Due to my obessiveness, we all get to check out the "top 30 most listened to songs of the year" list a little sooner than we might have otherwise expected. Simply put, I ripped the hard drive out of my ailing computer, used a IDE-to-USB adapter and connected the drive to my netbook, where I grabbed the file and manually opened it.
This is my annual "shit I listened to a ton" list. Basically, for the uninitiated, I keep track of every listen to any song that's actually in my music library (about 14,000 songs). This includes plays on CD, iPod, and Radio. I generally count incidental music if I'm out and about, as well. Like I said: obsessive. Here are the top 30.
I'll make a Spotify playlist when I'm on a computer that is running Spotify again.
30. Lost Lander - Cold Feet
"Cold Feet" benefited greatly not only from being the first track on DRRT, but also from being the second best song on the album. I queued up this one and "Wonderful World" back to back multiple times, leaving the rest of the album for another day.
29. Sleigh Bells - Comeback Kid
(21st favorite song of 2012)
The advance single and most immediate song from an album I was (rightfully) anticipating.
28. Kelly Clarkson - Stronger (What Doesn't Kill You)
I'm always up for a good, catchy Kelly Clarkson song. Call her a guilty pleasure, she just makes good pop songs. While I wasn't a huge fan of Stronger, the album, Stronger, the title track was tasty enough to rack up the listens (plus Lindsey plays them all the time).
27. Beach House - Walk in the Park
I'm a little surprised that this is so high on the list. This year was the first year I really got into Beach House (through Teen Dream), and this is the song I kept coming back to. The only strange thing is that, much as I loved Bloom, this was the only Beach House song to crack the top 50 in playcount.
26. Mutemath - Prytania
The "We Are Hunted" Spotify app was huge in finding music, from Sharon Van Etten to Ghost Beach to a revisit to a band I hadn't listened to in a long time. I knew of and listened to Earthsuit, the fairly bad band that a few of the members of Mutemath originally played in, and I own the first EP and album by Mutemath, so I'm quite familiar with them, but for some reason, I slept on Odd Soul. If this song is any indication, I should probably go back and fix that.
25. Jay-Z & Kanye West - Niggas in Paris
This song was number one on this list as of April, but fell off quite a bit as the year wore on. Shit is definitely cray, though. Hell of a video, too.
24. Cloud Nothings - Stay Useless
This spot could've easily gone to 'Fall In' (which finished just out of the Top 30), this one just happened to last a bit longer on the Hotlist.
23. Skrillex - Scary Monsters and Nice Sprites
This is the only Skrillex song I like, which is weird, because pretty much all of his stuff sounds the same to me. I think it has something to do with the way the calmer parts lead in to the drop? Maybe? I never said it was going to make a lot of sense.
22. Lana Del Rey - Off to the Races
It's embarassing how much I enjoy the chrous to this song. "I'm your little harlot starlet" is a line that wedged itself in my brain for days on end. I don't really want to think about what that says about me.
21. Gotye - Somebody That I Used to Know
Of course this song was inescapable long after I tired of it. It would've been top ten easily if I liked even one or two more songs on the album.
20. Clint Mansell - Leaving Earth
There's something to be said for piano ballads interrupted by massive bassoon blasts. There also something to be said for keeping your immensely listenable song right around the two minute mark.
19. Coldplay - Paradise
I like Coldplay. That sometimes seems like a bit of a guilty admission, but I don't see why. They excel at making friendly, well-meaning pop-rock songs, and this is another huge winner. It's not going to change the world, but sometimes, a catchy radio song is what I want.
18. Purity Ring - Fineshrine
(5th favorite song of 2012)
My wife would occasionally wonder why I listened to a song where the hook was "Get a little closer/let it fold/Cut open my sternum and pull/My little ribs around you". Come to think of it, I wondered the same thing myself sometimes. Then again, it was the most darkly catchy thing I heard all year, hitting on all the right centers in my brain. That sort of thing covers a multitude of creepy.
