Podcast: The Best Music of 2015

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Just when you thought those end of the year breakdowns were over – Kiel Hauck and Kyle Schultz return for one final discussion on the best music of 2015. During the chat, the duo break down splendid albums and singles from the likes of Kendrick Lamar, The Wonder Years, The Weeknd. The Early November, Carly Rae Jepsen and much more! What are you waiting for? Listen in below!

Subscribe to our podcast here. Share your thoughts in the replies!

Posted by Kiel Hauck

Top 10 Songs of 2015

best-songs-2015

Choosing the top 10 songs of any given year is difficult. Each track serves as a building block within its given album, proving to be a chapter in a larger story. While context certainly provides meaning, there’s a reason why certain songs and moments resonate with us more than others.

The tracks below are an eclectic list of songs that made us dance, think and even cry during the course of 2015. They represent excellence in artistry and story telling, and they also resonate with us in a way that will carry their relevancy well beyond this passing year. Take a look (and a listen) below and share your own favorite songs from 2015 in the replies!

10. Bring Me the Horizon – “Happy Song”

In this new post-grunge incarnation, Bring Me the Horizon truly channel their inner Nirvana on “Happy Song”. Complete with loud, thrashing guitars, Oli Sykes’ gravelly delivery and even a backing choir of cheerleaders, the track toes the line between a desperate cry for help and an anthemic call to rise above the undertow. Creepily uttering the lines, “I’ve had enough / There’s a voice in my head / Says I’m better off dead”, Sykes turns a violent corner just in time for the chorus, shouting, “If I sing along / A little fucking louder / To a happy song / I’ll be alright”. With the band forgoing crunchy breakdowns in favor of tasteful programming elements and rousing guitar riffs, this is a lonely, sad song meant to be sung en masse. – Kiel Hauck

9. As It Is – “Speak Soft”

“Speak Soft” seems like a fairly basic pop punk song, but it’s special to me. It’s the first song I heard from a band that truly impressed me this year. This is a song that captures the magic that originally lured me to the genre almost two decades ago. Patty Walters and Andy Westhead dual throughout the chorus, providing a fine balance between the clean vocals and deep, guttural defiance. The guitars are sharp, playing during the verses and bridges, but brutal during the chorus. “Speak Soft” sounds like it should have been there since the early days of New Found Glory. The instant memorability and hook of it capture what I love about this band. Other songs on their debut, Never Happy, Ever After are better written with deeper lyrics, but “Speak Soft” will always embody the spirit of pop punk and the energy needed to stand out in a sea of bands that more or less tend to sound similar. – Kyle Schultz

8. Fall Out Boy – “Fourth of July”

As impossible as it was to believe that Fall Out Boy still hadn’t written their biggest hits heading into 2015, American Beauty/American Psycho not only put the nail in the coffin of the band’s pop punk roots, it vaulted them to the Top 40 radio stratosphere. As impressive as “Centuries” and “Uma Thurman” are, the unsung hero of Fall Out Boy’s new arsenal is the explosive “Fourth of July”, an epic track that finds Patrick Stump reaching new vocal heights. Aided as always by the biting lyrics of Pete Wentz, Stump carries the bitter track, singing, “Wish I’d known how much you loved me / Wish I cared enough to know / I’m sorry every song’s about you”. By the time the track hits its volatile chorus, you’re wondering why this wasn’t in the background of every fireworks display across the country this summer. At the core, this is the caustic, lovelorn Fall Out Boy we’ve always loved, but on the outside, this new gleaming pop rock armor fits the band all too well. – KH

7. Empty Houses – “Far Away”

There’s no shortage of bands looking for a vintage sound, but only a few really try to replicate the spirit as well. Empty Houses’ “Far Away” manages to capture a distinct era of sound and rekindle it to meet today’s pop needs. The result is utterly beautiful. The melodies are simple, the production helps it sound as though it has been a part of our lives for decades. Singer Ali Shea belts out some of the most impressive vocal work this side of Adele, rich and soulful. The chorus of, “I had this comfort build up inside, it was a good place for me to hide / I’m hoping for a little longer ride / And I cried all night, thinking about it / I’m trying to convince myself / And I’m alright living without it” is nothing short of astonishingly wonderful. Dave Mackinder’s backing vocals and musicianship are a powerful subtlety that allows the vocals to truly shine while maintaining an instantly recognizable and memorable melody. – KS

