"(I Hate) Everything About You" by Three Days Grace from Three Days Grace

"Only when I stop to think about it… I hate everything about you; why do I love you?

Like several songs by the Canadian band Three Days Grace, this one can make you think, That's so stup— Well… Huh. At first glance, the yelling that "I hate everything about you" but love you anyway seems really silly.

But on second thought and consideration of the song, several people I know and I find it "interesting." You'll hate things about anyone, more so in the people you love, since you know them all the better and therefore know their flaws. In this case, each party hates "everything" about the other—which really isn't that inconceivable. Negatives are easier to remember than positives.

The lyrics make it pretty obvious that the couple was involved in a sexual relationship outside of marriage without getting crass. ("Every roommate kept awake by every sigh and scream we make.") And the fights between these two evidently got violent, so if these things bother you, it's not a good song for you.

The alternative metal of this song also has a post-grunge influence, so if you don't like the musically "rough" minor key, stay away. It's one of those songs that you can recognize immediately, and Adam Gontier's vocals don't hurt it.

As of this writing, Three Days Grace allowed people to listen to this song on their MySpace page.

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Lyrics: 4/5
Music: 4/5
Vocal(s): 4/5
Overall: 8/10

"My Last Breath" by Evanescence from Fallen

"Can you hear me? Can you feel me in your arms / holding my last breath…"

One thing I really like about Evanescence's 2003 album Fallen are all these fun little stories from the perspective of someone dying in a tragedy. (I know, I know—I'm morbid.) I even used the "fade to black" to entitle a fan fiction I wrote taking place in the Jedi Purges. This song's narrator is being held by her lover (in the traditional sense) who's weeping as she dies.

The music style definitely requires you to like rock or metal, but it's lovely despite the synthesis (unless you can't stand the electronic style instruments). Reverberating synthesis mixes with "clean" orchestral to produce a song that'll stick with you.

Which is why, if you find "dark" songs depressing, I strongly advise you not to listen to this song. If, like me, they don't affect your emotional health and you don't mind things like electronic guitar, I suggest you listen.

Amy Lee sings on her better end here, too, though it could've been a tad louder to stand out a bit more. That probably would've improved it, but it's still a very strong song. I was entranced by it the first time I heard it.

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Lyrics: 4/5
Music: 5/5
Vocal(s): 4/5
Overall: 9/10

30-Second Song Preview:

"Remember When It Rained" by Josh Groban from Closer

"Oooo… Remember when it rained…"

Uh, okay. I happen to like rain, particularly when it's not frigid.

I think the biggest issue for me the song's too calming for me, so I struggle to get the emotional context. The song does lament someone's passing… and stays there…

Okay, so you're upset and wallowing in mud as you intentionally lose yourself in memories of someone you miss. I don't exactly have much sympathy.

Josh Groban does have a pleasing voice that well matches the likewise better-than-average music. "Remember When It Rained" is based on piano and vocals with a bit of what I think is a string instrument. A few other instruments come in, but it's all tasteful. Nothing "feels" out of place, even if it doesn't "feel" surprisingly good. I think this song would qualify as "easy listening."

I can hear why some people like him so much, and I'd willingly look into more songs by him, but I prefer lyrics with a bit more meat, thanks.

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Lyrics: 3/5
Music: 4/5
Vocal(s): 4/5
Overall: 7/10

"My Immortal" by Evanescence from Fallen

Two versions exist to this song. Those who've heard and disliked the other album single "Bring Me to Life" have often been surprised to learn that this is the same artist, particularly for the regular piano-violin version.

The band version (Fallen's bonus track) climaxes with the addition of drums, cymbals, and electric guitar. You may not recognize this song when it's spoken of, but chances are you'll recognize the song the instant someone starts playing the piano part on the radio.

Different people prefer different versions, though I personally perfer the band version. It sounds better mixed, and Amy Lee's voice is less "fuzzy."

"I'm so tired of being here… suppressed by all these childish fears…" but Amy Lee sadly still can't seem to get past her little sister's death. "My Immortal" and "Hello" are Fallen's tribute to that sister.