17. Neutral Milk Hotel - The King of Carrot Flowers, Part One
It's a little embarassing to me how many times I heard this song over the last decade without it ever really sinking in. I do like the rest of In the Aeroplane, Over the Sea, but it's no hyperbole to say that this is one of my twenty favorite songs ever, and that the part where the acordian comes in after he sings "what each other's bodies were for" is probably only rivaled by the end of ( ) for "favorite music moments ever".
16. The Go! Team - Buy Nothing Day
(most listened to song of 2011)
This song had staying power. I knew it would, it's just that kind of song. I wouldn't be entirely surprised if it stuck around next year, too.
15. The Shins - Simple Song
(10th favorite song of 2012)
I love the way that James Mercer sings the lyric "feels like an ocean being warmed by the sun".
14. Sharon Van Etten - Serpents
Sharon's "rock" song. Actually, strike those quotes... this song really does rock. When she angrily/incredulously/disgustedly sings "I had a thought you would take me...seriously", it gives me shivers.
13. Lana Del Rey - Born to Die
The detractors can say what they will - the album might not have lived quite up to expectations (though the first half was killer), but when this girl hit a good song, it made you stop and listen. ..or in this particular case, listen, and listen, and listen.
12. Japandroids - The House That Heaven Built
(2nd favorite song of 2012)
It feels like I listened to this song a million times, so I'm a little surprised that it's this low on the list. It was the kind of song that felt like a classic the instant I heard it.
11. The xx - Angels
(4th favorite song of 2012)
The clattering drums that punctuate the second verse of 'Angels' just barely missed the top 20 moments list. This song completely captivated me, and racked up a huge number of plays in a very short period of time.
10. Ghost Beach - Miracle
(15th favorite song of 2012)
Another 'We Are Hunted' find. I love the chorus, but I love the end of the second verse, where he sings "I was born in this house/now I'm burnin' it down" like that was the most joyful thing he could possibly think of at that moment.
9. Ramona Falls - Spore
It seems that I somehow left this song off of my "favorite songs" list. That's a fairly embarassing mistake, as it probably sits somewhere in the 6 or 7 spot. Oops.
8. Burial - Loner
(3rd favorite song of 2012)
Clocking in at seven and a half minutes, it's the longest song on this list by quite a bit. The song's ebb and flow made it feel half that long.
7. Lost Lander - Wonderful World
(7th favorite song of 2012)
I've mentioned this song's weirdly math-themed music video (one of my favorites of the year), I've mentioned the little five note segment that caught my ear so. There's not a whole lot else to say, this song's sad sort of beauty had me coming back time and again.
6. Carly Rae Jepsen - Call Me Maybe
(18th favorite song of the year)
Okay, I do unironically like this song (I think it's quite easily the best pure pop song of the year, maybe of the last two or three, though trying to delve into that would probably be better done on a later date). However, the playcounts this song received had a lot more to do with the fact that 'Call Me Maybe' was pretty much inescapable. A friend of mine and I were at a bar one night, and someone played it on the jukebox. We sheepishly admitted to each other that we actually enjoyed it, then listened in horror as the girl who had played it queued it up another three times that evening. I heard it five times on a trip to Fargo and back. IN-ES-CAP-A-BLE.
5. fun. - Some Nights
(25th favorite song of the year)
Another song that I like that was buoyed by the fact that it was played every twenty seconds on the radio (I'm pretty sure that if that's an exageration, it's on the low end). Also, Lindsey loved this song/CD.
4. Mind Spiders - You Are Dead
(12th favorite song of the year)
It's not even two minutes long, and it begs you to play it back to back. The only thing that kept it from being ven further up the list was the fact that the rest of the CD was pretty awesome, too.
3. fun. - We Are Young
Before 'Call Me Maybe' and 'Gangnam Style' came along, this song looked like it was going to be the ubiquitous song of the year. I liked it for a while, but not many listens past April were of the voluntary variety.