6. Carly Rae Jepsen – “Run Away With Me”

The opening track to Emotion serves as the perfect re-introduction to Carly Rae Jepsen, a true star no longer mired in one-hit-wonder language. “Run Away with Me” is the cherry atop a splendid ice cream sundae of a pop album, rich in throwback pop tones and complimented with a sultry saxophone, although it’s Jepsen herself that serves as the primary instrument. It’s an expertly crafted pop song that showcases Carly Rae the person and the artist in perfect duality. Not only does the track connect with the let’s get out of here desires of every young love, (“We never sleep, we never try, when you are with me”), its eager delivery feels earnest thanks to Jepsen’s on-tape flare. So. Many. Emotions. – KH

5. The Early November – “Better This Way”

The Early November have always walked a fine line between indie emo and ballistic prog rock. “Better This Way” personifies this struggle to great effect, with gentle verses and a raging, shouting chorus. The song takes its time before blooming with the harsh grit of guitarwork and crunching drums. Ace Enders’ vocals show significant maturity as he speaks softly throughout the verses before some intense shouting during the chorus. The song is moody, bristling with emotion and carries a crazy amount of energy for such a plodding tempo. The midsection scales itself back even further, as Enders whispers over the tease of guitar snaps like the tinkling of a spider’s web before launching back into the incredible chorus. “Better This Way” embodies the best of The Early November, especially the intellect and experimentation that has come to define this stage of their careers. – KS

4. The Weeknd – “The Hills”

In truth, we really shouldn’t enjoy “The Hills” as much as we do. A track laced with deceit, addiction and horror, “The Hills” worms its way into your skull with a dark, brash bassline, blood curdling screams, and a disturbingly infectious chorus from Abel Tesfaye. In the post-modern pop world of 2015, this is what passes as a love song, as The Weeknd laments “driving through the gated residential” in route to his sinfully secret mistress, having just “fucked two bitches” beforehand. Tesfaye is nothing if not frank. It’s no surprise that The Weeknd doesn’t pull punches here, using contagiously catchy pop melodies to lure us into his world, before reminding us that we’ve actually been there all along. “The hills have eyes / Who are you to judge?” – KH

3. Motion City Soundtrack – “I Can Feel You”

“I Can Feel You” is one of the highlights of Panic Stations. Pristine, lazy guitars layered over an up-tempo beat and Justin Pierre’s slacky vocals make this song feel like the inner-workings of his mind. Self-doubt slowly builds while the beat never ends its relentless push forward. As Pierre sings, “I’m starting to see / The problem with me / is everything”, you can feel the tension and panic build before the chorus offers a euphoric release. However, the most rewarding part of “I Can Feel You” is the second half. Following a dreamlike bridge, the song ramps into an explosion of sound and Pierre’s frantic, desperate vocals, pleading with someone else while fighting for his own sanity. It’s an amazing moment, and sounds like an indirect sequel to fan favorite song, “Time Turned Fragile”. – KS

2. Kendrick Lamar – “Alright”

To Pimp a Butterfly is such a sprawling, oddly cohesive epic that it’s difficult to cherry pick. Without proper context, each individual track loses a touch of its bite. But if you had to choose one moment that encompasses the spirit of the record and serves as the necessary outcry against a painful backdrop of racism and police brutality, it would be Kendrick’s resounding refrain of, “We gon’ be alright!” “Alright” delves deep into Lamar’s psyche as he argues against voices that seek to pigeonhole and shame him, armed with a pen and his convictions: “I write ‘til I’m right with God”. A sporadic and powerful drum beat carries the track from start to breathtaking finish. Much more than just a chapter of the story, “Alright” is a rallying cry for a community in search of hope. – KH

1. The Wonder Years – “Cigarettes & Saints”

The Wonder Years have been known for their storytelling abilities for years, but “Cigarettes & Saints” is a beast different from anything else they’ve ever put out. In four minutes, the band manages to hit every high of their abilities and push their extremes while creating one of the stand out songs of the year. Starting as a slow strum of the guitar and lovetap of a snare drum, the song expands into a full-blown rock ballad that ends as genuine, defiant punk rock. It’s the slowest, quietest music the band has ever written, with a simple, mundane, perfect guitar line sliding throughout that builds it into a raging beast. Soupy’s storytelling dances about, hitting several areas and ideas that only build off of each other, starting as a eulogy that slowly takes a stab at religion and ends as an all-out attack on the pharmaceutical industry. Not making a full-on pop punk song as the highlight of their album was a risky move for a band known for being loud, but it only added to The Wonder Years’ insane writing abilities. – KS

