Otep - Shelter in Place - Single [Review]

Writer and metal musician Otep is set to release her eighth studio album KULT 45 on July 27, 2018 and recently released "Shelter in Place" (the album's second single), and this song is just as politically charged as its preceding single "To the Gallows" (which I reviewed here). I knew that Otep's follow-up to Generation Doom would be an angry response to the heartbreaking fiasco that was Donald Trump's Electoral College victory in November of 2016 (since she was probably the most fired up celebrity against Trump that I personally witnessed during the election process), and it doesn't look like I will be disappointed, as both singles so far take a stab at him in one way or another. ("To the Gallows" is much more direct, but "Shelter in Place" targets the NRA, which Trump fully supports. "Shelter in Place" even mimics a line from "To the Gallows": "Blood on your hands, blood on your suit..." ) Even the album title is likely a reference to Trump, as he is the forty-fifth POTUS. The song features slamming heavy guitar with Otep's signature rapping on the verses. It's a considerably short song, running at only two minutes and thirty-eight seconds, but it definitely does not need to be any longer to get its point across, anger directed toward people who care more about people's rights to own assault weapons than they care about keeping children safe: "Hey, hey, NRA," Otep anthemically chants near the end of the track, "how many kids did you kill today?" This is such a poignant and relevant issue right now because the number of massacres occurring in the United States seems to constantly be on the rise, and the perpetrators so frequently use guns such as AR-15s, guns that have the capability of firing hundreds of rounds per minute. Political activists such as David Hogg (who witnessed friends of his being gunned down at Stoneman Douglas High School in Parkland, Florida on February 14, 2018) have called people to action, trying to put a stop to this type of senseless killing by demanding that lawmakers put stricter gun control in place. "Shelter in Place" marks two songs in a row that feature the political energy of memorable Otep songs such as "Rise, Rebel, Resist" and "Confrontation," so we are most likely going to get an album chock-full of songs like that, which, as I said, due to the result of the 2016 presidential election, is not a surprise. Bring on July 27th!

Troye Sivan - Dance to This - Single [Review]

Troye Sivan's song "Dance to This" is the latest (and fourth) single released from his sophomore studio album Bloom, set to be released on August 31, 2018. When Sivan released the first single from the album - titled "My My My!" (which I reviewed here) - I wasn't all that impressed, considering it to be one of the weakest songs of his career so far, and I think that I like "Dance to This" even less. "Dance to This" features guest vocalist Ariana Grande, and I should offer the disclaimer that I have never really been much of a fan of Ariana Grande, which could be affecting my opinion of the song a bit. The song opens with sultry and somewhat twangy synth (which is the most interesting part of the song) repeated throughout the song. The verses, which are rather dull melodically (as is the chorus), are backed by a generic drum machine, and even the track's lyrics register to me as generic and uninteresting. The song seems to be from the perspective of a couple (or at least two people who are just falling for each other) who has grown tired of partying and clubbing and wants to go home and dance together privately. (Dancing being used as a euphemism for sex is quite honestly overworked and exhausted.) As for Grande being featured, I, as I said, am not very enthusiastic about it, and that is for two reasons: (1) I, as previously stated, am not really a fan, and (2) this kind of feels like the time when Sivan released an updated version of his song "WILD" with guest vocalist Alessia Cara, which, given the fact that Cara is female, kind of erased the gay identity of the song. It has been reported that Bloom will express Sivan's identity as a young gay man very poignantly, with the album being a lot more sexual in nature than Blue Neighbourhood, so sharing a sexual track with a female vocalist doesn't make a whole lot of sense to me; it seems to be playing it safe. While I am undoubtedly looking forward to the album being released, my hope is that "Dance to This" is not a sign of what to expect from the songs that we haven't yet heard, as I would definitely refer to it as the weakest song of his career thus far. It is simply flat and generic, which is really unfortunate considering the fact that the indie sound on Blue Neighbourhood is anything but.