2. Cinnamon Chasers - Luv Deluxe
(18th most listened to song of 2011)
I didn't expect this. I guess it never left the Hotlist, which meant that anytime I was listening to that playlist (fairly often), I listened to this. I was definitely never not in the mood for it. Then there's the video, which I watched anther ten to fifteen times this year. Yeah, I guess I should've seen it coming.
1. Sharon Van Etten - Give Out
(favorite song of 2012)
It's a great song that I wanted to be listening to no matter what I was doing at the time (though night listening was the best). It's not particularly rare for my favorite song in a given year to also be my most played song for that year. This one was really close, though. This song just sort of stuck with me all year, as other songs came and fell by the wayside.
...and that concludes my self-indulgent "music of 2012" lists. Thanks for reading however much of them that you may have. On with the movie list!
Showing posts with label Ramona Falls. Show all posts
Showing posts with label Ramona Falls. Show all posts
Wednesday, January 2, 2013
Tuesday, January 1, 2013
Year in Music 2012: Top 20 Albums
RIYL: Tasty word salad, literate rappers, videos about ninjas and deceased cats
A new Aesop Rock album (first in five years!) is always cause for celebration. An album where Aes gives up just a little bit of his word salad in favor of some lyrical depth is cause for extreme jubilation. Mr. Bavitz did not disappoint.
RIYL: Paranoia, Someone looking over your shoulder, "them" being out to get you.
I've heard that I need to listen to R.A.P. Music by Killer Mike. That remains to be seen (though I trust everyone who has told me that this needs to happen), but El-P's production is always fascinating to me. Combined with his ever paranoid lyrics, this ended up being one of the treats of the year.
RIYL: Lovers awkwardly whispering to each other in a crowd.
I wanted to dislike this album. The first few times I heard it, I was unmoved. Over the next couple of months, it just kind of.... moved me. It's got stronger songs than I gave it credit for, and it's got more emotion, depth, and character than I would've given it credit for.
RIYL: Hitting your head against a wall of guitars and drums.
Sometimes all you want out of an album is a hammer to the face. Metz' self-titled album provided that hammer, along with enough melody and interesting rhythms to stand up to multiple listens.
RIYL: Old School Sigur Rós
Sigur Rós turned back the clock in 2012, sidestepping the pop stylings of their last album and Jónsi's solo work in favor of the laid back, beautiful post-rock arrangements of their earlier albums. It's definitely no step back, though. Rather, it's a marvelous (and underrated) step forward.
RIYL: Demon dogs haunting your sleep
This album feels completely inscrutable. It's exhausting (I'm usually only able to listen to one of the sides at any given time), and it's the furthest thing from a "catchy" album.
It's also completely awesome.
RIYL: Dark, brooding electronic beats, non-traditional female voices
I'm constantly underrating this album. Whenever I thought of my favorite albums of the year, III was never on the radar. Then, when I was constructing this list, I looked over the tracklist and found that it's absolutely packed with solid songs. There's scarcely a weak track to be found. Song for song, it might be their best to date.
RIYL: Source Tags and Codes. Yeah, I went there.
It's got to be tiresome to have everything you do compared to some previous work of yours. Ever album that Trail of Dead ever puts out will be compared (unfavorably) to their magnum opus. This one actually brings the goods, scaling back the proggy stuff from their last three albums, and ramping up the rock.
RIYL: Rock music, part one.
Attack on Memory was an early indicator this year that rock was back. I had heard their debut, and found it to be completely unimpressive.This one, though, was ferocious. It blazed and snarled and bit - exactly what music needed to start off the year.
RIYL: Lil B...without all the Lil B
I've always said that I liked the idea of 'cloud rap'. The aesthetics are great - all atmosphere and woozy bass. Unfortunately, every time I queued up Lil B or A$AP Rocky, the rapping just irritated me.
Problem solved.