Honorable Mention:

CHVRCHES – “Leave a Trace”

Drake – “10 Bands”

Mayday Parade – “Hollow”

Grimes – “REALiTi”

Nate Ruess ft. Beck – “What This Wold is Coming To”

Posted by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

Top 10 Albums of 2015

Best-albums-2015

It’s the most wonderful time of the year! No, not the holidays – it’s time to subjectively rank beautiful works of art so that we can collectively decide what the “best” album of 2015 was!

As obnoxious as the endeavor sounds, it never ceases to please. Indeed, a healthy debate about some of the year’s best music helps us reflect on what we loved about the past twelve months. These albums were not only culturally relevant and intricately constructed works of art, they were the soundtrack to our lives. What you’ll find below is an eclectic mix of artists and genres, each providing a unique voice and perspective.

While the list below reflects our opinions on a year filled with great music, you may find yourself in disagreement. Never fear! We’d love to hear your thoughts – share your favorite albums of 2015 with us in the replies!

10-heavy-loveMan Overboard – Heavy Love

Man Overboard have always been a band you want to love. Heavy Love perfects their sound, creating an album that I think will be their classic. Each of their albums have been enjoyable, but this one flawlessly delivers until the final breakdown fades away in “The First Degree”. “Splinter”, “Cliffhanger” and “A Love That I Can’t Have” are genuine staples that don’t try to reinvent pop punk, but showcase the greatest aspects of the genre with sharp guitar work and frantic drumming. For a band that seemed to have been slipping a bit a few years ago, Man Overboard are at their absolute best and appear ready to conquer the genre. – Kyle Schultz

9-thats-the-spiritBring Me the Horizon – That’s the Spirit

Bring Me the Horizon can’t seem to stop reinventing themselves and smashing our preconceived notions. The English rock outfit has completely shed their metalcore-by-the-numbers past and transformed into something far more interesting. While 2013’s Sempiternal appeared to be the final step in their post-hardcore progression, That’s the Spirit is an unexpected left turn of a record, deeply influenced by post-grunge and alt-rock sounds. Oli Sykes embraces his new smoother role as frontman with a surprisingly delightful delivery, whether he’s getting gritty on “Throne” or using his falsetto to great effect on “Doomed”. Bring Me the Horizon are no longer held captive by the confines of their previous scene – in this new world, the sky is the limit. – Kiel Hauck

8-beauty-behind-madnessThe Weeknd – Beauty Behind the Madness

Abel Tesfaye has no problem whatsoever presenting himself as a complicated, damaged individual, even as he croons deep into your soul on what may be his most accessible work to date. Beauty Behind the Madness is a debauchery and drug-filled pop extravaganza to the tilt, solidifying The Weeknd as one of the most captivating artists in music today. Whether it’s the horror-laced smash “The Hills” or the dark dance of “I Can’t Feel My Face”, no song is what it seems on the surface. From moment to moment on Beauty, it’s difficult to know whether to celebrate or collapse in tears. Maybe that’s the point. – KH

7-noel-gallagherNoel Gallagher’s High Flying Birds – Chasing Yesterday

Chasing Yesterday is a return to form for Noel Gallagher. While his first solo album was a refreshing acoustic based pop album, Chasing Yesterday returns Gallagher to where he reins supreme – the rock world. Each song is a highlight of the album as a whole, which features some of his best guitar solos outside of Oasis. Gallagher sounds like he had fun writing it, and it pays off. What stands out the most about this album is how timeless it feels. These songs sit somewhere between modern rock and classic Brit pop, but a song like “You Know We Can’t Go Back”, with its thundering beat and mountainous bass, feels like you’ve known it forever. – KS