Otep - To the Gallows - Single [Review]

Outspoken (thankfully so) political activist, writer, and musician Otep Shamaya is back, and after my passionate response to her 2016 release titled Generation Doom (which I reviewed here), I couldn't be happier. "To the Gallows" is the first song to be released from her upcoming album KULT 45, set to be released on July 27, 2018. (In case anyone is confused about the number in the title, Donald Trump is, regrettably, the forty-fifth president of the United States.) The song and its lyrics serve as a big middle finger to our current commander in chief, with lyrics such as "while you're checking your timelines, I'm on the front lines..." (which is a reference to Trump's hyperactivity on Twitter) and "he's a morally corrupt demagogue who's in lust with his daughter so he pays porn stars to dress like her..." (referring to Trump's disgusting comment about how his daughter Ivanka has an amazing figure and how he would be dating her if she weren't his daughter and also to his sex scandals with porn stars). The song begins with a low and eerie chanting underneath Shamaya growling, but it quickly breaks out into her typically heavy mix of rap and metal with a catchy and anthemic chorus, reminding me a bit of songs like "Rise, Rebel, Resist" and "Confrontation" (both songs that are also heavily influenced by political unrest, although Otep has never made it as personal or as direct as she has here). Otep has a long history of releasing music inspired by politics, and seeing as how she is fiercely liberal and vehemently opposed to the likes of racism, homophobia, sexism, and fascism, it should not come as any surprise to anyone that new music from her following the disastrous results of the 2016 presidential election would take on Trump. Even though Trump's America is dark, it is certainly far from hopeless, as we have seen people stand up, speak out, and strike back, possibly more so than we have seen in decades, and I cannot wait to hear what the rest of KULT 45 has in store for us.

Troye Sivan - Strawberries & Cigarettes [from the Love, Simon Original Motion Picture Soundtrack] / Bloom - Single [Review]

Since having released "My My My!" and "The Good Side" (review of those songs here), Australian actor, activist, YouTube personality, and musician Troye Sivan has released two more new songs - "Strawberries and Cigarettes" (on the Love, Simon soundtrack) and "Bloom" (as a digital single). Since, to the best of my knowledge, the tracklisting of his upcoming sophomore album has yet to be revealed, there is no guarantee that any of these new songs will actually be on the new album, but it is probably safe to assume that, at the very least, "Bloom" will be on the new album since it is the title track. Sivan has managed to keep nearly everything regarding this album's release a secret, a rarity in a digital age in which information and even songs are prone to being leaked, but rumor has it that we can possibly expect Bloom on June 8th, 2018 (which would be great if true because that's very soon - less than a month away). Also rumored is a collaboration with Ariana Grande, which I will admit is something that I am hoping is not true because a collaboration with someone like Ariana Grande is a strong indicator that the album is possibly going to have a much more mainstream sound than Blue Neighbourhood does, and Blue Neighbourhood's indie sound (which has always reminded me a bit of the downbeat crooning found on Lana Del Rey's albums) is one of the reasons why I love it as much as I do. (Grande would not likely fit in with the likes of Broods, Tkay Maidza, Betty Who, Allday, and Alex Hope.)

Like "My My My!," "Strawberries & Cigarettes" takes a considerable departure from the indie sound found on Sivan's debut album Blue Neighbourhood, going for a more mainstream and radio-friendly sound, which is interesting because according to Billboard, the song was originally intended for Blue Neighbourhood but didn't make the cut. (My thought, although it's just a thought and an unconfirmed one at that, is that the lyrics and melody were unchanged but that the sound and style were updated. I say this especially because the lyrical content, which is about the nostalgia felt after a relationship ends, is very much in keeping with Blue Neighbourhood.) The song is accented by electronic blips, giving it somewhat of a synthy sound, but it is overall a R&B-esque/pop song that reminds me a great deal more of "My My My!" than it does anything on Blue Neighbourhood. As previously stated, the song's lyrics are about a failed relationship and the wistfulness and nostalgia that follow the bitter end, and the title of the song (which is heard in the song's chorus when Sivan croons that "strawberries and cigarettes always taste like you") is perhaps intended to represent the bittersweet feeling that is nostalgia - pleasure brought from good memories but pain brought from knowing that they can never be relived. (Most people find the taste and the scent of strawberries to be sweet and pleasant, whereas cigarettes are usually thought of as smelling bitter and foul. I know that I feel that way; just the scent of cigarettes makes me feel sick, which is one reason why I have never smoked one.) The word nostalgia, in fact, comes from the Greek words nostos, which means home, and algos, which means pain. Although Sivan's vocal ability is not showcased at its greatest in this song, especially not when he seems to struggle hitting low notes in the song's second verse, "Strawberries & Cigarettes" is memorable both for its catchy chorus and for the fact that it's on the soundtrack to a fantastic film.

