I don’t want to waste a lot of energy rehashing all of the stuff I said in my previous post. It’s almost the new year, so let’s get down to it. Where did we leave off last time? Ah, yes…
50. Danger Mouse / Black Thought - “Belize” [ft. MF DOOM]
Almost certainly the only artist on this list to have personally sold me a t-shirt. (Shout out to Wuxtry Records. Buy a t-shirt yourself.) Combine that with two of the most underrated performers in hip-hop in Black Thought and MF DOOM (may he rest in power) and you know what the answer is.
Verdict: yes
49. Jessie Ware - “Free Yourself”
A smooth mix of diva house and italo-disco (two of my favored genres), this sounds like a 1995 cover of a minor disco song that was initially released in 1978 to resounding silence. It’s a piece of pre-made nostalgia that dissolves on the tongue like a new flavor of your favorite childhood confection.
Verdict: yes
48. Ravyn Lenae - “Light Me Up”
Like Minnie Riperton blissed out on medium-power disassociatives, the track swirls and shifts in undulating layers of synthed out R&B. The downside is that it’s so lightweight a song as to be instantly forgettable, but you’ll enjoy the four minutes you spend on “Light Me Up”.
Verdict: maybe leaning towards yes
47. Maren Morris - “Circles Around This Town”
Maren Morris tries to walk a tightrope. On one hand, she maintains a fierce independence that separates her from her Nashville compatriots in modern country music. On the other hand, she still makes music that fits neatly into the conventions of the macro-genre. If she had the courage to distinguish herself from her fellow Acuff-Rose acolytes, she’d be much more listenable. Writing a slickly produced song about how she doesn’t want to write slickly produced songs isn’t a way to buck the trends.
Verdict: nah
46. Drake - “Sticky”
Drake never met a sound he couldn’t swaggerjack or a style he couldn’t bite. He’s the tofu of hip-hop: taking on the flavor of what he’s surrounded by while not adding anything distinctive on his own. In my experience, you’re better off going to the source of whatever he’s recently listened to than his own inferior distillations.
Verdict: no
45. Lucrecia Dalt - “El Galatzó”
Abstract minimalist noise in a language I’m not entirely fluent in? I’m sure it’s lovely but it’s not for me. It’s too sparse for me to keep my attention focused.
Verdict: no
44. Taylor Swift - “Anti-Hero”
Taylor Swift is one of the great songwriters of the age. She’s one of the few artists to combine country roots with pop sensibilities, while achieving mainstream superstardom and simultaneously maintaining her integrity as an artist. Swift has reached the point where she is a creative force who shapes trends instead of following them. “Mastermind” is a better track, though.
Verdict: yes
43. Carly Rae Jepsen - “Western Wind”
What do you do when you produce arguably the finest pop song of the century? This, apparently. It’s lightweight and intangible in a thin gauzy way. The frustrating part is that we know Jepsen is capable of so much more. Or was it just a flash in the pan?
Verdict: no
42. MJ Lenderman - “Tastes Just Like It Costs”
This combines everything I liked about Uncle Tupelo-style alt-country with all the things I dislike about Wilco. The filtering during mastering is just such a cheap gimmick that it overshadows what might be a good song. Does Lenderman not believe in his material enough to record it straight? Why should we believe in it, then?
Verdict: no
41. Charlotte Adigéry / Bolis Pupul - “It Hit Me”
Pitchfork is clearly in love with sparse minimalist electronica. I am far less engaged by the idea. I’m also predisposed to dislike spoken-word sections as opposed to sung or rap vocals, so this is definitely a pass for me. The intensity picks up as the song moves along, but by that time I’m checked out.
Verdict: no
40. Yaya Bey - “keisha”
I don’t know what to make of this. It borders on neo-soul, but the modern R&B trappings keep it from reaching its Jill Scott or Erykah Badu potential. It’s too slick, without the earthiness that could ground it into a good song. It’s trying to serve two masters and satisfying neither.
Verdict: maybe leaning towards no
39. Megan Thee Stallion - “Plan B”
Megan’s flow is obviously influenced by Lil’ Kim, but there’s more than a little Queen Latifah in the way she slides off the beat in alternating measures. The simple single-sample backing track allows Megan’s vocals to take center stage.