6-american-beautyFall Out Boy – American Beauty/American Psycho

Ever since their comeback a couple of years ago, Fall Out Boy have utterly dominated the industry. American Beauty/American Psycho is a perfect pop record, utilizing hooks and choruses that only FOB could write and pushing Patrick Stump’s incredible vocals to insane new heights at every turn. While Save Rock and Roll brought the band back with a stunning new sound, American Beauty/American Psycho perfected it. “Novocaine” alone features a dark, deep tempo that slowly morphs into a near-disco beat that only builds on Stump’s impossibly high vocals. “American Beauty/American Psycho” is the most chaotic song the band has ever written, drawing the listener in with a rich beat and obnoxious bass flaring over light guitars and Stump’s simple, sharp lyrics. Fans may complain that they miss FOB’s pop punk golden years, but there’s no denying that the territory they’re treading now is what they were made for. – KS

5-every-open-eyeCHVRCHES – Every Open Eye

When Lauren Mayberry sings, “Here’s to taking what you came for / And here’s to running off the pain” in the opening moments of Every Open Eye, it’s a declaration of CHVRCHES’ strongest trait. The sophomore album from the Scottish synthpop trio is an exercise in movement, providing glistening beats to compliment Mayberry’s sweet delivery, which is often rife with acidity, despite her tone. If the Bones of What You Believe was one of the most promising debuts in recent memory, Every Open Eye confirms CHVRCHES as the best band to rise from the electro-pop scene. – KH

4-comptonDr. Dre – Compton: A Soundtrack

It was a long, 16-year wait for Dr. Dre’s follow-up to 2001, but Compton comes just in the nick of time. Serving as a soundtrack of sorts to Dre’s journey since the inauguration of N.W.A., Compton packs a much-needed wallop. Sure, the album serves as who’s who of current and past hip hop royalty, but the voices within speak on behalf of an entire community, reaching even beyond the Compton city limits. Dre’s production once again affirms his legendary status, as each beat tells its own story. From the liquidy grip of “Deep Water” to the dirty grind of “One Shot, One Kill”, Compton is one of the most ambitious and deeply moving hip hop albums of the decade. – KH

3-imbueThe Early November – Imbue

The Early November has never been a band to shy away from bigger things, which made Imbue a welcome surprise. As a long-time fan of the group, hearing them ditch the poppier elements of their style in favour of darker, alternative sounds gave them a glow that hasn’t seemed to be there since 2003’s The Room Is Too Cold. Though emo elements are still prominent lyrically, the band sounds more relevant than they ever have. Ace Enders, a man known for his stellar song writing and incredible vocal range, pushes himself farther than we’ve ever heard him in his fifteen year career in songs like “Better This Way”. The haunting re-recording of “Digital Age” sends the band out on a high note as a rallying cry for music everywhere. – KS

2-no-closer-to-heavenThe Wonder Years – No Closer to Heaven

Once again, The Wonder Years have gone above and beyond what anyone expected of them. At this point in their career, it’s hard to imagine ways for the band to push the boundaries of their style of pop punk, but they have delivered yet another genre defining performance. Writing about worldly issues for the first time, The Wonder Years took savage shots at the pharmaceutical industry, abusive parents, and police violence while maintaining the personalized storytelling that sets the band so far above their peers. From the buzzing shred of guitars on “I Wanted So Badly to Be Brave” to the soft strums and rampaging fury of “Cigarettes & Saints”, No Closer to Heaven finds the extremities of sound and the band’s innate ability to perfectly capture emotion, fear and the optimism needed to fight through. – KS

1-pimp-a-butterflyKendrick Lamar – To Pimp a Butterfly

How do you follow up good kid, m.A.A.d city, one of the most heralded hip hop albums in recent memory? With an unapologetic funk and jazz infused record that seems to defy classification, of course. It’s hard to tell at times whether To Pimp a Butterfly is a letter penned to Kendrick himself, or the collective outcry of the black community in America. No matter, as the album demands your attention from start to finish, leaving little room for rebuttal. Kendrick spits venom on tracks like “The Blacker the Berry” and “For Free?”, but songs like “King Kunta” and “Alright” border on celebratory. To Pimp a Butterfly refuses to go down easy and requires repeated listens due to density. It’s also the most important album of the year, while still managing to be the best, which is no small feat. – KH

Honorable Mention:

Mayday Parade – Black Lines

Carly Rae Jepsen – Emotion

Drake – If You’re Reading This It’s Too Late

As It Is – Never Happy, Ever After

Sufjan Stevens – Carrie & Lowell

Posted by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.