There’s been a long tradition of certain artists finding creative ways to express themselves through their music and to make their craft stand out from the crowd. One of the techniques frequently used is the “bleed” effect. The “bleed” effect is when an artist creates two songs that seamlessly transition into each other without a pause, break or interruption. So with that in mind, we’re not just including songs that follow each other well (that’s a whole other list in itself), but tracks that were intentionally written to flow into each other. As with the previous feature I made, and all to come in the future, I’m well aware that there are many more songs than these that could have been included, however these were the choices I made for this list and I may write a follow-up at some point.
7. Jumpsuit / Levitate
Twenty One Pilots
The opening track from Twenty One Pilots’ latest record “Trench,” “Jumpsuit” is a fun, and powerful track with one groovy bass-line. From the pulse-pounding drums, to the enigmatic lyrical content, “Jumpsuit” is an absolute joy of a song to experience. Once the track ends however, the psychedelic sounds that carry “Jumpsuit” to a close continue until the immediately catchy drum beat for the following track “Levitate” comes in. “Levitate” itself, being an entirely rapped track, is a nice deviation from the standards set up by “Jumpsuit,” despite the transition between tracks being so seamless.
6. City of Ocala / Right Back At It Again
A Day to Remember
American rock band A Day To Remember’s fifth studio album “Common Courtesy” was in my opinion, a step-up from their previous work and is still my favourite record of theirs to date. The opening track, “City of Ocala” is a great tune detailing the band’s thoughts of their home town in Florida. Around 3/4 through the song, lead vocalist Jeremy McKinnon chants “This is where I came from. I’m right back at it again!” which serves a nice piece of foreshadowing for the upcoming track “Right Back At It Again,” which in turn plays with a more heavy, crunchy sound. The transition between the tracks, clearly displays the continuity of the album and the talent of A Day To Remember as a band.
5. Shadow of The Day / What I’ve Done
Linkin Park’s “Minutes To Midnight” was a divisive record for fans of the band, as the stylistic change from nu-metal to a more traditional rock sound had the potential to draw in new listeners and push away old fans at the same time. One track however, that everybody seems to agree upon is “Shadow of the Day”. Especially for Linkin Park, this song is a much more calm and melancholic track, that seems to focus on raw emotion in it’s purist form, instead of the rebellious nature they were previously known for. “Shadow of the Day” touches on themes of suffering and acceptance, with standout lyrics like “The shadow of the day will embrace the world in grey and the sun will set for you.” As the piece draws to it’s conclusion, a faint distorted guitar can be heard gradually increasing in volume, which bleeds into a more well known track “What I’ve Done”. This song is much more up-tempo than the previous, features a great hook and even reached #1 in 28 of the countries in which it was released.
4. The End. / Dead!
My Chemical Romance
It’s going to be hard to write this entry without going on a tangent about how much I love this album, so I’ll keep it short. The record’s first track “The End.” begins with a heart-rate monitor as an acoustic guitar plays over Gerard Way’s powerful voice. The song is very short, lasting 1:52, however it leaves a colossal impact on the listener, with the track ending with the death of the The Patient (the record’s protagonist), and the heart-rate monitor flat-lining. The moment however, that the heart-rate stops, the heavy power-chords of the next track “Dead!” have already begun to pull you in. In comparison to the previous song, “Dead!” is much more of an up-tempo rock song, filled to the brim with masterful guitar solos and passionate vocals.
3. Thriller / The Take Over, The Breaks Over
Fall Out Boy
I’m only now realising that many of the these entries are opening tracks. Fall Out Boy begin their third studio album “Infinity On High” with a light, catchy track “Thriller” (no, not the one you’re thinking of). The perfect synchronisation of the gain fuelled guitars and Andy Hurley’s charismatic drumming is a delight to the ears, not to mention how Patrick Stump’s raw vocal performance really stand’s out on this track. The chanting of “Long live the car crash hearts, cry on the couch and all the poets come to life”, is a standout in Fall Out Boy’s career. And to top it all off, the song concludes with a spoken word outro by Jay-Z of all people, ending with “Let’s Go.” the exact second before the following song begins. “The Take Over, The Breaks Over” is a funky guitar and bass driven jam that goes on to prove that the group were worthy of all the success they previously had with their last two records.
2. The Happiest Days of Our Lives / Another Brick In The Wall (Part 2)
Pink Floyd really were something weren’t they? Not only were they open to experimentation, but they fully encouraged it. “The Wall” as an album had many songs alone that I could have put into this list. The fact that the final song “Outside the Wall” on a twenty six track record, fades into the very first song “In The Flesh?” at the start is outstanding. However my choice is the fantastic connection of the simple, minimalistic track “The Happiest Days of Our Lives” and the ever-popular “Another Brick In The Wall (Part 2)”. The former’s building vocals and harmonies, eventually reach Roger Waters’ high pitched scream, which kick-starts “Another Brick In The Wall (Part 2)”.
1. Holiday / Boulevard of Broken Dreams
To be honest, when I initially came up with the idea for this list, this was the first song that entered my mind. As with “The Wall,” there were many choices from this album alone, with “Are We The Waiting / St. Jimmy” and “Give Me Novacaine / She’s a Rebel.” However there’s something about the bleeding effect of “Holiday” and “Boulevard of Broken Dreams” that has always stood out to me, ever since the release of “American Idiot” back in 2004. The powerful, punk style of “Holiday” comes to a close with one loud, final strum of a power-chord, which (thanks to a touch of reverb) drags on, just long enough for the intro riff of “Boulevard…” to break through.