bad it’s the worse. “What If?” can be tossed aside. It’s cliched, insincere and the falsetto is very unconvincing. It’s no match for “Fix You” though. At least “What If?” has some humility. “Fix You” is a terrible song that should appear in every discussion of bad music. Martin sings it all in falsetto, and what better way to convince us you really feel what you’re singing by showing off how much you practiced? The lyrics are nonsense. Somehow, ignition of the bones is supposed to be uplifting. Then it ends with another Reznor-esque wall of guitars fit for a stadium. It was supposed to be a ballad. This loss of control can only means it’s a B-Side from Rush of Blood.

X&Y is perhaps the best album Coldplay will ever make. They’re a big band, and every album they will make will be a grand statement. X&Y sees them just kicking good melodies and not more than that. Even at that they’re not great. Only “Talk” rises above, but if you need an hour of soft rock it’s a nice option. There must be better options. Keane had 3 brilliant singles in Under the Iron Sea, and all Coldplay could come up with is a great song with a melody they haven’t written.

post script: The sequel to this is pretty fantastic. It turned out they can make a huge album.

 

3 x’s out of 5 y’s

Coldplay – A Rush of Blood to the Head

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“The Scientist” towers above everything else here. It’s the one song that doesn’t try to fit a stadium. It’s the one song that sounds like it could be on Parachutes. This is not a co-incidence. It’s also one of the few songs that Chris Martin improves, instead of dragging down.

Coldplay became a pretty big band after the release of Parachutes. Here, they decide to live up to the their popularity by sounding big. It’s a miracle they’re still around. Nothing here works in the same way “Yellow” or “Shiver” did. Nothing here, aside from “The Scientist”, tries to achieve what these songs did. Songs like “Don’t Panic” don’t really translate well to a live performance, but is this a good reason enough to wreck the beautiful melody of “In My Place”?

That’s the problem with Rush of Blood. It tries to take the basic sound of Parachutes and make it fit for a stadium. That’s a misunderstanding of both what made Parachutes great and what makes stadium music great. Music for stadium needs to be loud, catchy and also energetic. The best stadium rock has an aggressive edge. You don’t go to a Nickelback or Def Leppard show to contemplate the meaning of life. Even stadium ballads don’t work in the same way Coldplay think they do.

As for Parachutes, it was a minimalist and intimate album. These two qualities are what stadium bands try to avoid. Since Coldplay are not talented or versatile enough, they can’t merge these qualities. Instead, we have a compromise that sucks the life out of everything.

“In My Place” and “Clocks” best illustrate this. The former has a beautiful guitar melody, but the production tries to make it an anthem. Chris Martin sings like that, too, as if the song is so profound it will be played in a climatic scene. It doesn’t mesh well. “Clocks” is just bad. It’s admirable to have a pop song with an instrumental chorus, but it’s hard to get over how hard it tries to big.

Who thought that putting a lot of guitar noise behind Chris Martin is a good idea? It was the scarcity of sounds that made “Sparks” beautiful. “In My Place”, “Warning Sign” and “A Whisper” all have that guitar noise that Oasis love so much. The production team forgot that Oasis is muscular and tough, and even when they wrote ballads where they toned down the noise. “A Whisper” is especially bad. What exactly they were trying to achieve is unclear. Perhaps all that noise was a borrowed idea from Ride, but the execution is too incompetent. You don’t produce such a mess of noise when you have an example to follow.

There are some other sonic experiments, and most of them fail too. They offer more than just size, though, so they’re far more interesting and may worth a couple of listens, “Daylight” has a nice orchestral backing, but Chris Martin sings a non-existant melody and the song remains awful until the end. “God Put a Smile Upon Your Face” is a more aggressive track that should’ve been played by Oasis. You can feel how uncomfortable they are in it. “Politik” is another Space Rock-influenced track, but unlike “Yellow” it also wants to be big. It’s still interesting to see Coldplay attempt these things though. These songs at least have ideas behind them, and most of them fail because Martin’s melodies are bad. If “Politik” was instrumental, it would be pretty good.

Only the title-track, “The Scientist” and “Amsterdam” are worth listening to. That’s not an exaggeration. There only three worthwhile tracks here, and two of them could fit on Parachutes. The title-track is a little different. It’s the first time they actually sound like Radiohead, not just sonically but the emotions are the same. It sees Coldplay truly departing from Parachutes, because the what they are trying to achieve is different. It doesn’t have anything special that makes it good. The chorus and the lyrics are all good, and Martin doesn’t sing with a falsetto.

It’s sad that a song as brilliant as “The Scientist” and the pretty great title-track are here. The former could have slotted in Parachutes, and the latter would have made a nice closer in X&Y. It’s a wonder how Coldplay stayed relevant when everything they do here is a career-killing move. It’s easy to see X&Y as a disappointment when you consider how hard Coldplay tried here, but the regression was improvement. I wonder how Viva La Vida will fare. It’s supposed to be even bolder.

2 scientists out of 5