The lyrics are clean, like much (though not all) of Evanescence, without a blaspheme or curse. The song laments a loved one's death and the song narrator's inability to get past it. "My Immortal" was meant to refer to Amy Lee's sister, true, but it's written in such a way that it's more universally applicable, as well, which I believe is part of its power.

Amy Lee's voice is at top (digitalized?) quality, at least in the band version of "My Immortal". (I'm not sure if I want to hear her voice live, after the live version of "Going Under" I heard from Anywhere But Home.) "My Immortal" is a pleasing song to hear, but…

I'm still convinced that similar-styled rock ballad beauties like "Eva" by Nightwish and "See Me in Shadow" by Delain are better.

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Lyrics: 5/5
Music: 4/5
Vocal(s): 4/5
Overall: 8/10

"Dark Wings" by Within Temptation from Mother Earth

"Don't you die on me—you haven't made your peace!" This part of "Dark Wings" more than any other draws me back time and again to listen to this song. It's not Within Temptation's best, but even then it's higher than average.

Anyone who's read Frank Peretti's This Present Darkness or Piercing the Darkness might find themselves reminded of those books with this song, but it's even more Christian-ish than those books in some ways. The narrator is a powerful being that didn't know what she could do until she was chosen to fight. Even with the magic and power that her side has, they're still only able to defeat the "dark wings" through someone's sacrifice, reliquishing their soul.

As a Christian, I of course think of the parallel to Christ. He gave up His everything to be the sacrifice so we could win, in a sense; his death provided a bridge for the chasm of our sin. He is the Light that causes "the night [to turn] into the day".

Sharon Den Adel's voice soars over the music. That is, it was supposed to. It could've been mixed a tad better in trying to accomplish that, as the album version of "Ice Queen" demonstrates, but it's not so bad that it's obvious to a common listener.

But the music! A critical listen to the music proves disappointing, as they've done much better. It's closer to The Silent Force than The Heart of Everything in sound, but then the Mother Earth came out before those two.

If you like the band, you'll likely like the song, but it may not be your favorite.

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Lyrics: 5/5
Music: 4/5
Vocal(s): 4/5
Overall: 8/10

"End of All Hope" by Nightwish from Century Child

The title "End of All Hope" sounds familiar, so I click on the song in curiosity. "Is this—the end of—all hope?!" I jerk in my seat, pulse skyrocketing from the hectic beat and clipped chorus. You would think that I'd know to be careful with Nightwish by now. (I promise I won't always review so many Nightwish songs.)

The beat in itself is done as a form of music, with more added. It's unapologetically synthetic in its almost techno declaration of apocalypse. The chorus can be followed without much trouble, but much of the verses of the song is hard to follow from the intentional emphasis.

Nightwish as usual manages to produce lyrics able to give the Christian pause. The narrator has lost innocence and faith, a common premise with what I've heard of Nightwish, and not only from Century Child. The narrator of "End of All Hope" might be suggesting that having "This life unforgiven" "is the birth of all hope", a distinctly unappealing premise. "It will end with a birth" doesn't seem to fit in that, though, so I am again confused.

Beyond that, the lyrics of "End of All Hope" are clean, using metaphor instead of the crass language some artists resort to. Tarja Turunen's operatic voice particularly suits the apocalyptic tone of this compelling song from Century Child.

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Lyrics: 4/5
Music: 4/5
Vocalist(s): 5/5
Overall: 8/10

"Hello" by Evanescence from Fallen

Those who like Evanescence's hit "My Immortal" will likely enjoy the sound of this soft lament for Amy Lee's lost baby sister and her struggle to come to terms with it.

"Has no one told you she's not breathing? Hello?!" she asks. Her sister is missing from life, where she should be, and one seems to realize it. She might tell others she's fine, but "I'm the lie, living for you so you can hide… Don't cry." If you're not disturbed by someone's obvious lingering scars from a sibling's death, you'll likely enjoy this song and its clean lyrics.

