2012 "End of the Year" Awards

Album of the Year 

Alabama Shakes - Boys and Girls

I’ve gushed about these guys before, devoting an entire post to them earlier in the year with a five-star review. My opinion hasn’t changed. For me, they beat out everyone else because of the quality they put out at the age in which they did. They are vastly young and under-experienced in comparison to others with releases this year but that doesn’t stop them from putting out a musical experience. It’s an album that my grandmother and my cousin could love and is sure to be looked to again in the future as the debut that started it all. Oh yeah, the home-state connection doesn’t hurt either.

Other nominations: 

Bad Books - II
The Black Keys - El Camino (Dec 2011)
fun. - Some Nights
The Gaslight Anthem - Handwritten
Kendrick Lamar - good kid, m.A.A.d city
Mumford and Sons - Babel
Of Monsters and Men - My Head is an Animal
Silversun Pickups - Neck of the Woods

Artist of the Year 

fun.

While fun. topped the pop charts over the year, don’t let that pigeonhole them into one category. This is a great band who deserves all the praise handed to them (expect them to take away at least one award at the Grammys). From a hit album, to fantastic videos to one of the best concerts I ever attended, 2012 was the year of fun.

Other nominations:
The Gaslight Anthem
The Black Keys
Kendrick Lamar

Debut Album of the Year

Alabama Shakes - Boys and Girls

(See above)

Other nominations:
Walk the Moon - Walk the Moon
Imagine Dragons - Night Visions
IAMDYNAMITE - SUPERMEGAFANTASTIC
Of Monsters and Men - My Head is an Animal

Comeback Album of the Year

Linkin Park - Living Things; Anberlin - Vital

The last time we saw both Linkin Park and Anberlin, things weren’t looking good. Both tried new, different directions and the results weren’t what fans expected or wanted. This year, both not only returned to form but possibly even stronger. Living Things is filled with some LP’s best material in years and Vital that was grossly overlooked, showcasing a band that could be one of the best if marketed right. 

Sophomore Surge (AKA The Opposite of a Sophomore Slump) 

Mumford and Sons - Babel 

When Sigh No More was released to the world, it was a hard to find a music fan who wasn’t absolutely in love with it. It set the bar ridiculously high for a follow-up, but Mumford and Sons just may have put out something even better. Here’s to hoping they can continue to the trend with LP#3

Other nominations:
Neon Trees - Picture Show
Bad Books - II
The xx - Coexist
Band of Skulls - Sweet Sour
Sleigh Bells - Reign of Terror
fun. - Some Nights 

Most Disappointing 

No Doubt - Push and Shove

11 years is a long to build anticipation, so it can be forgiven if fans of No Doubt maybe overhyped the band’s return. Well, it could be if Push and Shove wasn’t so... lifeless. I’m not sure what approach Stefani and company were going for (and there’s a possibility that under different circumstances it could be halfway decent) but it is one of the fastest discarded albums in my listening history.

Overrated

Gotye - Making Mirrors

I will go on record as saying I liked “Somebody I Used to Know” at first. But the more I listened the more I thought that Kimbra’s part is what made the song and after listening to the rest of the album I confirmed that to be true. When I listened to the album, it felt like I was listening to nothing. There wasn’t anything that stuck out to me so it still puzzles me to this day that there are some who think this was great. Though I have my own selections that will make some scratch their head (see the “pop album” category) so I guess to each their own.

Other nomination:

Frank Ocean - Channel Orange 

Underrated

Benjamin Gibbard - Former Lives 

This album went so far under the radar that I even forgot I purchased it at one point. It’s definitely different than what can be heard on Death Cab for Cutie releases, but not by much. Former Lives allows Gibbard to stretch out a bit, giving the tracks more of a loose feel. Instead of crying in the dark, this is laying in the sun kind of music.

