This year in music is pretty much over, so as I did last year and halfway through this year, I made a list of my favorite 50 songs of the year, listed in order. Like any human, I have a natural bias with taste, but I listen to a lot of different stuff, I read a lot of different music publications, I watch and read a lot of artist and band interviews, I write about music a fair amount, and I know a lot about music in general, so I am confident there’s something in this list that will fit your style.
It's been a hell of a year musically with a heartbreaking acoustic ballad on a tragic mother-son relationship, instant party hits with deeper meanings on moral conscience, clever mo-town samplings and hilarious lyrics on "President Jesus."
Aside from some sampling, every song on this list is fully original work. There are no remixes or covers. All songs released in 2015 and singles released in 2014 for albums released in 2015 were eligible.
Happy end of the year!
https://open.spotify.com/user/1221238964/playlist/...
50.
Natalie Prass — "My Baby Don't Understand Me"
From Richmond, VA, Natalie Prass released her first full-length LP this year with her self-titled album. Prass broke up with her boyfriend while recording her first album, which inspired the opening song, "My Baby Don't Understand Me."
“We broke up in the middle of making the record,” Prass tells The Consequence of Sound. “It definitely made the songs more important.”
When you listen to Prass, you hear softness, you hear a dated Disney Princess voice, you hear traditional Nashville country and you hear her grief.
“I’m such an emotional person,” Prass says. “Songwriting is such an amazing way to deal with your emotions. I think everybody should try it. It really helps.”
49.
Day Wave — "Drag"
A Berklee College of Music grad with jazz drumming and electro-pop influence and a love for Joy Division and Beach Boys, Jackson Phillips, or Day Wave, is one of 2015's rising alternative rockers.
The strong opening lick shows potential for a strong surf influenced record that may put Phillips in the same conversation as Real Estate and The Drums later down the road.
He tells Billboard that his first EP "Headcase" is him "on everything."
"Hopefully people will dig it and connect with it," Phillips says. "And then later on I can find the right label that will really get what I’m going for."
48.
Sigala — "Easy Love"
Bruce Fielder, London based tropical house DJ known as Sigala, claims this Jackson-5-sampling jam was the result of him “doing something for him, after a few beers.” Apparently, Tito Jackson loves the song, too. It certainly put him on the map, and it sounds like everything that worked for EDM in 2015, which is good.
47.
Diet Cig — "Breathless"
From Suny New Paltz, rock duo Alex Luciano and Noah Bowman released their first EP "Over Easy"this year, with songs that feel friendly and effortlessly energetic. Luciano, who sings about walking around in her underwear, seems funny and easy to hang with.
Luciano tells Stereogum the record "was pretty much a 'we have Sundays off and we’re bored' kind of thing over the summer." "Breathless" feels like it was written around the climactic final 30 seconds, where Luciano sings on watching the “Simpsons on the floor” and pretending “it’s 1994.”
46.
Alabama Shakes — "Dunes"
From Athens, Alabama, lead singer and guitarist, Brittany Howard turned her rock stardom dream into reality with their debut, "Boys & Girls," recorded In Nashville’s ATO. Howard embraces her blues rock influences, telling Vulture “everybody is paying homage to everybody” in music.
One of the more accessible tracks on their second LP, — on a record with a lot of accessible blues and roots rock jams — Dunes features a guitar hooks after Howard’s “I don't know whose problem it is!” that's as sexy as anything they’ve produced.
45.
Justin Bieber — "Sorry"
It’s weird for me to have this kid on here since I’ve never really been a fan, but his fourth LP, "Purpose," is a strong pop record, and "Sorry" is the album’s peak.
Bieber tells Nova 96.9 that this track is “kind of the stamp in the end of all of the apologies that [he's] giving, like to the people [and] to the media.”
I love this song. It's really, really good. Bieber is the man now, I guess.
44.
Beach House — "Space Song"
Beach House has written a ton of music in a very short period, already six albums deep in nine years, two of which came out this year. The band tells Pitchfork that with "Depression Cherry," they “wish to return to simplicity, with songs structured around a melody and a few instruments, with live drums playing a far lesser role.” But "Space Song" still offers a classic Beach House dreamy hook.
