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| 30 Songs Of 2014
With all of the recent album lists of the year, I thought it would be good rto take a look at a look at some of the songs that stood out the most in rtheir own right, rather than focussing on entire albums that stood out. rGranted, a lot of these songs do come from my own favourite albums of rthe year but there are but there were also some from horrible albums rthat made it too. Well anyway, happy new year everyone. | | 30 |  | Sophie
Lemonade/Hard
Hard - (PC music/Synth Pop) - So we begin with something I came across quite
randomly and thought it was pretty shite until further listens. I hadn't really heard of PC
music before - any of you who are familiar with the genre will KNOW what I mean - so I
was basically shocked when the disorientating glitch beat and ridiculously cheesy chorus
hit my ears. It was just so odd; as if I had entered a barbie doll factory and they were
all singing with the huge grins pointing towards to me. Needless to say, I was drawn to
the strange beats and just how busy the whole song seemed to be. It was the kind of
thing I craved for, just maybe not the thing I expected. The ridiculously cheesy vocals
became alright after a while. Somehow, the whole thing became pleasant.
https://www.youtube.com/watch?v=V8fwWZD159k | | 29 |  | Signor Benedick The Moor
Opus 3 - A Man Atop The Tower
Dawn (Snippet) - (Hip-Hop) - His previous work hadn't been anything worth
clamouring about what it did do was showcase his potential. This EP dropped pretty
unexpectedly and whilst I don't think this is as good as it will get, I think he's
definitely making progress with his sound and style. A rather enigmatic multi-
instrumentalist, SB often incorporates whatever style he feels appropriate into his
work, in this case its elements of rock and r&b. The beat is infectious with its
gracious r&b tone, the vocals are hugely enjoyable, especially the clean ones and
the rapping is exquisite to top it all off. There's an electric guitar that flies in and
out of the mix that sounds a little out of place on paper but actually works upon
listening. Finally, it must be said that the final verse is astonishingly perfect. This
guy has bucketloads worth of potential. https://soundcloud.com/sbthemoor | | 28 |  | Black Monolith
Passenger
Adhere - (Hardcore Punk/Black Metal) - Genre bending has a habbit of producing
awful, awful scenes and obsessions. Luckily, Black Monolith are among the bands that
actually achieve something by combining hardcore punk and black metal. I personally
thought that this track exemplified their style the most and more importantly, the best
with it being pretty black metal until half way in where the drums all of a sudden
morph into a punk motif before the guitar follows. I'll keep this one brief: a song for
fans of both genres. https://www.youtube.com/watch?v=LVGuZmK30WA | | 27 |  | Deafheaven
Sunbather
From the Kettle onto the Coil - (Black Metal/Shoegaze) - Not technically on the album
but what else was I going to put down? I'm just going to go out and say that I hate
Sunbather. The entire thing has very little appeal to me and just comes across as
boring. it was quite nice to see Deafheaven produce a much grittier track after that
release in the form of this, with the black metal bits being harsher, darker and not that
cheery stuff that Sunbather had to offer. On the flip side, the slower shoegaze part
feels more like it's actually part of the same song for once and is actually a very
pleasant experience with the progression of the song feeling natural.
https://www.youtube.com/watch?v=QenJHuTXcVk | | 26 |  | Plebeian Grandstand
Lowgazers
Thrvst - (Hardcore/Black Metal) - The mere sound of the mix of these two genres brings
clear intentions: a furious, hellish chaos. It's not quite the wall of sound as darkspace is
but it can certainly rival it with its crushing blast beats all round and almost terrifying
shriek. And the best thing about it is in fact that that is pretty much the extent of the
entire song. Of course, this sounds monotonous and repetitive and to some, boring but
it's actually not. There's so much going on, so much to soak and gradually get used to
that it becomes easy to enjoy the ferocity and eerie haunting feeling the track provokes.