Other nominations:

The Avett Brothers - The Carpenter
Anberlin - Vital 

Pop Album of the Year

Taylor Swift - Red; P!nk - The Truth About Love 

While on opposite ends of the cookie-cutter to bad-girl spectrum, the new albums from Taylor Swift and Pink are closer in comparison than one might think. Both have mindless jams (“Never Getting Back Together”, “Slut Like You”) and ballads that showcase their range (“I Almost Do”, “Just Give Me a Reason"). In fact, take away Pink’s parental advisory sticker and have Swift sing about something else other than young love and both camps could probably come together to enjoy these. Pop doesn’t need a lot of depth to it to be great, it just needs to be fun. And both of these were.

Other nominations:

Maroon 5 - Overexposed 

Rap / Hip Hop Album of the Year 

Kendrick Lamar - good kid, m.A.A.d city

As stated before, Kendrick Lamar deserves every bit of praise thrown his way for his debut album. It goes great lengths in order to tell a great story, but the music is still good. Make no mistake, Lamar can flow with the best of them and shows it off here. The scary thing? He’s just getting started.

Honorable mention: Childish Gambino - Royalty (mixtape) If Kendrick Lamar hadn’t have come along, I would have seriously put this mixtape as rap album of the year. It was head and shoulders above last year’s major label debut Camp, where Glover seemed to try to do too much. But Royalty was was a shining example of hip hop at its finest. 

Other nominations:

2 Chainz - Based on a T.R.U. Story
Nas - Life is Good
Rick Ross - God Forgives, I Don't
Kanye West presents G.O.O.D. Music - Cruel Summer
Lupe Fiasco - Food & Liqour II: The Great American Rap Album Part 1  

Rock Album of the Year

The Gaslight Anthem - Handwritten

The last few years has seen so many variations to the “rock” category that it was refreshing to hear some good old-fashioned rock and roll. Handwritten is pure songwriting that’s put to instruments and played loud. With multiple albums in, if you have longtime fans debating if it’s one of the best in the discography then you know you produced a hit. 

Other nominations:

Jack White - Blunderbuss\
Silversun Pickups - Neck of the Woods
Pierce the Veil - Collide With the Sky
Muse - The 2nd Law   

Most Ambitious

Green Day - The Uno, Dos and Tre trilogy 

Putting here because I personally loved this release, but the confusion of three separate albums makes it hard to rank. It wasn’t perfect, but the effort has to be commended. 

(For more on these releases, click here here and here)

Other Notable Releases of 2012

Matt and Kim - Lightning

All American Rejects - Kids in the Street

Say Anything - Anarchy, My Dear

Motion City Soundtrack - Go

Bloc Party - Four 

B.o.B. - Strange Clouds

Minus the Bear - Infinity Overhead;\

Gary Clark Jr. - Blak and Blu 

Artists Who Showed Up on the Radar

Atlas Genius, Animal Kingdom, Capital Cities, The Neighbourhood, Morning Parade, Pop etc, Reptar, Tanlines, Wolf Gang

EXTRA

How about a gigantic playlist featuring 160 songs of 2012? Here you go...

And a HUGE thank you to Allison for the graphic at the top of the page!

2012 Songs of The Year

*Note: I'm going to try something a little different this year. This is a post that will be constantly updated throughout the month in a countdown format. Each day that a song is revealed, I will post the link on here and explain a bit about that particular track.

*Second note: This will apply to all "of the year" posts going forward. My criteria for these selections were my favorites + what I feel truly resembled the best. I say that because there is NO WAY that I could get to all the music that was released in the year so chances are your favorite song/album/artist might be left out (unless we have the same music tastes, then that should be covered).

And with that, let's get to the songs:

#1. Jack White - Sixteen Saltines

I’ll admit - this one even surprises me. But after the soft “Love Interruption” I began to become disinterested in Jack White’s solo effort. Then I heard "Sixteen Saltines." Then proceeded to hear it about 200 more times throughout the year. It was a big radio single on the station I listen to and an instant volume pusher in the “up” direction. Why did it get the top spot? Because at the end of the day, I have a rock and roll heart and this is a damn good rock and roll song.