RIYL: Creepy as hell songs sung by enchantingly attractive women
When I heard Grimes earlier this year, it left me with a distinct "this is close to an album I'd really like to hear".Shrines is the album I was hoping that Visions was going to be. It's darkly, catchily awesome.
...even if half its track titles sound like Pokemon names.
RIYL: Cheerleaders with brass knuckles
Treats was such a volatile maelstrom of pop, arena rock, and hip-hop that a follow-up seemed like an impossible task. A carbon copy wouldn't have the same fresh feeling; a radical change in style would almost certainly be doomed to fail. Somehow, Reign of Terror ended up being a true step forward, without losing the special edge that made the first album so much fun.
RIYL: Chilling on the dancefloor enjoying a few (molotov) cocktails.
This album is different. At times, the 'throw it in' approach feels like it's going to overwhelm the flow and feeling of the project. So then, it's to Stef's credit that it never flies completely out of control. It's more of a "collection of songs" than Never Better was, but it's a damned good collection of songs.
RIYL: Storytelling hip-hop
It's easy to see why everyone lost it over this album. I bought it having only heard Swimming Pools when it first came out, and it didn't leave my CD player for a solid month. The stories enhance the songs (and vice versa), and everything does nothing but grow on me with each subsequent listen.
RIYL: Beach House.
The joke is that Bloom is "Beach House, part four", and it's more than a little true. There's no great leap here. If you're buying this, you know what you're getting into.
Luckily it's well worth getting into.
RIYL: Really weird album covers that are oddly fit with the music inside
Prophet is an easy album to like. It's got immediate song that still manage to have a lot of depth to them. Nearly every song has lingered throughout the year.
RIYL: Angry, but resigned women
I doesn't seem like Sharon Van Etten would really make my kind of music. I've not been incredibly fond of female singer-songwriters in the past, nor was I this year. The thing is, she imbues her music with more than she has to. Whether it's the barely contained anger of 'Serpents' or the resigned weariness of 'Ask', she makes every song worth hearing again and again. Plus it does have my favorite song of the year.
RIYL: Jay Reatard.
I didn't ever appreciate Jay Retard properly while he was alive and making music (more of a Coachwhips guy, I guess), and if I have any enjoyment of his work now (and I do), this is the album that I can thank. Bizarre final track aside, it's a short, punchy set of songs that illuminate every there is to like about lower-fi punk-inspired music.
RIYL: Burial, with a kick.
Whenever Burial is discussed, everything always seems to revolve around a couple of talking points: "is he going to make another album" and "if he does, will it sound exactly like everything else he's done?". Well, sort of and... sort of. Kindred is 40 plus minutes long, so even though it's an EP, it's longer than a number of the albums on this list. Content-wise, it's not a radical step forward, but it does have the most focused and forceful music he's ever made. It might even be better than Untrue. William Bevan might never come out with that third proper album, but even if he does, I don't know how he'll top this.
RIYL: Rock Music... part two
Just last year, I lamented that rock had fallen heavily in my listening habits. Then 2012 came around. Cloud Nothings lit the fuse, but Japandroids ended up being the explosion I kept coming back to. There are only eight songs on this album - and one's a cover, and one's a song from 2010. That doesn't really matter, in fact, the lean running time gives Celebration Rock a bite that it otherwise would've lacked. The back half of the album is completely loaded. 'Younger Us', 'The House That Heaven Built' and 'Continuous Thunder' make up one of the strongest three song cycles I've ever heard to close an album.
Most importantly, though, whenever I listen to Celebration Rock, it's an excuse to just lose myself to the "whoa-oh-oh-oh's" and forget about the idea that rock music could need saving or ever be anything less than a life-affirming thrill. Not a bad legacy to leave.
Wednesday, December 26, 2012
Year in Music 2012: Top 20 Moments in Music
This is the fifth yearly "favorite moments in music" list. It's probably my favorite, because it's fairly unique, and because it invites a closer look at the little pieces of songs that are awesome - a catchy guitar line, a clever turn of phrase, or a particularly kickass bridge.