https://www.youtube.com/watch?v=bn8-ikePJj8 | | 25 |  | Julia Brown
An Abundance of Strawberries
The Body Descends - (alternative rock/lo-fi) - An Abundance of Strawberries boasted a
plethora of ambitious melancholy, all of it which worked amazing for the most part. The
dual male and female vocals complimented one another nicely and the lo-fi quality made
everything feel a little more real and sincere. Among all the tracks, this one had definitely
stood out the most. Starting off gently with some piano melodies, all the instrumentation
cascades in an epic ensemble, where the dual vocals once again plays a big part of the
entire thing. The whole thing just ends up soaring, the solemn strings and tone of vocals
and lyrics. It feels kind of like a goodbye, or a goodnight but a special one. There's a lot of
sadness but there's a lot of joy and companionship at the same time. The mixture of these
emotions feels like falling asleep on a cloud but in the happiest way possible.
https://www.youtube.com/watch?v=lfnt538cDSI | | 24 |  | Death Grips
The Powers That B - Part I: Niggas on the Moon
Billy Not Really - (Experimental Hip-Hop) - DG are pretty much renowned for their
visceral scream approach to hip hop, so this was a little strange as it was just... fun.
Death Grips don't really do fun but then again, they literally do whatever the fuck they
want, so who am I to say what they can and cannot do. The hook is infectious, the
bounce is addictive and whilst the lyrics are confusing as fuck, it's still fun to quote
some of them, such as the random 'AMNESIA' or 'UGGHHHHHH' that recurs throughout
the track. And then something strange happens... MC Ride actually raps in a brief
sequence towards the end where the mashed up Bjork sample beat is all of a sudden
stripped away in favour for a more charismatic verse that seems to come out of
nowhere but just works so well. Bundles of fun. https://www.youtube.com/watch?
v=QWR0-s30WsY | | 23 |  | A/T/O/S
A/T/O/S
What I Need - (Trip Hop/R&B) - An oddly noir-like track that seems sonically out of place
within the electronic heavy production of the album, yet one that is very welcome. The piano
sequence that the entire track is based around is absolutely gorgeous with soft, skipped
drums beats in the background that compliments this sequence astoundingly. Aside from
this the free, suave and smooth r&b vocals float gently on top of all of the instrumentation to
make a perfect match. You know what? I'll stop talking and just say listen to the damn thing
yourself if you haven't done already. https://www.youtube.com/watch?v=1wtNjz7jghE | | 22 |  | Musk Ox
Woodfall
Part 1 - Earthrise - (Classical/Folk) - Probably the easiest song to enjoy on the album,
the opener paves the way for our epic journey. The guitar opens before the strings
swell all around it, layering the in ethereal beauty and the somewhat sad emotion of
regret and misery. Out of the lot, this definitely stands out as feeling the most isolated
of the five tracks and to its advantage, it's a little more solemn than the rest. A gentle
stroll across the field with only the harsh cold and a dim sun as the only companion. I
feel cold and get chills by just listening to it and yes, I mean in a good way.
https://www.youtube.com/watch?v=IoWL22G8vKk | | 21 |  | Venetian Snares
My Love Is a Bulldozer
She Runs - (Breakcore) - It's been quite a while since Aaron Funk, A.K.A Venetian Snares
reached the highs of Rossz. The truth was that nothing he had released before and after
had the same charisma and unique bleak personality that Rossz possessed. Granted, it
didn't help that Aaron was often jocular with his music, almost releasing records as
frequently as Buckethead. To his credit he was always trying something new... Until 2014
where it seemed he would return to this breakcore-classical fusion that worked so well on
Rossz. | | 20 |  | Sunn O))) and Ulver
Terrestrials
Eternal Return - (Ambient/Jazz) - Sunn....? SUNN? What am I thinking? Who have I
become? But in all seriousness, I was caught a little off guard this. I wasn't particularly too
familiar with either artist at the time so I was a little unsure of what to expect but what I
was met with instead was a wall of lush, sometimes dark jazz that's beautiful, sweet yet
also a little tense and terrifying too. And despite being a pretty long song, there's so much
going on that you're able to listen to something a little different with every listen. It does
tend to get a little monotonous but it's difficult to deny that the entire thing is anything other
than impressive and soothing. https://www.youtube.com/watch?v=yW1Sce1F5v0 | | 19 |  | Gazpacho
Demon
Death Room - (Art Rock) - This epic 18 minute monster encompasses everything the album
has to offer and it's not even because the track is almost a half of the total album run time.