Verdict: yes
38. Angel Olsen - “Big Time”
Angel Olsen reminds me of two of my favorite country vocalists, Iris DeMent and the late Nanci Griffeth. The way she eases onto the track with effortless grace is reminiscent of “Love at the Five and Dime” or “Our Town”. Her near yodel is ethereal and delightful.
Verdict: yes
37. Sudan Archives - “Home Maker”
There’s a central discordance at the heart of “Home Maker”. The song lurches forward in fits and starts, never finding its center. It’s almost interesting enough to make up for the sameness that pervades the track, but not quite.
Verdict: maybe leaning towards no.
36. yeule - “Bites on My Neck”
Glitch-pop is not really my thing, and yeule doesn’t change that. I don’t generally like the sensation of growing unsettled with each line, which is what “Bites on My Neck” attempts to cultivate. I can appreciate the technical skill on display, but it rings hollow and artificial.
Verdict: no
35. Special Interest - “Midnight Legend” [ft. Mykki Blanco]
This song is instantly forgettable. My attention immediately wandered, to the point where I had to double check that it ended once it was over. I can’t tell you one thing about it besides that it’s too long for what it tries to do.
Verdict: no
34. Grace Ives - “Shelly”
I wouldn’t have thought that there was such a thing as “bedroom party pop”, but here we are. “Shelly” sounds like a rave confined to one dorm room, trying not to attract the attention of the RA or disturb the neighbors one pod over. There’s an undercurrent of energy that scintillates.
Verdict: yes
33. Big Thief - “Spud Infinity”
Speaking of Iris DeMent, this track seems ripped from the same sessions as “In Spite of Ourselves”. It’s not as clever as John Prine, which is like saying a puddle isn’t as expansive as the Pacific Ocean; the two are both bodies of water but that’s where the comparison should end. It’s fine, not exceedingly great, but serviceable.
Verdict: maybe leaning towards yes
32. Chief Keef - “Bitch Where”
Chief Keef says more in one verse than some rappers say in entire discographies. Sosa paints a picture with his words, illustrating how his emergence from the struggle in Chicago allows him to continue his artistry. The note from his grandmother is touching.
Verdict: yes
31. Charli XCX - “Constant Repeat”
Charli XCX said she was attempting to leave her previous hyperpop in the past, and her incorporation of dream pop steers it back into mainstream pop territory. It’s solidly danceable, with enough synth burbles to provide a pulsating rhythm. Quality work that leaves “Boom Clap” in the dust.
Verdict: yes
30. Ice Spice - “Munch (Feelin’ U)”
How often does a relatively unknown rapper get to redefine a word with their big debut? Ice Spice influenced Merriam-Webster to add “munch” as a synonym for scrub on the strength of her single. The track itself is standard drill, but it’s fairly catchy. Expect Drake (who signed her after this) to copy it any day now.
Verdict: yes
29. Jockstrap - “Greatest Hits”
It’s too busy for me. The disparate parts are fine, but there’s no cohesion holding it together. It’s slightly better than “Basketball Shoes”, also by Georgia Ellery in conjunction with Black Country, New Road, but that’s damning with faint praise.
Verdict: no
28. Soccer Mommy - “Shotgun”
I like Soccer Mommy a lot, but I’m always unsure how to categorize her music. Sometimes it’s confessional bedroom indie, sometimes it’s Depeche Mode influenced darkwave, sometimes it’s Ani DiFranco agit-folk. Regardless, I’m a fan. She creates soundscapes and imagery that are always intriguing.
Verdict: yes
27. Steve Lacy - “Bad Habit”
If Prince came up in the age of TikTok, I can’t help but think he’d produce something like this on occasion. He’d probably dismiss it as too one-note and undeveloped, though, and it would stay in the vault at Paisley Park. There’s no hook to grab your attention past the chorus, and it’s not strong enough to command lasting recognition.
Verdict: solidly maybe
26. Cate Le Bon - “Moderation”
Imagine Elizabeth Fraser listened to nothing but city pop for six months, and this would be the result. The bassline is surprisingly agile and muscular, but Le Bon’s vocals are the star of the show. It’s art pop but listenable instead of pretentious.