Listen here

#2. Sleigh Bells - "Demons"

You know those songs that you instantly fall in love with the first time you hear them? That happened for me the first time I clicked play on “Demons.” It takes everything about the over-popular electronic sound of today and combines it with the blistering jean-jacket-metal sound of the 80s. It’s loud. And it’s great.

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#3. fun. featuring Janelle Monae - "We Are Young"

I’m sure this gets some scoffs as it traded places with “Call Me Maybe” and “Somebody That I Used to Know” as one of the most played songs in 2012, but I’ll be damned if that doesn’t make it any less of a good song. The drumming buildup combined with the anthemic chorus is topped off by a guest appearance by Janelle Monae. And it was a track that definitely helped fun. set the world on fire.

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#4. Alabama Shakes - "Be Mine"

Alabama Shakes burst onto the scene in 2012, with a sound that most resembled a tamer, female-fronted Black Keys (or a throwback to Led Zeppelin if that’s a better comparison for you). Nestled toward the end of their debut album, Boys and Girls, sits “Be Mine,” a roaring track that features frontwoman Brittany Howard stand for her man (and drop an F bomb in the process).

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#5. Mumford and Sons - "Ghosts That We Knew"

Before Babel finally saw the light of day, a few tracks made their way to the Internet via concert footage and studio sessions. One of those was “Ghosts” (later changed to include “That We Knew”). It was a gentler song and very unlike the lead-single “I Will Wait” and example that pain can be beautiful.

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#6. The Gaslight Anthem - "Mulholland Drive"

Sometimes it not so much what a line says, but how it’s delivered. On “Mulholland Drive,” each time Brian Fallon croons “I’d just die if you ever took your love away” you feel like he literally means it. Just one example of the greatness to be found on Handwritten.

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#7. Yellowcard - "Ten"

Yellowcard have come back strong, releasing albums in both 2011 and 2012. Among the violin-driven frenzy stood the acoustic ballad “Ten.” If you’ve heard it, you know why it’s good. If you haven’t, I don’t want to spoil it for you. Just press play and listen to the story unfold but be warned - it’s kind of a tear-jerker.

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#8a. Green Day - "Let Yourself Go"
#8b. Green Day - "Amy"
#8c. Green Day - "Dirty Rotten Bastards"

It was hard to escape Green Day in the latter part of 2012 as they released three separate studio albums (which were discussed at length here here and here). Even as a fan, wading through all those songs was admittedly daunting but well worth it to find some treasures. There were a lot of standout tracks, but these were my favorites from each respective release. “Let Yourself Go” is full of energy and in-your-face appeal; “Amy” is a tearjerker ballad that rivals “Good Riddance (Time of Your Life)”; and “Dirty Rotten Bastards” is a return to the rock-opera-in-a-bottle that was found sprinkled into American Idiot and 21st Century Breakdown.

Listen here and here and here

#9. Silversun Pickups - "The Pit"

For their third album, Silversun Pickups went a bit more experimental, even more so than gazy rockers found in previous releases. On "The Pit," an electro-beat with a modified drum-pattern help set the background for this trippy track. Lead vocalist Brian Aubert takes front stage, but Nikki Monninger's background coos add to the feel of a standout track on a fantastic album.

#10. Of Monsters and Men - "Little Talks"

First making listeners take notice in 2011, the debut effort from Icelandic guys and gals Of Monsters and Men had a stateside release in 2012. Their "foreign folk" sound is one that is at times soothing and others haunting. "Little Talks," the lead-single off of My Head is An Animal is an example of the former, and is just one example of intricate storytelling found on the album.