It literally took me months to appreciate this song, partially because of how long it is but
mostly because there doesn't really seem to be a climax. Being proclaimed as a prog rock
band, one would expect a climax somewhere but the key was taking an entirely different
listening approach towards this to finally enjoy it. It was about enjoying the journey, not the
outcome and that pretty much sums up the track for me: 18 minutes of delightfully pleasant
music that include many of the sonic elements the album had to offer. It's probably worth
mentioning that it's relatively the most intense song on the album, which is a nice change of
pace after I've been Walking. Give it a go: https://www.youtube.com/watch?
v=5YF9fEGbTLA | | 18 |  | Casualties of Cool
Casualties of Cool
Forgive Me - (Ambient Country) - So many country twangs that I normally hate all of a
sudden become one of the best things I've ever heard. Among the things making me love
the properties i used to dismiss is the production. Devin Townsend might specialise in metal
but he sure as hell knows how to make a good ambient/country infused sound that's so
astonishingly perfect. The reverb laden effects bring out the best qualities in the
instrumentation, his breezy like vocals, as shown in the chorus and more importantly, Ch?
Aimee Dorval. The production suits her slightly rough and soulful vocals all too well and
create a canvas which allows her to thrive and sound powerful and emphatic. Finally, I just
have to mention the last guitar sequence that eases the song to its end. It's a brief plucked
sequence with Che's echoed vocals accompanying as more guitar twangs fill any cavities.
It's utterly gorgeous but if you don't believe me, just listen to it for yourself.
https://www.youtube.com/watch?v=QNlLqvZPfI8 | | 17 |  | Epica
The Quantum Enigma
The Second Stone - (Symphonic Metal) - It's not too hard to see how Epica inevitably
reached this sound. Over the years, their sound had slowly become more focussed,
direct and more calculated. This isn't necessarily a bad thing and it avoided parts of
songs dragging on in favour for more concise songwriting. The culmination of their
efforts then led to this fine piece of work. I was pretty surprised with what I was
hearing here. Everything was crafted around something more solid and gripping. Even
though it was a tad predictable, it was an enthralling listen nonetheless. It's basically
everything an opening song needs to be and it does blend Epica's best traits together.
The chorus to emphatic and grandiose with Simone's vocals soaring to rather pleasant
heights. One of the best things about it though is the construction of the song and how
much their songwriting overall has improved. For instance, the end of the chorus
builds up and up, which is taken away with silence before Mark's growls enter. It was
extremely exciting listening because everything felt like it was in its right place and
the tone and pace of the song was done to perfection. Nuff said, really. It's just
extremely solid. https://www.youtube.com/watch?v=MQMkyWaYwBA | | 16 |  | FKA twigs
LP1
Pendulum - (R&B) - R&B has the power to convey many emotions, most notably those fuelled
by lust and desire but is generally quite the emotive genre as a whole. I therefore suppose the
brilliant thing about this is the emotional weight carried in it. It's just so sensual but melancholic
in the best way possible. The vocals have so much soul and emotion to them that it's not too
difficult to actually feel the hurt of a break up or a heartbreak and this is pretty much
exemplified in the chorus, where twigs sounds so delicate and fragile. The song slowly
progresses into layers and ethereal bliss and is pretty beautiful despite its rather odd beat.
Perhaps the best thing about it is undeniably the second verse, however. Everything is
somehow more sensual, such as by stressing and elongating some notes, ("you forgot, how we
fell in love"). Twigs voice also cracks at times too and this is what separates your typical
heartbreak song to a song that genuinely encompasses hurt. Finally, I just want to point out
the second pre chorus, where twigs says "so lonely trying to be", where she REALLY stresses
her cracking voice in "trying" and it's simply one of the most beautiful things I've heard all
year. https://www.youtube.com/watch?v=Cw6H9YsTLek | | 15 |  | Damien Rice
My Favourite Faded Fantasy
My Favourite Faded Fantasy - (Indie Folk) - It was only appropriate that this came to my
attention at the end of autumn/start of winter. Listening to Damien's icy cold vocals
reminded me of those dull, dry and most importantly, cold walks to school every morning
where everything seems to be much more beautiful but a bit sad too. It actually feels like
Damien is breathing into my ears as he sings and the tone and overall melancholic vibe is
delicious. Accompanied with some rather chilling backing instrumentation, it just felt like
the inevitable arrival of winter finally came. Well anyway, It has to be said that this track
held its ground better than everything else on the album. Sure, people say that the
climaxes are a little forced or over the top, but this is exempt from that. Everything just
builds so naturally up with glittering effects shimmering in the background up to that final
point where Damien's heartbroken wails shout over an electric guitar and it's just chilling
but in all the right ways. Everything the song had going on was brought together in that
last half minute right before everything vanishes immediately. It's powerful stuff.