"Bloom" is an upbeat and poppy song that features an '80s-esque beat that reminds me of "She Drives Me Crazy" by Fine Young Cannibals. The song's pace and style remind me considerably of Sivan's song "EASE" from Blue Neighbourhood. The verses of "Bloom" feature Sivan spitting out sexual innuendo after sexual innuendo after sexual innuendo in a faster pace than is usual for his style: "Take a trip into my garden; I've got so much to show ya. The fountains and the waters are begging just to know ya..." Some of the song's lyrics remind me a great deal of the song "Froot" by Marina and the Diamonds, as both songs are about a renewed feeling of sexual energy for a special someone. "Don't you give me a reason that it's not the right season," Marina sings, whereas Sivan here sings that "it's the perfect season." Marina also sings that "I've been saving all my summers for you," and Sivan sings that "I've been saving this for you." Both songs also use imagery of fruits and flowers to represent sex, but this is hardly anything new in poetry and music. (The lyrical parallels between the two songs are, in fact, rather extensive, but I make that observation not to accuse Sivan of having ripped Marina off or anything like that but because I am a big fan of both artists and find it cool that both artists seem to think alike, and even if the parallels are intentional, that is likely Sivan tipping his hat to the song, not ripping it off.) "Bloom" is probably my second favorite new song released, with my first favorite being "The Good Side" by far. No matter how many times that I have listened to "My My My!" in an effort to hear it a new way, I still don't much like it, as I consider it one of the weakest songs of his musical career thus far, but here's to hoping that Bloom will overall be an album just as remarkable and as special as Blue Neighbourhood. I am cautiously optimistic.

Troye Sivan - My My My! - Single / The Good Side - Single [Review]

This year (2018) seems to be dream pop musician Troye Sivan's year. At the dawn of the new year, he has already spawned two new singles - "My My My!" and "The Good Side," - from his upcoming (although still currently untitled) sophomore album, the follow-up to his 2015 debut album Blue Neighbourhood. "The Good Side," as I will discuss in more detail, is quite possibly the most beautiful song that he has ever released, but "My My My!" honestly disappointed me when I first listened to it, and even now, weeks after its release, I still consider it one of the weakest songs of his career so far. More upbeat and more playful than most of the material found on Blue Neighbourhood (which is, overall, a pretty melancholy album), the song starts with electronically manipulated vocals which then move into an atmospheric although somewhat clubby beat which is at its most ferocious during the song's chorus. Because of the breathy way that Sivan sings the song's verses, the song also has a soulful and almost R&B vibe to it, and it's lyrically about the sexual excitement of a new relationship. (This is something to which most of us can probably relate - that blissful honeymoon feeling when we first start getting to know and/or dating a partner and how that's when sexual encounters tend to be the most exciting.) I just don't feel that the song accomplishes much, neither melodically nor lyrically. It is a pretty substandard pop song that I would more so expect from someone like Justin Bieber, with a flat chorus that feels like something that you would write to a crush on a folded up note in middle school. ("Oh, my my my! I die every night with you," Sivan sings in barely fluctuating notes. "Oh, my my my! Living for your every move.") That could, of course, be the point - that that magical feeling that we tend to feel at the beginning of a new relationship is similar to the magical butterflies that we feel in our stomachs when we are crushing on someone in middle school. The song is thematically somewhat like Blue Neighbourhood's lead single "WILD," with the notable exception of "WILD" being melodically and lyrically more interesting than "My My My!" is.

The second single to be released so far from Sivan's sophomore album is titled "The Good Side," and after feeling rather disappointed by "My My My!," I hoped that this one would be better once he announced the title. This time, I was not disappointed, as "The Good Side" is easily one of the most beautiful songs that he has released thus far. It is much slower and more downbeat than "My My My!," with an acoustic and somewhat folky Simon and Garfunkel atmosphere to it. The melody is absolutely gorgeous and catchy, and the gentle rhythm of the softly strumming acoustic guitar will likely make you want to lightly tap your foot. I remember feeling surprised the very first time that I listened to the song, as the first five seconds of the song feature a harp being played unpredictably and all over the place, and I jokingly wondered to myself if I had accidentally selected a Björk track. The harp then intermittently returns throughout the song, and pop musician Allie X (with whom Sivan is close friends) is featured on background vocals. The song is lyrically raw and heartfelt, with Sivan addressing an ex boyfriend and apologizing for hurting him and being able to effortlessly move on with his life while the ex boyfriend suffered in pain. There is even a part of the song that most likely alludes to Blue Neighbourhood and its content: "I got the good side of you, sent it out into the blue. The people danced to the sound of your heart; the world sang along to it falling apart." The song is very special to me (and Sivan said that it means the world to him) because it has really helped me move past whatever lingering poison was left in my heart following my own breakup in 2014. I could easily imagine the song being addressed to me from the perspective of my ex boyfriend, and that was surprisingly very therapeutic. Interestingly, one of the new songs is clubby and upbeat while the other acoustic and downbeat, and one is about the excitement of a new relationship while the other about an old relationship having come to an end. It seems like the two songs are meant to be seen as a yin and yang.