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#11. Kendrick Lamar - Swimming Pools (Drank)

After some underground releases, Kendrick Lamar burst onto the main scene in 2012 to much (deserved) applause. Backed by a heavyweight such as Dr. Dre and it was clear that Lamar meant business. One of the first songs to introduce him to the world was "Swimming Pools," a standout track if for anything else that it's bait-and-switch use of party feel but lyrics that aren't saying what you think they are based on first listen.

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#12. Pink featuring Nate Ruess of fun. - Just Give Me a Reason

Amidst the girls who are waiting on guys to call them (maybe) or letting them know that they are never (ever) getting back together, Pink quietly came out with the best pop album of the year. There was so much diversity and the shining spots included guest vocals from Eminem and Lily Allen. But fun. frontman Nate Ruess shows up here to complete a back-and-forth full of piano and full of heart.

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#13. Bad Books - "It Never Stops"

The hybrid of Kevin Devine and Manchester Orchestra released a second effort in 2012, one that you will definitely hear more about in a separate post. After "Forest Whitaker" was released that showed Bad Books go in a different direction, "It Never Stops" was the follow up that showed the group is still good at getting down to the basics. The tracks shows the harmony between Devine and Andy Hull at its best and helped propel II to one of the best albums of the year.

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#14. The Black Keys - "Little Black Submarines"

The Black Keys have added more tools to their musical belt in recent years, but their talent really shines when it’s just two guys and the bare basics. “Little Black Submarines” works for that reason. This song (featured on a Dec 2011 release but gaining momentum throughout 2012) starts off with Auerbach’s acoustic wailing and features Carney coming in softly before the song explodes. It’s a perfect example of all things Black Keys.

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#15. My Chemical Romance - "Tomorrow's Money"

“Tomorrow’s Money” was one of two songs first released in the Conventional Weapons EP set, featuring songs that were scrapped prior to the release of Danger Days. So far, these are head scratchers as to why they weren’t released on a studio album because they could have been massive. "Tomorrow’s Money" in particular shows that when MCR is firing on all cylinders they can be one of the best in the business.

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#16. Pierce the Veil featuring Kellin Quinn - "King for a Day"

PTV has been one of my favorite bands for a while and it's always been surprising because they aren't in a genre I normally listen to. Even more surprising is this song's placement in my 2012 reflection. But I can't help it - it's that good. It's hard, it's fast, it's well-written. If this song doesn't get you ready to conquer the day, you don't have a pulse.

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#17. Linkin Park - Victimized

Linkin Park is in a weird stage in their career. They can't really go "back" but some of the forward progressing songs they have just aren't working. So Living Things was not only a breath of fresh air, but "Victimized" was a nostalgic blast. It was reminiscent of all things early LP, not by style but with energy and gave the new album a nice upside.

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#18. The xx - "Angels"

Call it a change of heart, but I was never a huge fan of The xx until I heard this song. There's something about the hauntingly dramatic mood of this track that starts off their sophomore effort, Angels. It blends all of the elements that make this band what they are known for and made people like me take notice in 2012.

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#19. Frank Ocean - "Thinking About You"

When you have opportunities you make the most of them and Frank Ocean did just that in 2012. Add me to the list who had heard the name but never the music; that is until back-to-back national performances at the VMAs and SNL. Afterward, I became an immediate fan of this song (and seriously, who doesn’t love to sing falsetto to match Ocean’s delivery).

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#20. Band of Skulls - "Lay My Head Down"

A band flying under the alternative radar, Band of Skulls can rock with the best of them. But as most good bands can do, they know when to slow it down. Take “Lay My Head Down” for example. A slow, Civil Wars-esque buildup leads to a fantastic, yet simple guitar solo for one of the more underrated songs of the year.

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#21. The Avett Brothers - "Live and Die"

If there is a charge of mainstream-folk coming to the airwaves, the leaders have got to be Mumford and Sons and the Avett Brothers. On “Live and Die,” the Bros. show why the sound is taking over. Yes, it was on a GAP commercial. But yes, it’s still a good song.