https://www.youtube.com/watch?v=Rh1C8qpODZs | | 14 | | Flying Lotus
You're Dead!
Never Catch Me - (Hip-Hop/Jazz/Electronic) - Was it actually that surprising that FlyLo went
all jazz for this album? Not really but this song was a surprise and a very nice one at that.
It's blends FlyLo's thick, atmospheric production and beats with Kendrick going at it full
throttle in his higher and normal vocal region. You're definitely better off listening to the first
5 tracks all at once to get some context as they all lead up to this centrepiece within the
album. Whichever way it's viewed, it's a good electronic song as well as rap song and the
fact that it can be competent in both areas is why it's so high up on the list. Last but not
least, the final segment towards the end truly gives the track a nice, polished finish which
combines all the elements heard in the first 4 tracks beforehand. If Kendrick's spitting isn't
convincing enough, then that is. https://www.youtube.com/watch?v=k4Oz8UmUXbg | | 13 | | Musk Ox
Woodfall
Part 4: Above The Clouds - (Folk/Classical) - I remember the first time this album finally
clicked. It was in the middle of a long and late car journey, to which I had plugged myself
in with this album as I fell asleep and it all of a sudden hit me at this song, some few
hours later. The ending was perfect and how it led into part 5 and in the face of a cold car
with nothing but blackness to look at from the window, the albums true beauty and colours
began to show. This alone could have been a fitting ending to the album. It's difficult to
describe the sounds of this as it will literally be identical to that of part 1 but this offers
something a little more intense (but not like the awkward beginning of part 2). Lending
itself more from classical music now with more harmonious string melodies that are far
more technically complex than the opener, this gives us the combined efforts of beauty
and intensity that switch back and forth, creating a more dynamic structure. I just prefer
the added variation in it but if there's one track that needs to be heard from this album,
then I suggest you scroll down... after listening to the song first, of course.
https://www.youtube.com/watch?v=UHc_pWpCzME | | 12 |  | Coldplay
Ghost Stories
Midnight - (Ambient/Electronic) - It's a shame that this song mislead us to originally think that
Coldplay were going well out of their comfort zone. In all fairness, this song actually is well out of
their comfort zone but it's just the album as a whole that isn't. Absorb the atmosphere; take it in for
it is cold and delicious ambience that surrounds my ears. I was a little sceptical at first. Chris
Martin's voice through a vocoder was strange but it grew on me very quickly and I learnt how to
appreciate the layering. To put it simply, this is a lush, tranquil track filled with layers of reverb
heavy vocals and electronics. Yes, it's something that's been done before but it also brings together
a strength that Coldplay have perhaps exploited for too long - the ability to be somewhat gripping.