The piano is lovely, that element alone making it one of Evanescence's best on the music. A slightly "wet" (echoing) quality further encourages the image of emptiness developed in the song, with accents of the type of sound that make "Haunted" sound so much like the ghost story it is. The accents are just enough to give the imagery that someone's likely died without making you feel like someone's physical ghost is supposed to be present.

Amy Lee has an excellent voice (on this album), and she uses it well in this lament for her baby sister. "Hello! I'm still here—all that's left of yesterday…"

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Lyrics: 4/5
Music: 5/5
Vocal(s): 4/5
Overall: 9/10

"Tourniquet" by Evanescence from Fallen

"Am I too lost to be saved?" cries Amy Lee as the narrator, dying by suicide as she remembers her Christian upbringing. That is, perhaps, the most clear element of this song; the rest is open to a myriad of interpretations. The song is confusing, to say the least, but I believe that is in itself one of its strengths, for the narrator of this mini-story is herself confused.

Perhaps a more common interpretation, especially among those people eager to demonify the song's tragic genre, says the song blasphemes, calling the suicide God and the narrator's tourniquet for the pain. However, if that's the case, the second verse doesn't make much sense. Who is the narrator asking "will you be on the other side or will you forget me"?

My preferred interpretation might be less common because it's less definitive. I believe the narrator wants "to be saved" from the pain, to have a tourniquet for it, but she's confused about what that salvation truly is, Christ or suicide. "My wounds cry for the grave; my soul cries for deliverance," she says. She therefore longs for both—"I want to die!" she screams (in the background). That confusion on the narrator's behalf also explains why Evanescence chose such convoluted and confused lyrics for "Tourniquet."

Children and depressed individuals might want to avoid this rather hopeless song, though the narrator might be saved from her intended suicide at the end, when the background insists, "Return my salvation."

Amy Lee's vocals are excellent in Tourniquet, though the opening line's synthesized quality might not have been necessary. It does fit the music of this song, though, which has a highly electronic element for the background. The music could've been better, but it does manage overall to leave with a haunting impression.

Unfortunately on the music component, Evanescence has done better.

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Lyrics: 5/5
Music: 4/5
Vocal(s): 4/5
Overall: 8/10

"Numb" by Linkin Park from Meteora

Sweet lead voice! That's what I think when I hear the first verse. Usually, I can't stand screaming, but evidently from "Numb," yelling doesn't necessarily bother me in the same way. The way it's done and the choice of its location in this song (mostly) fit it really well. The narrator's frustration boils over into the mostly-yelling portions. Even then, I think it's more of an expression of frustration than anger.

Any topic will have a lot of songs on it. "Numb"s topic, being trampled by another's expectations, is no exception. Nonetheless, Linkin Park manages it well, with intense frustration fully expressed without a single curse. (Not all of their songs are as clean, evidently, so watch out if looking them up.)

Yes, the narrator's probably angry at a parent, but he's more frustrated and breaking under the pressure rather than outright rebelling. He's tried to obey, but "Every step that I take is another mistake to you." After so long of the other "holding too tightly afraid to lose control," "I'm tired of being what you want me to be… feeling so faithless, lost under the surface." It's not that he doesn't want to please his parent, but he can't. After years of pressure, he's "become so numb," "become so tired" that he's "so much more aware" of all the wrongful pressure and can't politely ignore it anymore.

Moreover, it's not merely a rejection of the parent because the singer is oh-so-smarter. The narrator knows he will likely make mistakes. He also knows his parent was "just like me with someone disappointed in you." Okay, a little of the rhyme is off, but as that's consistent it's likely intentional.

On a music level, it's the hard rock with hip-hop overtones that some call Nu-metal. It's not a mere beat accented by voices; there's more to the music than many bands have. Rather than the normal distinct vocals, drums, and maybe a background if you listen closely, the drums are really an integral part to the rest of the background. And the acoustic version is beautiful.

Hey, I can like something that's not gothic rock, you know. …Actually, considering this song's genre, it's a bit shocking that I like it at all. This style of music sounds suspiciously like my brother's preference, which usually sends me screaming out the door. (Fine, groaning loudly in protest.)