43.
Galantis — "Peanut Butter Jelly"
From Stockhold Sweden, electro house duo of Christian "Bloodshy" Karlsson from Miike Snow, and Linus Eklöw aka Style of Eye, released their first full length LP this year, "Pharmacy," with "Peanut Butter Jelly" as the hit lead single.
42.
SOAK — "B a nobody"
From Derry, North Ireland, Bridie Monds-Watson told Bob Boilen of All Songs Considered about her strong roots listening to Pink Floyd. When asked about her lyrics, Monds-Watson tells "The Irish Post" that she has "a stream of consciousness and [she] organize[s] it.
"It’s usually quite confessional and honest," Monds-Watson says. "I think that’s why people can sympathize with my music, because of the honesty in it.”
It feels like the record's most meaningful song. It's the most memorable and it reminds me of Arya Stark.
“The teenage heart / Is an unguarded dart / We’re trying hard /To make something of what we are." — SOAK
41.
Death Cab for Cutie — "No Room In Frame"
I can't recommend this album enough; it's Death Cab back in their prime. Here's a classic, dark Ben Gibbard hook that fits well on their well acclaimed, sentimental "Transatlanticism."
Gibbard's divorce with Zooey Deschanel left a scar that is bandaged with this LP's genius emotional scope.
40.
Purity Ring — "Heartsigh"
As far as I’m concerned, Canadian electro-pop duo Megan James and Corin Roddick are the queen and king of experimental pop music. Aside from maybe Grimes, no one else is writing sh*t this crazy. But the craziness isn’t why it’s good. It’s good because it’s fun and catchy, but it's also kind of crazy, which keeps it interesting.
39.
Drake — "Energy"
His fourth LP "If You’re Reading This, It's Too Late" peaked at number one in the U.S. billboard and ranked number 14 on The Guardian’s best albums of 2015. Possibly the strongest hook on the record, "Energy" outlines the crap Drake deals with from his enemies as he demonstrates that his critics can’t drain him of his energy.
38.
The Decemberists — "Lake Song"
From Portland, Oregon, The Decemberists are in my canon of essential 2000’s indie folk rock bands. They’re sort of like a modern, more acoustic-oriented R.E.M. They may not be breaking any boundaries musically, but their albums are consistently easy listens.
With their most recent effort, "What A Terrible World, What A Beautiful World," they’re making a case for themselves against falling into the dump of 2000’s alternative rock band has-been’s. This song's acoustic and piano complement works as well as any of their past efforts.
37.
Sufjan Stevens — "Fourth of July"
Musically, Sufjan Stevens’ "Carrie & Lowell" is an acoustic strip down, naked in comparison to his past records. Conceptually, it’s the tragic story of mother and son. This song narrates a conversation Stevens has with his mother in her hospital bed as she is dying of stomach cancer.
"Fourth of July" encompasses the confusing relationship Steves had with his mentally ill mother. He doesn't resent her for her flaws as a mother; he sympathizes with her.
“It's something that was necessary for me to do in the wake of my mother's death—to pursue a sense of peace and serenity in spite of suffering," Stevens tells Pitchfork.
36.
Alabama Shakes — "Gimme All Your Love"
With “Boys & Girls’” lead singles like “Hold On” and “Hang Loose,” Howard and The Shakes left us with a splash of Led Zeppelin and a splotch of Elvis Pressley — a hybrid of 1972 hard rock and late 1950s rockabilly. They're still in that mindset, but the music is more interesting and less dependent on their roots. And the vocals are even more explosive, especially when Howard screams "looooove" in this song's ripping chorus.
35.
Tame Impala — "The Less I Know The Better"
When recording with mixer David Fridmann at Modular Recordings, Australian front man Kevin Parker obsesses over imperfections.
“Does every note fit the song’s underlying tone?” Parker asks Pitchfork.
Perhaps because of his obsessiveness, “Lonerism” reached number four on
the charts in Australia and number 34 in the United States. With Currents, Parker set perhaps even
higher expectations.
"I think the only pressure I felt was the pressure I put on myself," Parker tells Spin. "Just the pressure to live up to my own expectation of what I wanted the album to be, and because I was treading new territory with this album."