Dolores O'Riordan - Are You Listening? [Review]

Dolores O'Riordan, frontwoman of The Cranberries, released her first of two solo albums, Are You Listening?, in 2007, only a few years after the band decided to go on an indefinite hiatus (which ended in 2009 when the band decided to reunite and tour, ultimately releasing two more albums, Roses in 2012 and Something Else in 2017). Are You Listening? was actually my first serious contact with O'Riordan's music. (You can read a more detailed story regarding when and how I became a fan here.) Because of my already existent love for dark and dramatic rock (such as that of Evanescence, Lacuna Coil, Within Temptation, HIM, etc.), I pretty much instantly fell in love with this album, most of which definitely took a darker and heavier approach to music than most of The Cranberries' music did, and it now stands as one of my favorite albums of all time, as I consider it nearly flawless from start to finish. It lyrically deals with family life, motherhood, romantic feelings, and loss and, in fact, the album's opening track and lead single, "Ordinary Day," was written about her daughter. (She has two daughters, but considering the fact that the younger daughter, Dakota, was born in 2005 and therefore only two years old when the album came out in 2007, it's probably more so about her, although another song, "Sisterly Love," refers to both of them.) Not too far removed from most of The Cranberries' material, "Ordinary Day" is a light and acoustic soft rock song in which O'Riordan longingly hopes for her daughter to always be the best that she can be and to live the best life that she can while also promising that she will be there to lend a helping hand: "Beautiful girl," she asks rhetorically, "won't you be my inspiration?" It's a beautiful song and was one of the first of O'Riordan's solo songs that I heard. (It was either this or the second single, "When We Were Young"; I honestly can't remember which.)

"When We Were Young" is both Are You Listening?'s second track and its second single (as well as its final single, as the album unfortunately only spawned two singles). Heavier than the opening track, the song is a high-energy rock song with amped-up guitar and O'Riordan's signature yodeling-esque chanting. I remember watching countless interviews that were conducted with O'Riordan during this album's era, and she had said that touring and having to be away from her family was difficult. (Another song on the album, "Apple of My Eye," also addresses this.) I believe "When We Were Young" to be at least partially addressing her longing for her family when she had to be away from them. The catchy chorus pleads, "I wanna get out. I wanna go home. Is anything better than you on the phone?" It's also about nostalgia, wanting to go back to a time when things seemed simpler. The album's third track is titled "In the Garden" and is most definitely one of the highlights on the album. When I first listened to Are You Listening? in its entirety, this was one of the first songs with which I fell in love, especially since it reminded me a lot of Evanescence with its haunting piano melody, dark and dramatic sound, and strings (which are even more pronounced in the demo version). Although I have nothing to prove it, I think that this song might have been written about O'Riordan's sister; the song definitely seems to be about negative feelings toward a family member, and another song from the album, "Sisterly Love," is about negative feelings toward her sister. We will unfortunately probably never know for sure, however, since as she sings in the song, "I'll keep my secret with me until I die," and she has very sadly done just that recently. (Other fans have posited the theory that the song is about cyclical child abuse, which I think is also definitely valid, especially since a song by The Cranberries titled "Fee Fi Fo" deals with that, as well.) I just love the dark and dramatic sound as well as the bitter lyrics of "In the Garden."