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#22. Rick Ross featuring Andre 3000 - "Sixteen"

The more records Rick Ross puts out, the more legitimate Rick Ross becomes. And it doesn't get much more legitimate than Andre 3000. The two hooked up for this track that displays the best of rap and the worst of radio - mainly that this 8-minute masterpiece could never be turned into a single. And it doesn't need to be. Just press play and enjoy.

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#23. Neon Trees - "Trust"

Neon Trees came out with a great sophomore effort in 2012, though not as full of singles as 2010's Habits. "Trust" is an example of that - not exactly radio friendly but still easily the best song on Picture Show. It shows the group can give a nod to the past while moving forward to the future.

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#24. Muse - "Panic Station"

After a sort-of concept album in 2009, Muse came back in 2012 throwing pretty much everything at the wall for The 2nd Law. Found within the grandest arena rock and dubstep influenced throwdowns sits this Prince meets Michael Jackson meets Muse jam session. It's also one of the few times a Muse track comes with a Parental Advisory warning, but it helps take the song up just a notch.

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#25. Kanye West, Big Sean, Pusha T, 2 Chainz - "Mercy"

As great as Kanye West's solo albums have been throughout his entire career, I truly feel Yeezy shines best on guest appearances. So on this track, released on the G.O.O.D. Music compilation Cruel Summer, shows him at his strongest. The beat changes when West gets on the track, an affect to give his spot even more of a presence. Though this write-up is about West, the other three on the track hold their own and make this one of the better rap songs of 2012 (and try, TRY to listen to this multiple times and not want to yell out "2 CHAINZ")

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A conversation/review of ¡Tre!

First, there was ¡Uno!

Then, came ¡Dos!

Now, Mike and I return to give our thoughts on ¡Tre!, the final installment in Green Day's 2012 album trilogy. Though with it being the finale, most thoughts dealt with the trilogy as a whole. But make no mistake, ¡Tre! is an album worth looking into and we did so below.

Mike: So here we are: Tre. Green Day's stadium-sized conclusion to this whole throwback inspired trilogy. Decidedly more 50s inspired, the thing that shocked me more than anything was how lean some of these songs are. Make no mistake, the album is peppered with Beatles-esque strings, porcelain piano, sassy horn sections, and even another multi-suite rock opera, but the middle is deceptively stripped down--reminding fans of Dookie, Nimrod, and Uno. Given how Tre was supposed to be the "epic" installment, a good half the album is dedicated to Green Day's 3 chord blitzkriegs. That seems to be a theme running throughout this LP: a torn sound exploring contradicting feelings. Still, it's easy to see Tre as the effervescent cousin to 21st Century Breakdown. The main difference seems to be a concerted shift away from Bush Era "the world is burning" urgency and a larger focus on "where are we now" self-refection. Even with American Idiot, it's easy to forget that Green Day never felt like an aging band. With Tre they seem older in the sense that they're finally addressing where they are in the longview. The band starts turning their thoughts inward, on where they're going and where they've been. It results in an often sobering, but upbeat, set of songs. Given this introspective slant, I was surprised that Tre comes off even looser than Dos at times. Did you get that sense?

Matt: Tre comes off much looser than Dos, there is no doubt about that. I've read a lot of reports about the three albums and what they were supposed to be, but this is what I hear: Uno = the singles album, Dos = the darker look inward and Tre = the upbeat b-sides. That's not a knock on any of the albums, but they just don't seem as separated as reports have made them out to be. The Beatles-era throwback can be heard on all albums, as well as the more "punk" songs. But it does feel like Dos took you through a dim tunnel and Tre is the light at the end. Admittedly, it's hard to talk about Tre without talking about the trilogy. But I'm sure this conversation will go there so I will try to come back to just this selection. I actually waited to have this conversation because at first listen I was very underwhelmed. These weren't bad songs, but they just didn't do anything for me. A few more listens and I realized songs were becoming stuck in my head. There are some clear standouts - "Brutal Love" manages to be both soft and loud and "Amanda" is a fun sing-a-long. But what bothers me still is more than a few tracks are bland and just seem to be there. "Drama Queen" does nothing for me and "Little Boy Named Train" feels phoned in. For me personally, "Dirty Rotten Bastards" is my highlight. I was fan of the ADD-type multiple-tracks-in-one songs found on both American Idiot and 21st Century Breakdown so to see that format return here was very welcome. I think it's safe to say that you and I are having these conversations because we are fans of the band. With that said, what songs are some of your favorites?