The bass lick on this song has the same first listen appeal as Parker's 2012 single "Elephant."
34.
The Tallest Man On Earth — "Singers"
Any avid Kirstian Matsson listener hears the richer production on this record in comparison to his past efforts. Some may say, "He was raw before — just a little dude with his guitar! Now his music is overproduced. What a sell out!"
But I say, yes, it does sound different, not necessarily as pure, or naked, or traditionally folk-centric. But the music is still excellent, so I'm right there with my favorite Swedish songwriter.
"Singers" best matches the raspy voice and grainy acoustic guitar of his more modest recorded past LP’s, but it's not redundant, and it compliments his richer production nicely.
33.
Hop Along — "Waitress"
From Philadelphia, Hop Along recorded their third album, Painted Shut, this year. Frances Quinlan’s bold vocals, with a feel of 2000’s pop punk bands like Paramore and the 90’s grungy rasp of The Cranberries and The Smashing Pumpkins, carry this track, as she sings on mental illness and death.
“I like albums that feel real,” Quinlan tells Diymag.com. “Writing about death I find really difficult. There’s this idea of having respect for the dead. But life is grimy. It gets ugly.”
32.
Lil Dicky, Fetty Wap, Rich Homie — "$ave Dat Money" (feat. Fetty Wap)
From an upper middle class Jewish family in the Elkins Park neighborhood of Cheltenham Township on the north border of Philadelphia, and a graduate of the University of Richmond, Lil Dicky brings a fresh perspective to mainstream rap culture.
"$ave Dat Money," featuring the man who seems to be writing all of the catchiest rap hooks right now, reads like a self-deprecating piece of rap satire. He brings up important social issues, too, like the price of a side of bacon compared to that of a bacon cheeseburger.
31.
Houndmouth — "Gasoline"
With two lead singers, Matt Meyers and the country-styled Katie Toupin, this quartet from New Albany, Indiana creates a feel-good buddy record — with qualities of Americana rock groups like The Band — that gives grumpy, old southern rock connoisseurs reason to believe in the future of twangy electric guitars.
"Gasoline" is a believable, Head and the Heart-like acoustic ballad on an important rock album. The perfect campfire song.
30.
Tove Stykre — "Borderline"
There is a Indian/eastern music influence going on in popular dance music right now, and I hear this with the cadence on this Swedish songwriter's quirky song. It's the chorus though, about 40 seconds in, that draws you in and elicits that "I am obviously replaying this song" response. And I don't know, I feel like the imprisoned lyrical themes make this the perfect score for that super popular female prison show that I actually haven't seen.
29.
Madeon, Passion Pit — "Pay No Mind"
Madeon is 21. He's 3 months younger than me. From Nantes, France, Madeon has already gained fame with his "Pop Culture" YouTube hit, produced singles with Coldplay, Muse and Lady Gaga and now, with Passion Pit, dropped one of the strongest EDM tracks of the year, all before most students graduate from college.
For Passion Pit? In terms of electronic, party jam potential, this song beats out anything on Kindred, and it's in my top 3 for their strongest electric hooks. It may not have Angelakos usual creativity and lyrical expression, but holy sh*t it's straight fire.
28.
Tame Impala — "Yes I’m Changing"
Parker demonstrates a new curiosity for pop on perhaps Current's most accessible track. He has crafted something that sounds completely different from anything he's done before while still remaining loyal to his meticulous production and obsession over every second of every pitch.
27.
Kendrick Lamar — "King Kunta"
It's the catchy jam in the mix, with lyrics and a beat as clever and witty as any of the tracks on this album. The hook heightens it's pitch gradually throughout, each round of the chorus sounding like the song's ultimate peek. By the time you hear "the next pop", you're standing with Kunta on his funky throne, bobbing your head, staring down at his song's genius.
Seriously though, Kendrick asserts his dominance in the rap game with this song, alleged calling out Kanye West and Drake.
26.