As always, there's some overlap beween this and my "best songs" list. That stands to reason, I suppose (the best songs are going to have the most memorable moments a lot of times). I've got Spotify links, Grooveshark when I can't Spotify, and YouTube when I can't find either of the others.
20. fun. - We Are Young
"Carry me home tonight"
When I first heard this song, I didn't even realize that Janelle Monáe sang the bridge. Once I found out, I was sort of unenthralled with the news, since it seemed as though her part was faceless enough to be played by just about any pretty face. "Luckily" enough, I got a lot of chances to analyze it. I came to the conclusion that Monáe infuses this song with a soul and heart that it would be completely lacking otherwise. The song has long since stopped being novel or interesting, the bridge lives on.
19. Kendrick Lamar - Backseat Freestyle
"Goddamn, I got bitches!"
Goddamn, I got bitches!
Daaamn, I got bitches
Daaamn, I got bitches
Wifey, girlfriend, and mistress
Not exactly super intelligent stuff, and it does echo the sort of stupid headed misogyny that I hate in rap music, but damn, does it sound good blasting from the speakers.
18. Swans - The Seer Returns
"You. have. a----rived."
There's lots of poignant, creepy moments to be had on The Seer, but this one tops them all. The way that the backing instrumentation drops out before Michael Gira puts so much malicious emphasis on every syllable before the the band kicks back in gives me goosebumps every time.
17. Cloud Nothings - No Future/No Past
"Give up...Come to...No Hope...We're through..."
Summing up the album before it even really starts - and constantly building to one hell of a climax along the way.
16. P.O.S. - How We Land
...featuring Justin Vernon
Justin Vernon does it for me, so when he teams up with yet another rapper (am I the only one who finds it a little strange how popular a feature he is? I mean, it works pretty much every time, it's just... weird), I can't help but love it. Plus, in 'How We Land', his voice (with vocoder) is used to maximum effect for a rousing end to a great song.
15. Spiritualized - So Long You Pretty Thing
The song earns its title
The year's biggest album ending. 'Pretty Thing' starts out all slow, before bringing it all back for one huge finale.
14. Death Grips - Hacker
"When you come out, your shit is gone"
It's never really delivered in any particularly interesting way, I just really like the threat "when you come out your shit is gone".
13. Carly Rae Jepsen - Call Me Maybe
Those super-fake strings in the chorus...
I don't really need to go into this. These are 9/10 of the reason that everyone loved this song.
12. Hot Chip - Night and Day
"YouknowIthinkaboutcha"
In a song filled to the brim with sex, this is the kicker. It's fun as hell. Plus, Linds likes it just enough to where we can dance around in my office while she tells me that she swears she's heard this somewhere else (I'm pretty sure the only other place she's heard it is in my office, but whatever).
11. Japandroids - Continuous Thunder
Enter Drums
It's a neat trick, synching up that booming drumline with the words 'continuous thunder'. Sometimes, a neat trick like that is all it takes to send a song skyrocketing from good to great.
10. Aesop Rock - Gopher Guts
Aes speaks plainly
"I have been completely unable to maintain any semblance of relationship on any level" - In the hands of someone else, that would simply be a bluntly honest lyric, Aesop Rock usually couches his lyrics with so much metaphor and word salad double talk that it's refreshing to hear him speak plainly and in a emotionally open manner. The entire verse plays out that way. 'Daylight' it's not, but it feels like a breath of fresh air amongst the various double speaking and clever rhymes.
9. Memory Tapes - Neighborhood Watch
(3:55)
Sure, we've already heard this before (from the same artist, even). Sure, this apes pretty heavily from the "three or four minutes of slow, then BAM! big breakdown!" dynamics of 'Bicycle'. Sure, it doesn't really reach the heights of that particular song.
The breakdown here is still awesome.
