|Top Moments (Vol II)|
The last time I made this kind of list, there were a lot left out. But now I think with this 60 I've covered all of the songs I wanted to. Enjoy and check these songs out if you haven't yet, I promise they're worth it.
Say This Sooner (2:07-2:38): This band is too inconsistent for my liking and this album is kind of a one-hit album, but man is this single ever good. The chorus is infectious and when this bridge hits, I can't help but join in on the breakdown and chanting before the final chorus.
It Was Fear of Myself That Made Me Odd (1:32-end): This moment actually can be split into two segments. The first part the guitar picks up with Dallas delivering an emotional verse. The song then takes a cool down and then it's George who seizes his moment and breaks you out of it with his harsh vocals amidst some soaring guitar to close the song out. Very powerful.
Suburban War (0:00-0:11): Most people would guess that the highlight is the bridge section of this song where the drums pick up, but for some reason it's when that guitar line comes in to open the song that the shivers get sent through me.
|4||Birds of Tokyo|
Head In My Hands (3:14-3:18): Catchiest song in their discography and when Ian Kenny tones it down right before that final chorus, you're just ready to belt it out with him as loud as you can when it hits.
I Miss You (1:53-2:10): I could never quite get into this band as much as my friends when we were all young teens, they just seemed too immature and bratty a band to me. But when Tom finally delivers that line "Don't waste your time on me, you're already a voice inside my head"...well that's just about the most touching thing I've ever heard.
We Are The Romans
To Our Friends In the Great White North (3:27-end): "It's your fault, you're fucking up the kids...you're fucking up the kids....[insert scream of the century]"
Gasoline (1:11-1:33): I just love when the band adds that crunchy guitar note to the second verse and Jesse Lacey tops it off with "YOU THINK THAT YOU'RE THE ONLY ONE!".
Well Enough Alone (0:03-0:19): Whenever I was without my alarm clock to wake me up in the morning (usually camp or something), I would use the opening scream in this song to get myself up. It's a hell of a jumpstart to one's day.
Roswell's Spell (2:46-3:16): Chevelle does something very uncharacteristic and breaks away from their usual generic verse-chorus structure and delivers a fiery bridge with a riff that feels like an explosion when it enters and Pete's scream is just the perfect compliment for it.
La Curandera (3:31-4:00): Some organs come in the background while the band just jams for the last part to close the song out. Clutch are just champs, there I'll say it.
Wild Ox Moan (0:45): Sean Ingram's grimy howl comes fucking flying through the speakers at warp speed and fucks you up the ass before you even know what happened.
Just Visiting - Part 1
Moo (2:16-2:58): HEEYY HEEYY HA-AH-AHHHH, HEEYY HEEYY HA-AH-AHHHH. Such a grimy riff, this has to be my favorite heavy song by Cog.
The New Normal
Run (3:19-3:39): This is a funny song in that it's hard to take the lyrics seriously at first. "I gotta run, gotta run, gotta run today"? Really? But then when you realize what the lyrics are about it's actually a little sad. When this song first made sense to me it was this part that kinda choked me up a bit.
Viva La Vida
Lovers In Japan/Reign of Love (2:59-3:42): The absolutely stunning close to the first part of the song. The song just goes into overdrive as the guitars and pianos pick up and everything feels so warm and fuzzy.
You Fail Me
Eagles Become Vultures (0:00-0:14): That opening mess of drums and riff are fucking badass and are another moment from Converge that makes me wanna pummel somebody into the ground.
Crystal Castles II
Vietnam (0:00-1:19): The opening segment is probably the most haunting and surreal moment in their entire discography. Listen to it drunk or high (whenever you're more sensitive to the sounds and tones of music) and you'll hold onto every note.
|17||Cult of Luna|
Waiting For You (6:12-10:07): The climax of the song, very powerful and despite it being prolonged and repeated for almost four minutes, it never feels boring and when the screams come in at 9:33 everything just reaches that next level of intensity.
The Medication Generation
Dose Reponsive (0:04-0:26): Extremely heavy and unexpected intro. It was my first true taste of industrial.
|19||The Dead Weather|
Sea of Cowards
I'm Mad (-0:06-0:15): Alison closes off "The Difference Between us" with an eerie chant of "next I ain't doing so well", and then the transition into this song cools things down with a slick groovy beat.
Koi No Yokan
Rosemary (1:28-1:42): That slugdy guitar breaks off Chino's soothing vocals and I simultaneously jizz my pants.
|21||The Dillinger Escape Plan|
One Of Us is the Killer
One Of Us Is the Killer (2:18-2:48): I can't believe something so recent has already made this much of an impression on me but when it picks up after the second chorus I get so pumped for the heavy bridge section to come in.
|22||The Dillinger Escape Plan|
Under the Running Board
Sandbox Magician (0:08-0:32): So...much...math. It's like an advanced calculus class taught in 30 seconds. "STRIP IT OOOOOOFFFFFF!!!!!"
Midnight in a Perfect World (2:30-2:56): This song is chill as fuck, just awe-inspiring to sit and take in. In this section of the song, the heavier sampled beat comes in to make the song just soar.
|24||Fair to Midland|
Fables From a Mayfly
A Seafarer's Knot (2:35-3:55): Fair to Midland knows how to make songs pack a punch and the bridge section of this song builds to an emotional climax and final chorus.
|25|| ||Guns N Roses|
Chinese Democracy (0:45-1:27): Say what you will about this album, and to be honest I didn't like it much either. But the kickoff to this opener is insane, that quiet little guitar peeping through the rush of voices and noise and then the opening riff. I consider that entire song perfect and wish the album had had more of THAT.
|26||High On Fire|
De Vermis Mysteriis
Fertile Green (2:10-2:15): How the fuck did he even make the guitar just do that? I've never heard that noise come out of a guitar before.