Lil Dicky, Snoop Dogg — "Professional Rapper" (feat. Snoop Dogg)
In a running dialogue with Snoop Dogg to potentially get hired as a "Professional Rapper," Lil Dicky outlines his rap theory. He wants to change the game with his refreshing Judd Apatow-like humor and focus on the ironic realness of “anti-rap,” which seems to be parodying the clichés of traditional rap formulas in a playful way.
But as Snoop acknowledges on the track, it’s “pretty damn complex.”
25.
Lord Huron — "The Night We Met"
Originally from Michigan but based in L.A., Lord Huron released their first record in 2012. Now, with "Strange Tails," front-man and art school grad Ben Schneider really puts his creativity to use, crafting a complex fictional world with many characters and woven narratives.
What a cool idea for a record, right?
"The Night We Met" reads like an open letter to a girl whom one of Scheider's characters either no longer has the romance he once had with when they fell in love or with whom he really screwed things up with.
"I had all and then most of you, some and now none of you." — Lord Huron
24.
Girlpool — "Chinatown"
From L.A., punk rockers Cleo Tucker (guitar, vocals) and Harmony Tividad (bass, vocals) bring something new to the genre with their almost screeching, perfectly nasally harmonies. They hit notes that don’t sound like should work given their vocal tones, but they do. And it’s pretty awesome to hear.
When they both turned 18, they left L.A. for Philadelphia to finish their first LP, “Before the World Was Big,” which is all about growing up on the West Coast.
“Childhood and growing up are reoccurring themes,” Tucker tells Spin. “It’s about entering into these different chapters of your life.”
This track feels like the overlooked opening act at an intimate, underground D.C. concert venue in 1997.
23.
RAC, Nate Henricks — "Back of the Car"
Since 2008, André Allen Anjos, from Portland, Orgeon, has been crafting fun, party-friendly remixes to songs across genres. His talent is the ultimate proof that electronic artists do not lack the musical gift of other musicians.
And he writes his own songs, too. He told podcast Song Exploder that it he does not view remixes and songwriting on a different level creatively; it’s just a different process. His original song, "Back of the Car," is FIFA-friendly indie pop at its best.
22.
Fetty Wap — "Trap Queen"
From Paterson, New Jersey, Willie Maxwell II is the hip hop artist to watch in 2015. This is the party track of the year, with one of the most popular rap culture phrases to come out in a long time.
Pay attention to Fetty Wap. I think he knows the secret to a hip-hop hook in the same way Chris Brown, Lil Wayne and Justin Timberlake did back in their prime. Yes, his music is very different from those artists,' but they all seem to just get what works.
21.
Adele — "Hello"
After birthing a child and spending some time away from the music industry, Adele is back in full force. But perhaps because of her time away, she's stunned by her record's high acclaim.
"The reaction's been ridiculous," Adele tells NPR. "I'm pretty overwhelmed, to be honest."
20.
Father John Misty — "Nothing Good Ever Happens At The Goddamn Misty Tour"
As the old sticks-man for Fleet Foxes, with several relatively under the radar albums as J. Tillman, and one previous record under Father John Misty, Tillman was not used to the spotlight before "I Love You, Honeybear" received such high praise. The often satirical lyrics and engaging narratives make this album different, but Misty's voice, for me, is what raises this album above and beyond the countless other folk singer-songwriters trying to make it big.
On this track, Tillman shares his cynical, maybe realistic, view on relationships, and cynicism towards the kind of woman he seems to resent.
19.
The Tallest Man On Earth — "Sagres"
Reminiscent of a familiar Bruce Springsteen hook, this riff, from a usually raw, acoustic artist, may be Kristian Matsson's most atmospheric, well produced song yet. With strong production, synthesizers, drums and other instruments, this record is not the barren echo of emotion on Sufjan Stevens’ Carrie & Lowell.
But it is Tallest Man’s most melancholy yet.
“It was a pretty intense part of my life," Matsson tells Spin. "I wrote these songs while there were wars going on, and horrible things that are very real, but this is something that so many people have to go through so I let myself do this."
18.
Father John Misty — "Bored In The USA"
Although his new record is partly an open love letter to his new wife, Emma, Tillman does not appease to traditional melancholy love song sap. As a matter of fact, he wanted to “shit all over it.”
