on October 13, 2016 | Last updated October 13, 2016
Release Type: User Audio Type: Single-track Reductions: Yes (Authored) Pitched Vocals: Yes Vocals Gender: Male (3)
Ocean Avenue was the breakthrough for seminal pop-punk band Yellowcard, and it remains their most popular album to date, spawning the popular singles "Ocean Avenue" and "Only One" (which we've both received as official DLC), as well as the less-popular single "Way Away." It seems like they've always kind of been in the shadow of the other more popular bands in the genre. More importantly, however, they're a pop-punk band with a fucking electric violinist. The lyrics of this song are *surprise surprise* about a broken relationship, in this case where the guy is taking responsibility for fucking it up.
Musically, this song can get pretty heavy, with some sweet riffage going on at times. The main riff section features some cool changing power chords, and other sections have a cool lead melody in unison withe violin part. The verses alternate between muted and full chords, building into the chorus that features 3-note-chord 8th strumming. The bass part has a lot of 8th strumming, but is surprisingly active, with the guitar/violin lead parts also having some really cool melodies on bass. It also takes a bit of a lead during the bridge, playing the main riff notes an octave up. That dude with the long name's drumming proves to be a highlight of the pack, with some fast kicks and fills/rolls all throughout the song. The main riff and melodies have some quite interesting rhythms going on, using lots of different cymbals. The verse settles into an fast 8th beat, going back to quarters in the pre-chorus and chorus, and then returning to 8ths (now on ride) in the later-introduced second half of the chorus. The bridge has some really tricky tom roll, and the outro has the only instance of double bass here (though, he has a bit of the "Disturbed foot," so single bass drummers may be able to handle it). Now, we have to talk about the violin. Sure, there's a lot of breaks, but the lead it plays in the main riff is super badass, and the melody parts have great stuff going on, too. Plus, there's the "sad violins" bit during the quiet verse. This song's also great on vocals, particularly with the harmonies that come in with their own separate melody, then merge back as a harmony with the main vocal in the second part of the choruses.