8. Sharon Van Etten - Ask
"I think I need more than the flowers and letters, man"
'Ask' is a great, fatalistic look at a doomed relationship. This lyric is the highlight for me. Going through the motions isn't working anymore, and though the singer seems like she's only just starting to admit it to herself, it's been that way for a while.
7. Frank Ocean - Pyramids
The first synth line
I love the way the entire song (which is otherwise quite busy) gets out of the way to allow that jagged synth line to take center stage, as if it knows what it's got on its hands. Once it comes around the second time, it's layered with the rest of the song, and serves as the transitional to the second half of the song. Both parts are great, but it's the first - isolated and arresting - that really grabs the attention.
6. Clint Mansell - Leaving Earth
Reaper Blast
The ending might have sucked (and it certainly did), but for that stretch of time at the beginning of the game - when they mercilessly undercut a pretty piano ballad with a jarring bassoon blast - everything was perfect.
5. Ghost Beach - Miracle
OOOOOHHHHHH!!!
The chorus of 'Miracle' (hell, the entire song) is pretty much bottled enthusiasm. No moment was more enjoyable (or easier) to lip synch to, and no other hook sent my mood skyrocketing like this one.
4. Lost Lander - Wonderful World
Five Notes
It's funny what context means to music. Without this song's excellent music video, it's extremely unlikely that I would've been as taken with this simple sequence as I was. The accompanying visuals underscored what had been there all along. The moment itself is a fleeting as it is unassuming - a simple five note melody a little over two minutes in that solidifies the mood. Without the video, this moment wouldn't have struck me. Without this moment, this song wouldn't have been one of my favorites of the year.
3. Japandroids - The House That Heaven Built
"Tell 'em all to go to hell"
When they love you, and they will (and they will!)
Tell 'em all they'll love in my shadow
And if they try to slow you down (slow you down)
Tell 'em all, to go to hell.
One of the year's biggest anthems provides the year's biggest rallying cry.
2. Ramona Falls - Spore
"Here I Come"
The first two songs off of Prophet were...okay. 'Spore' started the album proper (and probably should've been the first track on the album). There's a sense of unease throughout the song, culminating in this fantastic section to close out the song.
1. Burial - Loner
(1:23)
'Loner' was already an unusually aggressive Burial song. Then those notes hit - four of them, in a descending pattern, repeated until they blur into each and wrap the listener up in them. Everything else in the song is defined by them, to the point where the repeated "set you free" chant starts to become cruelly ironic. The instant I heard this song in February, I knew that everything else was playing for second.
As always, there's some overlap beween this and my "best songs" list. That stands to reason, I suppose (the best songs are going to have the most memorable moments a lot of times). I've got Spotify links, Grooveshark when I can't Spotify, and YouTube when I can't find either of the others.
"Carry me home tonight"
When I first heard this song, I didn't even realize that Janelle Monáe sang the bridge. Once I found out, I was sort of unenthralled with the news, since it seemed as though her part was faceless enough to be played by just about any pretty face. "Luckily" enough, I got a lot of chances to analyze it. I came to the conclusion that Monáe infuses this song with a soul and heart that it would be completely lacking otherwise. The song has long since stopped being novel or interesting, the bridge lives on.
"Goddamn, I got bitches!"
Goddamn, I got bitches!
Daaamn, I got bitches
Daaamn, I got bitches
Wifey, girlfriend, and mistress
Not exactly super intelligent stuff, and it does echo the sort of stupid headed misogyny that I hate in rap music, but damn, does it sound good blasting from the speakers.
"You. have. a----rived."
There's lots of poignant, creepy moments to be had on The Seer, but this one tops them all. The way that the backing instrumentation drops out before Michael Gira puts so much malicious emphasis on every syllable before the the band kicks back in gives me goosebumps every time.
"Give up...Come to...No Hope...We're through..."
Summing up the album before it even really starts - and constantly building to one hell of a climax along the way.