Verdict: yes
25. Burna Boy - “Last Last”
Even through the language barrier, Burna Boy’s heartbreak comes through loud and clear. His ode to lost love resonates deeply. The Toni Braxton sample is unexpected, but effective.
Verdict: yes
24. Daphni - “Cherry”
I couldn’t finish this one. The overlapping tempos are too much. I’m afraid I’ll get a migraine if I keep listening.
Verdict: no
23. Weyes Blood - “It’s Not Just Me It’s Everybody”
Someone’s got to keep Karen Carpenter’s memory alive, and it might as well by Weyes Blood. Ironically, the drum track is the weakest part of this song, so maybe Karen wouldn’t have approved. (Karen was a hell of a drummer, irrespective of her vocal prowess.) It’s missing a certain something that I can’t put my finger on, so it feels incomplete.
Verdict: maybe leaning towards yes
22. Two Shell - “home”
Did we go back to 1992 and no one told me? I need to warn some people about some things if so. This jungle track is dripping with nostalgia, but not in a fun or endearing way. I’d rather listen to Roni Size or Tom and Jerry than this pale imitation.
Verdict: no
21. Monaleo - “We Not Humping (Remix)” [ft. Flo Milli]
Uncle Luke’s impact is felt to this day. I’m immediately reminded of 2 Live Crew’s output when I listen to this track. If Luke had had the foresight to meld Miami bass music with female-fronted groups, imagine how long he could have been on top.
Verdict: yes
20. Caroline Polachek - “Billions”
I didn’t think Massive Attack could get more soulless, but here we find ourselves. It’s artifice piled on top of artifice. There’s no emotional resonance to be found here.
Verdict: no
19. Beth Orton - “Friday Night”
I want to like this song. “Stolen Car” is a forgotten classic (in America, at least), and the idea of artful folktronica is deeply appealing. Alas, this meandering track doesn’t work for me. The hiccupping vocal floats over a Casio keyboard demo without resolving.
Verdict: no
18. Björk - “Ancestress”
I hate that Björk has been reduced to a single outlandish red carpet outfit in pop culture’s memory banks, instead of the groundbreaking artist she is. Ask a hundred average Americans and you’ll hear reminisces of the swan dress by a handful, with maybe one reference to “It’s Oh So Quiet” or “Human Behaviour”. I may or may not like her individual songs, but they are never boring.
Verdict: maybe leaning towards yes
17. Nilüfer Yanya - “Midnight Sun”
At the three quarter mark of this song when the fuzz kicks in, it truly begins to breathe. The ProCo Rattiness dissolves into Kevin Shields spaciness, and Yanya’s soundscape coalesces. It all comes together to form a warm embrace of a track.
Verdict: yes
16. Kendrick Lamar - “The Heart Part 5”
There’s been a good amount of talk about Kendrick Lamar being the best rapper alive, or the best rapper of his generation. I don’t quite buy it, but I can see the merits of the argument. He’s at least in the running, but for whatever reason this song doesn’t click with me.
Verdict: maybe leaning towards yes
15. Rachika Nayar - “Heaven Come Crashing” [ft. Maria BC]
Post-rock is hit or miss with me. I think I need more structure than synth swells into sped-up amen breaks. The guitar parts aren’t really compelling when they kick in, and the choir effect rings hollow. Maybe I’m not taking the right drugs?
Verdict: no
14. Pharrell - “Cash In Cash Out” [ft. 21 Savage and Tyler the Creator]
I loved this song. Bravado and braggadocio in equal parts, the three principal performers create something truly interesting. Pharrell when properly motivated is one of the best producers in the world, and he has two of the finest verse assassins on deck to flesh out his idea. If you put both of them on a track, I’m going to give it a listen. This is one of the few songs on the list I’m going to seek out again.
Verdict: yes
13. The 1975 - “Part of the Band”
Allegedly this song was created from a discarded Phoebe Bridgers track, but I’m sure if it had ended up in her hands it would have actual structure. This song goes nowhere and doesn’t do it particularly well. Folksy art-pop is a hard sell with me to begin with, and this doesn’t hit the mark at all.