Mike: Far and away, my favorite song on Tre is "X-Kid." Between its rich harmonies and soaring chorus, I think it best captures the sense of freedom Green Day tried to explore on Tre. I definitely loved the brash, doo-wop come-on of "Brutal Love," and "Dirty Rotten Bastards" simply rips with a blistering midsection and nimble bass work from Mike Dirnt. Though the narrative is less specific than Green Day's past multi-suite songs, it's sure to be a crowd pleaser for years to come. Additionally, even though this batch of songs, wasn't overtly political, "99 Revolutions" was a lean and mean pop-punk number that embodies the spirit of what Occupy Wall Street was supposed to be, which I found immediately appealing. I agreed with you on the placid, directionless "Little Boy Named Train," but I have to disagree about "Drama Queen." For me, it was a really new perspective for Billie Joe's writing. For as far back as Dookie the "Woman-Who's-Trouble" has crept up into Green Day's stories, dragging Billie Joe through the ringer. Here, it's almost as if he sees himself in this younger person, and he's looking at her with equal parts nostalgia and wonder. It choked me up quite a bit. Between its clinking ivories and acoustic resonance, it rests comfortably in the album's 4-spot and felt like a great palate cleanser. Though Tre sports some of the slower songs in this trilogy, I can understand feeling a bit underwhelmed on first listen. Both Uno and Dos have a very strong sonic direction, and I think Tre oscillates more than Green Day meant for it to. Addressing those Beatles influences, I think that really started to creep into their writing during 21st Century Breakdown and it's not surprising that it crops up everywhere on this trilogy. In fact, it makes sense that such an aesthetic is more prevalent on Tre, given its grab bag approach to cataloging these writing sessions. I do agree that this trilogy feels separate, either in aesthetic or in content matter. Dos only really felt dark towards its close with "Amy," but I do think there is a buoyancy and clarity with the songs on Tre. In fact, I think that's why I prefer it to Dos: It operates with a level of realism and level headiness that you'd expect after 2 mammoth rock operas. 

Matt: I have to admit you have swayed me on “Drama Queen.” It’s still not a favorite of mine, but after looking at it from the perspective you gave it also isn’t on the list with “Little Boy Named Train.” The more I listen to Tre, the more I realize I like it more than I thought. “Walk Away” is a song I find myself wailing along with and one I might put as a closer if I were to go back and rearrange songs from each album to make one mixtape to listen to, so to speak (I am going to do that). For me though, it will still be the forgotten stepchild of the trilogy. Uno was just stronger on a song-by-song basis and Dos simply delivered. “Dark” may have been the wrong word to focus on, instead “twisted” is a better description. Even with the soulfoul bounce found at the beginning, the introduction of “Lady Cobra” into “Nightlife” helps go down the rabbit hole. Dos felt like they were throwing everything at the table and not caring if it stuck - a notion I enjoyed. But Tre, as a closing chapter, plays its part. As stated before, it’s the refreshing light at the end of the tunnel - though after three albums someone traveling through said tunnel may just be overwhelmed. It was a good idea, though maybe not executed expertly (Billie Joe’s hiatus is obviously a contributing factor). But give Green Day credit. Through the course of 37 tracks, there are some gems that were able to keep longtime fans happy and show the veteran band can still roll with the best of them.