Still, if you can't stand hard rock whatsoever, I suggest you at least read the lyrics if not look up the acoustic version. Parents aren't the only ones who can catch someone "in the undertow" from "holding too tightly." As someone who had a high school drive me into poor health, I know from experience what it's like to "become so numb" that you don't care anymore. Though I love learning, all I care about now in school anymore is keeping my scholarships to get my degree to be done with this. And those people who destroyed school's fun for me weren't even my parents.

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Lyrics: 5/5
Music: 5/5
Vocal(s): 5/5
Overall: 10/10

"Ever Dream" by Nightwish from Century Child

Pity I don't know more about music genres; "Ever Dream" is a fun song to classify. It has a definite foundation that I understand as power metal, but above that is something else entirely. It's not just Tarja Turunen's operatic voice that appears again in Century Child, producing a love/hate response in listeners. I'm tempted to call the song "Ever Dream" something comparable to Evanescence's "My Immortal" (band version) meets power metal.

The music to "Ever Dream" is easily among the best I've heard from Nightwish, not that I've heard too many of their songs, but it's certainly better than the music element of even the hit "She Is My Sin". Of the Nightwish songs I've heard so far, "Ever Dream" and "Nemo" rank as my favorites on a purely musical level.

On a lyrical level, however, "Ever Dream" is another story entirely. "Give in for my touch, for my taste, for my lust," Tarja Turunen sings. No, thank you, and I think I'll keep my brother away from you, pretty lady. If "yours I truly wish to be," then why does the narrator seem to be speaking of a one-night fling? Maybe I'm misunderstanding it, but I don't think so. At least it's more oblique than explicit.

Sadly, the "eh" lyrics dramatically lower the quality of an otherwise lovely song.

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Lyrics: 3/5
Music: 5/5
Vocalist(s): 5/5
Overall: 6/10

"Bring Me to Life" by Evanescence from Fallen

For a song crying out to be woken up and "save me from the dark," Evanescence's "Bring Me to Life" is surprisingly good, like much of Fallen. It's not quite complaining, the narrator begging for release from the internal prison that holds her captive. (That the narrator might be the selfsame person as the singer Amy Lee is a side issue.)

As one of Evanescence's top songs, it was overplayed on the radio from the time it was released till their latest CD The Open Door came out two years after Fallen. Many people have hated "Bring Me to Life" from overexposure.

Now that "Call Me When You're Sober" has replaced "Bring Me to Life" on the radio's overplay list, "Bring Me to Life" is a bit easier to appreciate. It's gothic rock, the music mixing some different speeds and genres. As one of the harder songs on Fallen, many who like even "My Immortal" dislike this song because of its metal.

The narrator's plea for release from her (selfmade?) prison draws the attention, but the song still leaves the question of what now? Had it addressed the question, added action to the plea, it would have been a much stronger song.

Overall, it is a really fun song with good music like most of Fallen, though I don't find the occasional scream particularly appealing as a form of singing. The lyrics also could have probably used some revision.

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Lyrics: 3/5
Music: 5/5
Vocalist(s): 4/5
Overall: 8/10

"Take Me Away" by Fefe Dobson from Fefe Dobson

Ooo, a song with the narrator lamenting that people are so intolerant, and they need to flee with their love to avoid the gossips. No, that's not cliché one bit. (Am I the only one getting a flashback of Evanescence's "Anywhere"?)

That's not to say that you won't find yourself singing along to some of it after listening to it once, and maybe you'll want to hear it again. "Take me away; take me far away from here" echoes all of our desires, sometimes, I'm sure, when we just wish we could pack up and leave… something. A relationship, a situation, an illness; a homework assignment. So, despite the cliché, "Take Me Away" pulls it off decently, keeping it out of the downright "avoid" list.

I don't think Fefe Dobson's the best singer, but she's not bad. She's just… normal, as far as I can hear. It suits her chosen genre of music, at least: pop beats. I don't mind a touch of synthesis of music, but a song needs more than only beats to really make the music memorable.

Overall, "Take Me Away" isn't bad, at least. Enjoy Fefe Dobson's pop.

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Lyrics: 3/5
Music: 3/5
Vocal(s): 3/5
Overall: 6/10