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Contributor
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Last Active 12-29-22 3:15 am
Joined 05-05-15
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| | Yellowcard Self-Titled Ranked | | 10 |  | Yellowcard
Yellowcard
"What Appears"
This one largely works at exposing, or at least alluding to, the notion that Ryan still doesn't have everything figured out. "I'm still out here looking for answers," he humbly admits. The muddy drum section threatens to derail the whole enterprise, though. This is a fantastic track, of course, but the instrumental and production are quite hollow and opaque in places they shouldn't be. | | 9 | | Yellowcard
Yellowcard
"Empty Street"
Had this been chosen as the album closer, I think it'd still serve a great deal of purpose. Nothing tops "Field and Fences" in that regard, but "Empty Street" is an underrated gem that calls back to past tracks like "Paper Walls", "How I Go", and "You and Me and One Spotlight." The lyrics touch on a more cordial and optimistic dimension of the album's over-arching sense of farewell. "I won't be with you, but I won't be far away," Key promises the listener. Mendez's guitars shine extra bright on the bridge. | | 8 | | Yellowcard
Yellowcard
"Leave a Light On"
This piano-heavy ballad acts as a gasp for air before the album's emotionally devastating back half. Potentially written from the perspective of Key's beckoning family ("Where are you/How's the weather out there?") this offers us a glimpse into the wide breadth of emotions Key and the band must have been feeling when they decided to break. "Come home! The lights are on, I wait for you year after year," he emphatically belts out on the chorus. The more rollicking songs on the album might be my personal faves, but this song might be the most riveting and awe-inspiring from a lyrical standpoint. | | 7 | | Yellowcard
Yellowcard
"The Hurt is Gone"
Gliding in on Mendez's infectious acoustic riffs, this six-and-a-half-minute showstopper kicks off the album's second half in dramatic fashion. Once again, Key is tackling the brevity of life and getting older; "Change comes for you, even if you're hiding out," he cautions the listener, reminding us how fleeting everything is in this life. | | 6 | | Yellowcard
Yellowcard
"Rest in Peace"
Mendez's fiery riffs and Mackin's swelling violin fills paint an almost stormy atmosphere on this tacitly thrilling opener. It's upbeat as a composition, but brimming with the same zeal to move on in life that is the album's bedrock. Key is at his most conciliatory, looking to say goodbye on good terms; "If this was the last time that we would ever speak, could we forgive somehow? Could we let it rest in peace?" he ponders. | | 5 | | Yellowcard
Yellowcard
"I'm a Wrecking Ball"
This track is the most indicative on the album of the sound Ryan Key undertook as a solo artist; mostly acoustic plucking with a jarring amount of filters and alterations pervading over his vocals. Originally written in 2008, this song is one of the most emblematic of what message the album is trying to convey; that the band has run its course, and the members, namely Key, are beckoned by their homes and families. Ryan Mendez's scant electric guitar riffs act as streaks of lightning across the sky in an otherwise scant and tacit acoustic masterpiece. | | 4 | | Yellowcard
Yellowcard
"Savior's Robes"
I remember Sowing telling me that this song always got a raw deal when talking about this album's highlights and upon revisiting it, I finally understand what he meant. One of just a couple of truly angry and reckless bits on here, Key slams the door on a nameless courtship gone sour and reclaims his agency and emotional independence; "You got my heart and tried to turn it black. Well, now it's beating you I'm taking it back, yeah. I'm taking it back from you!" This late stage romp is a perfect juxtaposition as the "Fields and Fences" precursor. The vocal filter over Key's voice is a cool touch also. | | 3 | | Yellowcard
Yellowcard
"Got Yours"
The other brash and cocksure moment on an otherwise solemn album, Ryan is much more eager to move ahead on this track. That instrumental absolutely blows the door down, as do Ryan's frantic proclamations that he "will not go with you!" When he says "I walk with open eyes away from open arms," he's acutely aware that he's better off on his own. On an album mostly devoid of such moments, this one is a fucking tune. Shoutout to Nate Young ratcheting up the drums in Parsons' absence, too. | | 2 | | Yellowcard
Yellowcard
"A Place We Set Afire"
My favorite off the album upon release and still probably my personal favorite today, this early stage jaunt is the first on the album when Key and co really start to come to grips with the finality in their midst; "We don't have to say goodbye, but we can't get lost in time," Key almost reluctantly admits. That bridge is fucking breathtaking as well. | | 1 | | Yellowcard
Yellowcard
"Fields and Fences"
Even if "A Place We Set Afire" is my personal favorite off the album, this towering seven-minute finale is far and away the most important composition here, and appropriately placed as the curtain call. No longer wanting to be "the star of the show," Ryan Key finally sits atop his vantage point and looking out, remembers everything he's built and been through ("I still remember the reasons I write"). About mid-way through, the somber acoustic plucks segue into one final eruption of purposeful violins, guitars, drums and the band's words of goodbye, which for me have struck an incredibly powerful chord, as someone who only got into the band after they broke up
"I don't have much that I can give to you, but I know I love the way you make me feel like I'm at home and I am not alone."
"Fields and Fences" is the *perfect* bookend closer on Yellowcard's incredible original run. Their reunion didn't diminish its luster, either. | |
ToSmokMuzyki
11.11.23 | do u liek mubkips? | Shamus248
11.11.23 | I fucking LOVE Mumbkimps | bellovddd
11.13.23 | do you feel a little bit of the magic on this release is gone since they have returned? | Shamus248
11.13.23 | The magic isn't gone, but the hurt is gone ;) fr tho, i definitely prefer them being back, as fitting as this farewell was | bellovddd
11.13.23 | ye it was like the perfect farewell so I am like oooooo damn but also happy they are back lol!
| Sowing
11.15.23 | Pretty great ranking. #1 and #2 are definitely correct and in the right order. Got Yours and Savior's Robes (hell yes this is severely underrated!) are interchangeably #3/4, so you also got that exactly right. The only thing I'd starkly disagree on is What Appears being the worst song here, whereas it's easily my #5. I agree with what you said about the hollowness (that effect on the drumming is terrible), but it's energetic, catchy, and uplifting enough to land it in the top half --- particularly above Leave a Light On and The Hurt is Gone (yawn). Otherwise, I'm also pleased to see I'm A Wrecking Ball get its due praise. You did well. | onionbubs
11.15.23 | always been one of those crazy folks that think both hurt is gone and what appears are easy top tracks here, but 1 is 1 for sure and probably their best song in general | Sowing
11.15.23 | Agreed. Songs in their prime have more nostalgia and/or are more popular, but nothing matches the emotional punch of Fields & Fences. Still gives me chills even after 7 years of listening to it religiously, and it's super wholesome to boot. | Shamus248
11.16.23 | i appreciate your feedback as always |
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