There isn't necessarily a chorus of any sorts here but it's just engaging, especially by the 3 and a
half minute mark where the bass tone thickens and synths swirl over, like the breeze gushing
through the branches on a cold night sky. Soon after, the song fades out with the harmonious vocals
breathing its last breaths before being put to rest. It may not be the most original thing, but it
certainly has charisma. https://www.youtube.com/watch?v=BQeMxWjpr-Y | | 11 | | Death Grips
The Powers That B - Part I: Niggas on the Moon
Up My Sleeves - (Experimental Hip-Hop) - I TAKE MY KNIFE AND I QUENCH IT! Can these
guys even be considered hip-hop with this release? Among the eight tracks that this half of
their double album had to offer, this was certainly the strangest, most abstract, lyrically and
musically, but also the most rewarding. For so long, it doesn't really seem to go anywhere or
even have any solid depth to it but this is delayed gratification at its finest. From the
abrasive synth that lingers in the background to Bjork's chopped vocals flying in and out as
they please, there doesn't actually seem to be anything that you can pinpoint and say "ahh,
this where I start to enjoy the song!". Nevertheless, it's the subtleties that ultimately become
the most rewarding factor, such as MC Ride's varied vocals to the "SNATCH MY
FASCHHHSHSHS" manipulations. If Jenny Death is anything like this then I am very
excited... if it ever arrives at least. https://www.youtube.com/watch?v=2kDinXI0bxM | | 10 |  | Ne Obliviscaris
Citadel
Painters of the Tempest (Part II): Triptych Lux - (Progressive Blackened Death Metal (with
violin)) - I don't think I could have come across a better prog metal song of the year. All the sub
elements that make up the bands sound are brought together with precision exquisitely well. The
whole thing equates to be a 16 minute journey of brutality, beauty and a finale that's just epic as
fuck. Everything that Portal perhaps didn't do were resolved here and that violin sounds a
pristine as they always have. Even the vocals, which I thought were extremely poor on Portal
are much better now. It was certainly an ambitious effort by any means in general as the
varying passages and dynamic switches are mesmerising and well put together. What will be
interesting is how NeO approach their next couple of records as this certainly comes across as a
kind of end product, rather than a stepping stone onto someone more grandiose. All of that is for
the future though, so I might as well bathe in the goodness of this track and album.
https://www.youtube.com/watch?v=fL1P6QXjnJc | | 9 | | Venetian Snares
My love Is a Bulldozer
10th Circle of Winnipeg - (Breakcore/Electronic) - There's just something very charming and
elegant about the old fashioned singing samples. It's a bit like that eerie vocal sample on
Ketsarku Mozgalom on Rossz, which was a woman speaking of her not knowing what happiness
was anymore. The track was molded around it to become almost as depressing as the vocal
sample. With this, it's a similar affair with the chaotic drum breaks stopped only by the vocals
saying "This world is over/there's nothing left/life was empty". It's a different kind of charm to
the one on Rossz but a genuinely nice one. Aaron Funk pulls it off extremely well with the
drums not being overly technical to a point where they're lifeless but where they actually
compliment the vocal samples used. Not only that, but the progression of the song is spot on
with it becoming more intense and suitable pace. It's almost as if the drum breaks are what the
voice samples are trying to say, but wasn't able to and replicates the old fashioned charm that
feels so niche these days. https://www.youtube.com/watch?v=_XMxrqbPqx0 | | 8 |  | Thantifaxath
Sacred White Noise
Lost Static Between Worlds - (Black Metal) - Well, it wouldn't exactly be a depressive black metal
album if it wasn't that depressing. Sometimes the screeches make it hard to distinguish the lyrics,
which tends to be a common trend through this magnificent album but that's not the case here.
Much of the lyrics are heard well and clear... very clear. This is really where the despair, the
bleakness and the desperateness that the album succeeds in portraying really come out. Arguably
the most chaotic and manic song on the album, the song leads into a pit of desperation where the
instrumentation slowly becomes more disorientating and whilst the vocalist is bellowing at the top
of their lungs "WHERE HAVE YOU GONE? WHY HAVE YOU LEFT ME HERE? WHERE ARE YOU?". It's
madness; utter madness but that's just what makes this as good as it is.
https://www.youtube.com/watch?v=yZ1wUqc4X7g | | 7 | | Gazpacho
Demon
I've Been Walking Part 1 - (Art Rock) - Out of the three behemoths that offer some of the most beautifully subtle
art rock on this album, this tops them all. Why? Because it feels the most whole, in my humble opinion. No string
melody, vocal melody or delicate drum pattern feels out of place and emulates the feeling of solemn bliss. The
story the album proposes is a little complex to follow but it doesn't really matter when the music is emotive
enough to speak for itself with the chillingly beautiful piano interlude at around the 4 minute mark or the sombre
strings that swell at all the right moments. It's oddly isolated but in touch with its emotions and knows exactly
how it feels. Combined with fantastic songwriting, it just had to not only be one of my songs of the year but also
one of my albums of the year. https://www.youtube.com/watch?v=0A03LT3UEEI | | 6 | | Casualties of Cool
Casualties of Cool
Daddy - (Ambient Country) - What a lot of concept albums fail to do is transport the listener into the story
through the actual music. Much of it tends to have have an ambitious theme with matching lyrics that work out
pretty well but it's a shame that the music doesn't really feel like it's true to the concept most of the time.