...featuring Justin Vernon
Justin Vernon does it for me, so when he teams up with yet another rapper (am I the only one who finds it a little strange how popular a feature he is? I mean, it works pretty much every time, it's just... weird), I can't help but love it. Plus, in 'How We Land', his voice (with vocoder) is used to maximum effect for a rousing end to a great song.
The song earns its title
The year's biggest album ending. 'Pretty Thing' starts out all slow, before bringing it all back for one huge finale.
"When you come out, your shit is gone"
It's never really delivered in any particularly interesting way, I just really like the threat "when you come out your shit is gone".
Those super-fake strings in the chorus...
I don't really need to go into this. These are 9/10 of the reason that everyone loved this song.
"YouknowIthinkaboutcha"
In a song filled to the brim with sex, this is the kicker. It's fun as hell. Plus, Linds likes it just enough to where we can dance around in my office while she tells me that she swears she's heard this somewhere else (I'm pretty sure the only other place she's heard it is in my office, but whatever).
Enter Drums
It's a neat trick, synching up that booming drumline with the words 'continuous thunder'. Sometimes, a neat trick like that is all it takes to send a song skyrocketing from good to great.
Aes speaks plainly
"I have been completely unable to maintain any semblance of relationship on any level" - In the hands of someone else, that would simply be a bluntly honest lyric, Aesop Rock usually couches his lyrics with so much metaphor and word salad double talk that it's refreshing to hear him speak plainly and in a emotionally open manner. The entire verse plays out that way. 'Daylight' it's not, but it feels like a breath of fresh air amongst the various double speaking and clever rhymes.
(3:55)
Sure, we've already heard this before (from the same artist, even). Sure, this apes pretty heavily from the "three or four minutes of slow, then BAM! big breakdown!" dynamics of 'Bicycle'. Sure, it doesn't really reach the heights of that particular song.
The breakdown here is still awesome.
"I think I need more than the flowers and letters, man"
'Ask' is a great, fatalistic look at a doomed relationship. This lyric is the highlight for me. Going through the motions isn't working anymore, and though the singer seems like she's only just starting to admit it to herself, it's been that way for a while.
The first synth line
I love the way the entire song (which is otherwise quite busy) gets out of the way to allow that jagged synth line to take center stage, as if it knows what it's got on its hands. Once it comes around the second time, it's layered with the rest of the song, and serves as the transitional to the second half of the song. Both parts are great, but it's the first - isolated and arresting - that really grabs the attention.
Reaper Blast
The ending might have sucked (and it certainly did), but for that stretch of time at the beginning of the game - when they mercilessly undercut a pretty piano ballad with a jarring bassoon blast - everything was perfect.
OOOOOHHHHHH!!!
The chorus of 'Miracle' (hell, the entire song) is pretty much bottled enthusiasm. No moment was more enjoyable (or easier) to lip synch to, and no other hook sent my mood skyrocketing like this one.
Five Notes
It's funny what context means to music. Without this song's excellent music video, it's extremely unlikely that I would've been as taken with this simple sequence as I was. The accompanying visuals underscored what had been there all along. The moment itself is a fleeting as it is unassuming - a simple five note melody a little over two minutes in that solidifies the mood. Without the video, this moment wouldn't have struck me. Without this moment, this song wouldn't have been one of my favorites of the year.
"Tell 'em all to go to hell"
When they love you, and they will (and they will!)
Tell 'em all they'll love in my shadow
And if they try to slow you down (slow you down)
Tell 'em all, to go to hell.
One of the year's biggest anthems provides the year's biggest rallying cry.
"Here I Come"
The first two songs off of Prophet were...okay. 'Spore' started the album proper (and probably should've been the first track on the album). There's a sense of unease throughout the song, culminating in this fantastic section to close out the song.
(1:23)
'Loner' was already an unusually aggressive Burial song. Then those notes hit - four of them, in a descending pattern, repeated until they blur into each and wrap the listener up in them. Everything else in the song is defined by them, to the point where the repeated "set you free" chant starts to become cruelly ironic. The instant I heard this song in February, I knew that everything else was playing for second.
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