"I’m gonna write about love without all the bullshit, the clichés, the sentimentality," Tillman tells Independent.co. "Because in my experience it’s exhilarating but also frequently torturous. It’s not just, you know, puppies, right?”
“Bored in the USA” expresses Tillman's realist love song views with the line: “I’ve got a lifetime to consider all the ways I grow more disappointing to you as my beauty warps and fades, and I suspect you feel the same.”
At the same time, Tillman seems to satirically outline fallacies in American culture with language on a "useless education," implications on religious hypocrisy ("save me white Jesus") and acknowledgement of the unrealistic romanticism of American capitalistic culture ("is this the part where I get all I ever wanted?")
17.
BORNS — "Electric Love"
From Grand Haven, Michigan, Garret Borns uses influences from The Beach Boys, the Zombies and Earth, Wind & Fire to create unpredictable, funky pop tracks.
“My folks got me listening to good music at an early age,” BORNS tells Interview Magazine. “I grew up with a lot of music; my folks were always playing a lot of jazz.”
This catchy as hell single has sealed BORNS as one of the breakout electronic pop artists of early 2015. And interestingly, Taylor Swift may be partly responsible for his success with her endorsement of his work on social media.
16.
Passion Pit — "Lifted Up" (1985)
From Cambridge, Massachussetts, Passion Pit is a staple group in the indie-pop rock, music festival must-see, college band canon of the 2000’s. In 2009, they dropped party jams that were smart, unlike anything else that was happening then but still fit the overall sound of that time. Sort of like Vampire Weekend, MGMT and Ellie Goulding. And they've been doing the same thing since, without any sign of slowing down.
When I’m an adult,
my peers and I — whether they listen to a lot of music or not — will hear “Take
a Walk” or “Little Secrets” and think, “yeah, that sounds like senior year of
high school.”
"Lifted Up" is the standout, radio friendly hit on Kindred, with undertones of Angelakos troubled mind. And I'm not sure if I've heard such an effective use of dog barks in modern music. Brian Wilson would be proud.
15.
Tobias Jesso Jr. — "Hollywood"
Rumor has it that Jesso dreamed of Hollywood stardom as a pop artist, idolizing artists like Adele.
"But I don't know if I can make it, no, I don't know if I could. Think I'm gonna try in Hollywood," Jesso sings on this lead single for his first LP, "Goon."
Tobias, from North Vancouver, Canada, and the 2015 king of oddly familiar hooks and melodies has written a piano ballad that feels oddly ingrained in my subconscious of familiar music, yet I know it's not from anything. I don’t know how he does this.
And as it turns out, he doesn't have to "say goodbye to Hollywood." He made it in the music business, and ironically enough, he worked with Adele herself on her new record, 25. Crazy, right?
14.
Major Lazer & DJ Snake — "Lean On"
Working with Beyoncé, Britney Spears, Madonna, Iggy Azalea, responsible for quirky hits like “Harlem Shake” and performing under another highly successful name, Jack U, Major Lazer co-group creator Diplo has surprised listeners for nearly a decade with bizarre sounds.
This EDM group was originally created by record producers Diplo and Switch, but when Switch left in 2011, Jillionaire and Walshy brought some fresh perspectives.
Their awkward, offbeat drop here sounds like a traditional Hindu party on EDM steroids. It's a pleasant slap in the face in an industry cursed with repetitive, formulaic dance tracks.
13.
Courtney Barnett — "Depreston"
Preston, Australia is apparently kind of...depressing. So, "Depreston," — Get it? Ha.
While intentionally sentimental, Barnett thinks this song is funny, too, as she smirks at the title in her Tiny Desk Concert with NPR's All Songs Considered.
I've never been to Australia, let alone Preston, but with Barnett's easy-listening vocals accompanied by the Wilco's "One Sunday Morning"-esque guitar riff, she has brilliantly painted the dark desolation of this Aussie town.
12.
Sufjan Stevens — "No Shade In the Shadow of the Cross"
Although not as religious lyrically as the title implies, Steven's melody about his relationship with his mother could have been written by Jesus himself. The first song released from his "Carrie and Lowell," "No Shade" sets the musically simplistic yet emotionally gripping tone of the record. With a gruesome metaphor on his inner pains in the shape of a stake driven through the center of his heart, Steven's reveals his grief as he says "there's blood on that blade, f*ck me I'm falling apart."