Unlike those, however, Casualties of Cool is the exception. A vast, lonely and sometimes terrifying place is set
through the breeze like vocals of Che and Devin and puts emphasis on the theme of isolation and
hopelessness. Daddy is THE perfect example of the best assets of the entire album, with Che's rough vocals
standing high and mighty through the thick production. It brings out the best qualities that her voice has to
offer and she even does a superb job at sounding the part by having sleepy, lazy vocals that compliment the
atmosphere of the song. The chorus is surprisingly stunning and the backing instrumentation is playful and
infectious. WTF have you been doing if you haven't heard this? Get out from under your rock:
https://www.youtube.com/watch?v=6xZHItjnzZ0 | | 5 | | Clipping
Something They Don't Know/Mouth
Something They Don't Know - (Noise/Experimental Hip-Hop) - I've listened to this track far too much since
its discovery. But anyway - Probably the most amusing thing about this song is how it actually portrays
Clipping's previous endeavours as something they didn't try enough in - or perhaps they tried too hard in,
therefore making it too polished. Their abrasive approach to hip-hop is well known at this stage but it's
interesting at how they pushed the boundaries even further with this. More risks were made, all of which
proved successful in the long run. The entire product feels so full and polished, like an exquisitely luxurious
dessert that hits all the right spots but doesn't overstay its welcome. Each guest rapper adds their own
unique qualities to the song, most notably the impressive SB The Moor really shining above anyone else,
whilst Baseck puts down ridiculously fun cuts and scratches over a Dirty Old Bastard sample. There's a lot
to say about this, so just go and read my review about it. https://www.youtube.com/watch?v=rrBpvp0xlRw | | 4 | | A/T/O/S
A/T/O/S
Projects - (Trip Hop/R&B) - I'm personally quite fond of the slow and sexy R&B vocal style. Not something
too over the top, like Mariah Carey being guilty of a wee bit too much, nor the constant falsettos of How To
Dress Well; more of an R. Kelly or Ne-Yo kind of thing. That, sadly, is rather difficult to find as it's oddly
very specific. Luckily for me though, I found everything with this song. I was immediately sold with the Trip
Hop/R&B tag coined next to it but what I wasn't particularly expecting was how good the electronics would
be. Starts of quite gentle with fluttering synths dance around one another like the flame of a candle before
other, more dense synths begin to find their voice before it all comes crashing down for the beat.... THAT
BEAT. Quite the minimalistic beat, really but it's just so simple, yet effective and powerful with so many
angles to it, especially with the rumbling lower regions. What actually makes this track is by far the vocals,
with them being slow, subtle and harmonious at the same time. They exemplify what R&B vocals are but it's
the combination of these vocals and the cold beats that make this such a good song. From the soothing
electronics and the vocals to just the way the track closes in such a powerful manner with everything
building up and culminating into a foray of swirling electronics. It's difficult to explain, so I encourage you
all to listen for yourself and know what I mean. https://www.youtube.com/watch?v=51HveaBvHHQ | | 3 | | Thantifaxath
Sacred White Noise
The Bright White Nothing at the End of the Tunnel - (Black Metal) - From the song name alone, you can
tell it's going to be a grim affair. You wouldn't be too surprised when you first hear the manic organs
(claimed to be guitar effects) setting the scene. It's clear from the first riff that this is intentionally
supposed to be a bleak and miserable as possible, with wall after wall of visceral black metal screeching
its way through the speakers. It's haunting, depressing and ridiculously eerie. The best example is
roughly 3 minutes into the track where the guitar in the left channel continuously ascends in pitch whilst
the guitar in the right descends as the vocals become more intense, wretched and tortured. The overall
atmosphere is almost insane and depicts losing ones mind. Coupled with depressing lyrics, it really
creates a powerful tension that only gets better as the track progresses. Oh, and lets not forget the
creepy static voice announcement at the end, reminiscent of a dystopian future. Flawless.