Verdict: no
12. Aldous Harding - “Fever”
My inner dialogue while listening to “Fever”:
“Is that a flugelhorn?” “Yeah, that’s a flugelhorn.” “Why?” “Because it’s the only interesting thing happening… WHAT IS THAT CHORD CHANGE?” “Make it stop.”
Verdict: no
11. Ethel Cain - “American Teenager”
All I hear in this song is Taylor Swift’s massive influence. The hookishness of the track is pure Tay Tay, with snatches of Kasey Musgraves or Maren Morris. I believe this to be a country song at its core, and no one can tell me different. Underneath the shoegaze effects, there’s a steel guitar in its soul.
Verdict: yes
10. Hikaru Utada - “Somewhere Near Marseilles”
I keep saying this because it’s true: use as long of a track length as you need if and only if you have an idea worth developing over that time. There’s nothing in this song that couldn’t be presented in four minutes instead of twelve. It seems like transparent critic bait.
Verdict: no
9. Bad Bunny - “Tití Me Preguntó”
Although I have enjoyed his work in the arena of professional wrestling, I can’t say I’m that familiar with Bad Bunny’s musical work beyond the hits. That being said, he’s consistently interesting and never mired in his own miasma of complacency. The bits and pieces he amalgamates from different artists comes together much more than, say, Drake, who does much the same thing with lesser results.
Verdict: yes
8. Alan Braxe / DJ Falcon - “Step by Step” [ft. Panda Bear]
Pitchfork is orders of magnitude higher than me on Panda Bear, who frequently grates on my nerves for never quite being on pitch or in key. If there was a different vocalist, I’m sure I’d like this song much more. If Daft Punk lifted from an AM Gold compilation instead of disco, this would be the result. Is this actually a Player sample? Does Ronn Moss a.k.a. Ridge Forrester get royalties?
Verdict: maybe, leaning towards no
7. Rosalía - “SAOKO”
If Trent Reznor mainlined reggaeton for a few weeks, it would sound something like “SAOKO”. Unlike so many of my complaints in this list, though, I wish there were more time taken to let the track breathe and develop. It’s over too quickly and shifts too suddenly to become what it could be.
Verdict: no
6. Yeah Yeah Yeahs - “Spitting Off the Edge of the World” [ft. Perfume Genius]
I think I just dislike Perfume Genius on principle at this point. Adding the Yeah Yeah Yeahs (who are given to pretension to begin with) doesn’t help matters. They always think they’re more interesting than they are. All I can think of when I listen to this is that I’d rather be listening to “Maps” or “Heads Will Roll” instead.
Verdict: no
5. Beyoncé - “Alien Superstar”
All hail Queen Bey. I love her newfound direction where she embraces house, electronica, and dance. In comparison to her, most if not all of the other dance tracks on this list don’t hold up in the least. She innovates while interpolating, not an easy thing to do.
Verdict: yes
4. Alex G - “Runner”
I wish I could pinpoint what’s missing from this track. It’s got pieces that I adore, from the rollicking piano to the stutter-step false key changes, but it doesn’t work for me. It’s lesser than the sum of its parts.
Verdict: maybe leaning towards no
3. Glorilla / Hitkidd - “F.N.F. (Let’s Go)”
I lived through the first wave of crunk, in perhaps the epicenter of the genre. I don’t claim to be an expert, but I can discern the good from the bad. This is the latter, not the former. Instantly forgettable, made to chunk up into TikTok lengths.
Verdict: no
2. Destroyer - “June”
If you can’t sing, don’t. The backing track is fine, if inoffensive. The lyrics are too wordy for the laconic delivery, and don’t flow so much as fall. I have no desire to listen to this again whatsoever.
Verdict: no
1. Alvvays - “Belinda Says”
I love a good jangle-pop/shoegaze hybrid, so it’s no surprise that I like this. Is it the best track released this year? Not hardly. But it’s good, and good enough. It makes me want to seek out more and listen again. Few songs on this list can say that.
Verdict: yes
We made it! Someone more enterprising than me should do the sabermetrics and figure out how much of this list I considered worthy of your time, and how much deserves your unceremonious disdain. That’s too much math for me.
If you’ve liked what you’ve read here, I invite you to…