11.
Alessia Cara — "Here"
From a first generation Italian household, Cara grew up influenced by the sounds of Frank Sinatra and contemporary Italian pop. A standout singer songwriters of 2015, Cara has written a refreshing, soulful R&B hit, with an interesting perspective on social anxiety. "Here" outlines the awkwardness of social situations for the introvert.
Cara tells Complex Magazine that the song, which she wrote based on a party she went to when she was 16, is really about “You think[ing] that everyone else is having fun."
"I’m sure there were 10 other people in that room who felt the same," Cara says. "Maybe they were just good at hiding it.”
10.
Best Coast — "California Nights"
Whether they like it or not, Best Coast is a trailblazer in the indie surf rock trend that’s progressed over the last 6 years or so with groups like Real Estate, Beach Fossils and Wavves. Lead singer and guitarist, Bethany Consentino sings about summer, sunshine, boys and other trivial feel-good topics with 90’s Nirvana-esque guitar riffs and a playful use of lo-fi.
Cosentino tells Stereogum that she explored new topics on "California Nights."
She admits the record's self-titled is about California but not specifically about California. I assume she means it's more about that feeling of watching a beautiful sunset on a beach with people you care about on a cool summer night?
“I’m just trying to be honest and put myself out there as much as I can,” Consentino said when asked about the critics of her usual topics. “I definitely tried to mix it up more subject matter-wise on this record. I wrote about insomnia and jealousy, other things that were happening to me."
So, here's a laid back beach tune, with an ode to California's special
night vibes, performed in classic Best Coast fashion. It almost sounds
like it's summarizing all of the feelings Constantino wanted to express on their 2010 LP "Crazy For You" after a few years of pot-induced reflection.
"California Nights" is everything Best Coast is about.
9.
Kendrick Lamar — "For Sale?" (Interlude)
Lamar is not only one of the poetic geniuses of our generation, but with the eclectic and original instrumentation on this record, he proves his musical superiority, as well.
It’s a different musical experience for the Kendrick fan. But "To Pimp a Butterfly" is a musical and poetic experience that sucks you in from the first “every n*gga is a star.”
Lamar's jazz influence comes out most prominently on this track, with
Destroyer-like sounds complimenting Lamar's low-key rap verses on Lucy's "million stories."
8.
Tobias Jesso Jr. — "Just A Dream"
Often compared to Randy Newman and Elvis Costello, Jesso Jr., on his first LP, feels out of his era with familiar feeling melodies and his 1970s-like piano ballads.
He doesn’t understand the world, or why people do the crazy, messed up sh*t they do. He knows there’s a lot of hate in the world, but countering the often somber emotions felt on this LP's other tracks, he reminds his audience that "there's a thing called love too." The combination of lyrics and his Elton John sounding piano hook carry an uplifting, hopeful message that Jesso may need to hear himself as he begins his musical journey.
7.
Jamie xx, Romy — "Loud Places"
The xx member, Jamie Smith, from London, found huge critical success with his second independent release, some praising it as one of the year's greatest albums. In an interview with The Guardian, Jamie xx claims that from recoding his second solo record, he learned that he really likes working on his own. His solo album also pushed him to finish songs he had lying around for years. The Guardian describes his music as “ dancefloor melancholy.”
I like that phrase.
And for me, "Loud Places" is the deep city night drive track. But the twist is the song's loneliness. Hiding in a crowd. Looking for intimacy in a loud place.
"I go to loud places to search for someone to be quiet with who will take me home." — Jamie xx
6.
Kendrick Lamar, Bilal, Anna Wise — "These Walls"
This album is dense. It’s not an easy pop listen. It throws you all over the place with heavy breathing, odd pauses and disconcerting moaning like in the opening of this track. Kendrick understands this, and he’s not trying to scare his listeners. It’s just all part of his story.
“I had to roll with this record for two years but it was a fun experience," Lamar tells The Guardian. "That’s the place I’m putting the listener in.”