https://www.youtube.com/watch?v=S1gM-0zaltQ | | 2 |  | Alcest
Shelter
Delivrance - (Ethereal Shoegaze) - I seem to have a thing with melancholy in my music, so I'm sure you
can imagine my displeasure when I first listened to Opale with its rather uplifting melodies and upbeat
tone. I shelved this album for quite a while until casually stumbling across the final track of this album as
I wanted to put something on in the background whilst with friends. To my amazement, it was beautiful,
sombre and heavenly all at once. Layers upon layers of thick, dreamy and reverb heavy instrumentation
make it a dense listen with Neige's beautiful vocals gliding and soaring above. it's a very simple track but
it's the build up and the aura of delight when all the soundscapes come together that make it such a
tranquil listen. To finish off, most of the instrumentation dissipates before Neige's soothing vocals once
again return over delicate strings making the finale more solemn and emotional. DarkNoctus pretty much
said everything else that needed to be said about this song in his review. Calling this breathtaking is all
but an understatement. https://www.youtube.com/watch?v=9wxZ1DV9xO4 | | 1 | | Musk Ox
Woodfall
Part 5 - Serenade The Constellations - (Folk/Classical) - It was a little difficult to pinpoint exactly what the
kind of journey depicted in this album is, but it's certainly clear at the finale. There's so much beauty to be
found in the first four tracks that it's amazing how the finale is somehow the most beautiful of the bunch.
Written with a time signature that resembles the waltz, the guitar and strings dance and swirl around one
another for one last time. It acts as the true finale but it feels like so much more. Everything depicted in the
music is like a swan song and the band are in perfect unison as they portray this through their instruments
The journey was long and winding yet enjoyable but now it has had its time and needs to be put to rest. The
combined emotions of joy, melancholy, happiness and sadness make a cocktail so strong and potent that it's
breathtaking. Furthermore, despite having such an odd cocktail of emotions, the end product is actually
somewhat peaceful in nature and simply comes naturally with ease. The plucked guitar is strangely upbeat
whilst the soothing strings that further illustrate the guitar feel homely, warm and caring - as if the album was
a companion that now only wants the most fitting farewell possible. Its grace and elegance is unparalleled
and as the final notes fade into silence, it leaves the picture and more importantly, the journey, complete. For
at last, the album must say goodbye. https://www.youtube.com/watch?v=mve_xhhyl_0 | |
ChoccyPhilly
01.05.15 | This took like a century to write. if only I put as much work into my actual work. Anyway, honourable mentions:
Behemoth - Blow Your Trumpets Gabriel (released 2013)
Clipping - Knees on the Ground
There Will Be Fireworks - River
Darkspace - Dark 4.20
Crosses - Option
Alt-J - Intro | Artuma
01.05.15 | damn this must've taken a lot of effort. if you dig 26 and 28 check svffer | TalonsOfFire
01.05.15 | Wow phenomenal list dude, the top 3 are tremendous along with 7 and 20 | YakNips
01.05.15 | loved reading 25
cheers | RivalSkoomaDealer
01.05.15 | Great list dude | Judio!
01.05.15 | Fucking great pick for 1, man! | oltnabrick
01.05.15 | https://rateyourmusic.com/list/oltnabrick1/doing_it_way_big_for_2014 | Slut
01.05.15 | Good job dude | oltnabrick
01.05.15 | thanks | Hurricanslash
01.06.15 | Daaaaaaaaaaaaaaaaaaaamn, this is an amazing list. Great picks all around! | Evreaia
01.06.15 | the more woodfall love the better.
That album is sooooooooooooooooooo sweeet | Underflow
01.06.15 | Lots of good choices here. Props. | Yazz_Flute
01.07.15 | Woodfall is probably my AOTY…I'll probably make a list for songs or albums or both soon | VaxXi
01.07.15 | All that I have to say is that your profile picture is awesome Choccy | ChoccyPhilly
01.07.15 | Thank you! Someone who actually gets it :] | TalonsOfFire
01.07.15 | the more woodfall love the better. [2] |
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