"Human Spirit" is a great song because it sounds very Celtic, which makes sense given that O'Riordan is Irish and given that The Cranberries definitely dabbled in Celtic rock more than once. The introduction, which is repeated a couple more times throughout the song, is played on what I read is a tin whistle. (As you can see here, she actually played the part herself when she performed the song live, which is very impressive. It leads me to believe that although I don't know for sure, she also probably played it in the studio for the album version.) The way that I personally interpret the song's lyrics is that the speaker is encouraging the targeted listener not to give in to the darker aspects of human nature and to not allow life's hardships to corrupt them: "Don't let life consume you," she warns. "It could eat you upside." She also goes on to ask the listener if they have seen loneliness and emptiness inside the human spirit. It's a great song and is definitely memorable, especially because of its beautiful tin whistle part. The fifth song is not necessarily an absolute favorite of mine, but it is catchy, and O'Riordan seemed to like it enough to record it not only once but twice. (It was recorded a second time during the sessions for her second solo album, No Baggage.) It is a heavy rock song, but it is a lot more playful and upbeat than most of the other heavy rock songs on the album like "In the Garden," "Stay with Me," and "Black Widow." The song is a very angry song targeted toward someone who has wronged the speaker somehow, featuring one of my favorite lyrics from the album: "A two-watt light-bulb is brighter than you." Talk about savage. Who knows, however, who the target was, if anyone? O'Riordan seemed to occasionally write from other people's perspectives, and the ability to do that is partially what made her so great.

"Stay with Me" is another one of my favorites on Are You Listening? (although so much of the album is so fantastic, so I feel like saying that weakens a little bit in potency after being said so many times). It is dark and heavy, and O'Riordan even said herself that the song was intended to sound dark with dark chords. It begins softly on acoustic guitar with high notes being played softly on piano, but it becomes much heavier by the song's chorus, with electric guitar taking over and O'Riordan's voice becoming much louder and more aggressive. O'Riordan described the song's chorus as being unpredictable, and I can definitely agree with that. Even though it is not unpredictable lyrically as it really just keeps repeating "stay with me," it is unpredictable melodically as its notes waver and quiver. It is very difficult not to feel your heart breaking as you listen to O'Riordan's tortured cries begging a loved one not to leave her. (The words "stay with me," interestingly enough, pop up in O'Riordan's songs pretty frequently, as they can be heard in songs such as "Promises" and "Ecstasy," and the word "stay" is repeated many times in "This Is the Day.") Although a listener can interpret the song and relate to it in their own way, O'Riordan actually wrote it about her father having had cancer and how she was afraid of losing him. "Apple of My Eye" (another song that was recorded a second time for No Baggage) is much lighter, both in sound and in lyrical content. It was written about her husband and children and how she missed them when she had to be away from them. It is a beautiful acoustic love song, featuring a pretty simple message: I am in love with you, and I miss you when I am away from you. As previously stated, it is featured on both her first solo album and her second solo album, so it was probably an important song to her.

"Black Widow" is definitely the darkest song on the album, as it is very eerie and dissonant. It has, for one reason or another, always reminded me of the Henry Selick movie Coraline, especially of the character the Other Mother (which is probably, at least in part, due to the fact that the character turns into a spidery creature near the end of the movie). O'Riordan once said that the song was written about her mother-in-law who was slowly dying of cancer. In that sense, the song is somewhat similar to "Stay with Me," not only because both songs are very dark but also because both songs are about a family member suffering from cancer. It is yet another song that I adore because of its dark and heavy sound. "October" is yet another highlight on the album, as it has a bit of an industrial sound to it. It's an upbeat alternative song with a vehemently powerful chorus, and I interpret its lyrics to be about having to let someone go and be on your own. "Accept Things," Are You Listening?'s tenth track is a bit of a dip on the album. As I said, the album is nearly flawless from start to finish. It is such a fantastic album that rarely dips, but if I had to pick a song that is my least favorite, it would probably be "Accept Things." It is much lighter in tone than most of the songs on the album (returning, perhaps, to the more acoustic rock sound of the opening track, "Ordinary Day") and is more in the same vein as that of Alanis Morissette or early Avril Lavigne. "Angel Fire" is also a softer song but brings in a bit more energy in its catchy and melodic chorus. While not strictly a Christmas song, O'Riordan first performed the song at the Monte Carlo Christmas Concert in 2006, which does makes sense because the song does feature some Christmasy lyrics: "Another lonely night in December... It is the time of year people remember."