On this track, it's a story about struggling with the walls of his past. Although early on the record, "These Walls" introduces Lamar's struggle with his conscience.
5.
Houndmouth — "Sedona"
In an interview with KROQ, lead singer and guitarist, Matt Myers explains the origin of "Little Neon Limelight"'s opening track.
"They used to do a lot of Western films in Sedona, Arizona. It was a booming film town," Myers says. "It was the 'little Hollywood' until the filmmakers all went back to L.A.."
Myers is referring to the tracks insanely catchy chorus where he sings, "hey little Hollywood, you're gone but you're not forgotten..."
For me, “Sedona,” draws imagery of friends lounging in beach chairs, drinking Budweiser and cooking burgers on a charcoal grill. It's the opening feel good, soulful tune on a record that is on track to be one of the top rock n roll records of the year. As The Guardian explains, the album is “instantly euphoric.”
4.
The Chainsmokers, Rozes — "Roses"
This EDM duo has come a long way since their first single “Erase” in 2012, with huge party tracks like “Kanye” and the satirical “#Selfie.” When Idolator asked about their exploding single “Roses” this year in collaboration with singer, songwriter ROZES, Andrew Taggart and Alex Pall said they “always felt the song was special.” They call it “future pop,” with influecnes from Taylor Swift and Max Martin.
"Roses," Swift’s 2014 hit "Blank Space," Bieber's "What Do You Mean?" and a few other songs hint at the future of pop music. This sort of hybrid electro-pop will be important 10 years from now. It's one of the final chapters in closing in on EDM's position in radio pop. It's the forumala, the sound that DJ's have been working toward for the past decade.
"Roses" is the pop record of the year.
3.
Courtney Barnett — "Pedestrian At Best"
Barnett doesn't consider herself a skilled conversationalist.
“I don’t really like talking about myself,” she tells The Guardian.
So, she expresses herself through music and lyric.
“I don’t know how to explain things very well," Barnett admits. "I write songs because I can work on them and make myself sound clever, but in interviews I feel like a bit of a doofus.”
With a boisterous 90s garage guitar riff, this vivacious Barnett single screams her capability as a hard rocking story teller. Her playfulness reveals itself in the track's bone crushing guitar riff and zany lyrics on sinking “like a stone, like a first owner’s home loan.”
Early 90's garage punk would have welcomed Barnett's speak-singing style – reminiscent of The Red Hot Chili Peppers’ Anthony Kiedis – with open arms.
2.
Of Monsters And Men — "Organs"
Musically, Of Monsters And Men is safe. Their music fits a particular indie folk-pop mold that I like to call nature pop, alongside The Lumineers, Head and the Heart and Edward Sharpe and the Magnetic Zeroes.
In an acoustic-piano ballad with modest string incorporation, lead singer and guitarist Nanna Bryndís Hilmarsdóttir sings on forgetting and letting go pieces of herself that remind her of how it all went wrong. But she’s unable to let go completely, leaving in her heart because she doesn’t “want to stay in the dark.” It’s a simple narrative told through repetition, a patient reveal and a vivid body part metaphor, and it’s one of the most touching records I’ve heard all year.
1.
Sufjan Stevens — "Should Have Known Better"
Album of the year? Very possibly. This tune captures the simplicity, sadness, religious and family oriented themes that haunt this beautiful album. It's high key "nothing can be changed" bridge bluntly captures Stevens' struggle with the shaky relationship he had with his mentally ill mother and with her ultimate death — the record's theme that Stevens sings around in metaphor and narrative throughout the record.
"The past is still the past — the bridge to nowhere."
Stevens knows he cannot defeat his demons or his losses, but he finds a hopefulness inside, and he is ready to look forward.
"It's not really trying to say anything new, or prove anything, or innovate," Stevens tells Pitchfork. "It feels artless, which is a good thing. This is not my art project; this is my life.”
Honorable Mentions:
Future: "March Madness"
Transviolet: "Girls Your Age"
Vince Staples: "Norf Norf"
Kendrick Lemar: "Alright"
Drake: "Hotline Bling"
Eskimeaux: "I Admit I'm Scared"
Skrillex, Diplo, Justin Bieber: "Where Are U Now"