In the Absence of Truth
1000 Shards (1:31-2:08): Isis show you they can even make their softer songs just as beautiful, the guitar at this part with the soft whispering in the background is truly luring.
The Other (3:37-4:17): If the first parts of the song weren't heavy enough for ya, wait for this section of the song. It awakens my anger like no other song.
Carry (6:20-end): I don't think musical notes get much lower than this. Great ending to a brilliantly built-up song.
|30||Jimmy Eat World|
Bleed American (0:00-0:12): A nostalgic favorite, great opening.
All I Know (3:03-3:13): Karnivool are so talented that even on a song under 5 mins they can squeeze in enough progression and timeless moments to cover the same ground as they would otherwise cover in a 10 min song. This breakdown is one of the most rewarding moments in their discography.
Mauseum (2:43-3:30): The whole song has this slow, epic feel to it. And the entire time it feels as though it's all building up to something. Well, this is what it was building up to.
|33||Lana Del Rey|
Ride (3:41-4:01): Shut up and just skip to the next one alright? Fuck you.
One Step Closer (0:09-0:19): There wasn't enough Linkin Park on my last list. So I'm putting the opening riff of One Step Closer because it pretty much defined my early teenage years.
Faint (1:45-2:08): Another classic from these guys. This part is ridiculous, "I WON'T BE IGNOOORRED!!!".
Twice (0:51-1:33): Here's the music video for this song (have fun fighting back tears): http://www.youtube.com/watch?v=yedD4JsZyT0
Island (0:00-0:22): Ferocious opening riff, literally feels like getting pummelled by a gigantic wave.
Labyrinthian (0:00-0:18): The song's opening is great, brings lots of energy and sets up the opening verse perfectly.
Nothing to Gein (0:43-1:08): Probably one of their rawest and most emotional choruses. Chad's growl is perfect.
Stockholm Syndrome (2:05): That neat little thing they do with the guitar before the second verse comes in. It's a small additional but exactly what the song needs to up the intensity.
Black Holes and Revelations
Starlight (1:10-1:42): First comes a touching first section of the verse with "you electrify my life" and then quickly transitions into a heavier jam where Matt wails "I'll never let you go, if you promise not to fade away".
Eorchean (0:00-0:58): The opening riff and first lines to the song. "WHERE DOES IT COOOMMME FROOOMM?!?!?! AND HOW WAS IT MAAAADEEE?!?!?!". Get some.
Saturday Morning Breakfast Show (2:32-2:35): That nifty little addition with the guitar to open the second verse. I wait avidly for it each time.
Everyone Into Position
Meredith (5:22): "Oh how I'd cut you to the......[music cuts off]...bone". Very eerie, makes me imagine that's what dying is like.
Everyone Into Position
Music for a Nurse (3:07-3:47): I struggled to pick exactly which part of this masterpiece of a song I liked most. I decided it has to be that part where Mike's voice reaches heavenly heights singing "Shapes fall into place". It always makes me feel like he's ascending to the heavens and we're tagging along for the ride.
The OF Tape Vol. 2
Rella (2:10-end): I know it's kind of a buzzkill to have this after such a beautiful song, but this is alphabetical. This is my favorite verse from Tyler, the Creator.
The Sound of Muzak (2:28-3:30): Another fantastic bridge section, with a wonderful guitar solo.
Black Dahlia (0:49-1:22): I wish the whole album had more moments like the first chorus of this song. Just stunning.
Innocence and Instinct
Mystery of You (2:52-end): When Mike Barnes fucking owns the bridge section of this song and it plays into its final moments. It makes me feel better for listening to this kind of sappy shit. It just works, that's all I'm saying.
Revolutions Per Minute
Strangers (Paranoid) (0:17-1:11): Talib Kweli's verse here is greasy.
Shrine of New Generation Slaves
Deprived (5:10-5:26): Another moment to come out of 2013, this might be one of Riverside's best moments to date. When we emerge from the eerie electronic synth beats the guitars feel like a gasp of fresh air, like coming out of water.
|52||The Safety Fire|
Grind the Ocean
Huge Hammers (4:40-4:52): The drums pick up and guitars go into overdrive before the final section of this beast of a metalcore song.
Love At The End Of The World
Lions of the Kalahari (1:24-1:54): Incredibly average album, but this segment of the song is always a reason to go back and give it another try.
Bridge to Nowhere (1:52-2:08): My absolute favorite song from him, who knew he could get his voice as high as he does here. Even when I sing this in the shower I skip this part because I physically can't sing that high.
Heaven for the Weekend (-0:05-0:12): The closing moments of the interlude leading into the guitar that opens this song. This album is so much fun and I couldn't possibly imagine any other song besides this after the interlude.
Whispers In the Dark (0:18-0:27): Another example of a guitar riff that I can't see how any rock fan would hate on the first listen.
|57||Them Crooked Vultures|
Them Crooked Vultures
Elephants (0:00-1:23): Maybe one of the greatest openings of a rock song in modern rock history. You think I'm kidding, this song wastes literally no time.
|58||Twelve Foot Ninja|
Mother Sky (0:23-0:38): When the intro comes in you can just tell a heavy riff is brewing and when it hits, it hits you hard.
|59||Twelve Foot Ninja|
Shuriken (0:00-0:41): I always find this part so soothing, even though this song becomes heavier later it shows this band is comfortable at any volume.
|60||Twelve Foot Ninja|
Dark Passenger (1:54-2:05): One of the band's best and heaviest songs. This part of the song is basically how I wish the band Cog would've evolved towards in later years. Perfect balance of heaviness and wackiness (they're making karate sounds for Christ's sake!).