The closing track on most versions of the album is "Ecstasy," a song that grew on me, starting off as one of my least favorite songs from the album and eventually becoming one of my absolute favorites. Somewhat similarly to "October," the song has somewhat of an industrial sound to it, but it's much softer than "October." In fact, "Ecstasy" is definitely one of the album's softest songs. The song is sang in a very morose fashion and, to me, is from the perspective of someone dealing with the immediate aftermath of separating from an unfaithful partner and the grief and pain that that is causing. The line that says that to me most prominently is my favorite line from the song: "Still, I can't shake her; get out of my mind." O'Riordan once said that the song is about dealing with depression, suicidal thoughts, and drug addiction, but I think that my interpretation is still valid, especially since all of those things can be pretty relevant to grieving the end of a relationship. It is a beautiful song that I have, on more than one occasion, listened to to help me get through a difficult situation or difficult emotions. Although most editions of Are You Listening? end with "Ecstasy," the Japanese edition of the album features three extra tracks - "Letting Go" (which reminds me a lot of The Cranberries' song "Empty"), "Forever," and "Sisterly Love" - and the international iTunes edition features one extra track - "Willow Pattern." Among all of these bonus tracks, "Sisterly Love" and "Willow Pattern" are definitely my favorites. "Sisterly Love" is a piano-driven and almost cabaret-like song that reminds me a bit of Amanda Palmer about a strained relationship that the speaker has with her sister (hence why I interpret "In the Garden" the way that I do), and "Willow Pattern" is an epic anthem heavy in guitars and strings offering sage advice to listeners: "You should never take a thing for granted; you only miss it when it's gone, and it's stupid to be holding grudges because we only got so long."

Are You Listening? is one of my favorite albums of all time and, in my sincerest opinion, most definitely showcases some of Dolores O'Riordan's best work. Since her tragic (although still unexplained) passing on January 15, 2018, many people have been coming forth paying tribute to the late Irish musician, which is beyond touching and memorable, but many of them are doing so by sharing their love for songs such as "Zombie," "Linger," "Ode to My Family," "Dreams," and so forth. While I do not challenge the quality of such songs, nor do I challenge the impact that such songs have had on music (especially "Zombie," a song that I personally love and am very emotionally moved by), I find it somewhat tragic that O'Riordan seems to be remembered by many only for her popular hit songs, whereas many of the more obscure songs go unnoticed and even ignored. Many fans of The Cranberries, for example, hadn't even been aware that she released any solo material. Considering how (at least in my opinion) good that Are You Listening? is, that is truly tragic. I, in fact, came into brief contact with a fan of The Cranberries shortly after O'Riordan's death, and after I told him about Are You Listening? and encouraged him to listen to it, he thanked me for pointing it out to him because of how much that he loved it: "I... never knew it existed until you mentioned it days ago. It's fantastic. I would like to extend to you a firm internet handshake. Made my weekend. Thanks." (I had been hoping that the brief conversation would lead to a new friendship, but my friend request unfortunately went ignored.) I think that gratitude such as that is a testament to how strong and memorable that Are You Listening? is and is definitely a testament to the fact that it showcases the real talent that she has sadly left behind, talent that will likely never be forgotten by those who truly love(d) her music.

Dolores O'Riordan's Ten Best Songs Ever (According to Me)

In the wake of Dolores O'Riordan's death on Monday, January 15, 2018, many people, fellow celebrities and fans alike, have come forth with their fondest memories of listening to her music and with a list of some of their favorite songs of hers. (You can read my own tribute to Dolores here.) Most of them, however, refer to O'Riordan's smash hit singles such as "Linger," "Zombie," "Ode to My Family," etc., and it is my belief that she deserves to be recognized for more than just the songs that most everyone knows. She has more than two decades worth of a catalogue with some incredible songs that are shadowed by her hits, so in honor of the late musician, I decided to make my own list of some of my favorite songs of hers. (This obviously is not all of them, and there are many fantastic songs that unfortunately didn't make this cut, not even with the two bonus honorable mentions, but I wanted to give myself an appropriate limit.) Without further ado, here is my list:

Honorable Mention - The Cranberries - "Daffodil Lament"

Honorable Mention - The Cranberries - "Zombie"

10. The Cranberries - "Never Grow Old"

09. The Cranberries - "Hollywood"

08. The Cranberries - "Conduct"

07. Dolores O'Riordan - "October"

06. The Cranberries - "The Concept"

05. Dolores O'Riordan - "Lunatic"

04. Dolores O'Riordan - "Willow Pattern"

03. Dolores O'Riordan - "Ecstasy"

02. Dolores O'Riordan - "In the Garden"

01. The Cranberries - "Waiting in Walthamstow"