Best Songs of 2011: 100-76

100. Timber Timbre “Black Water”
“Black Water” floats along with a sweet nostalgia that doesn’t get too wrapped up in its own appeal. The keys remain understated and give ample room to Taylor Kirk’s crooning vocals. Timber Timbre carries an effortless cool throughout the track, but the single and sustained violin note and lonesome saxophone that end the song give the track an uneasy ending that adds to its mysterious charm. —David Ruiz

99. The Drums “Money”
The Drums take a perfectly solid guitar rhythm and make it crazy catchy with vocals that vary between rushed phrases and lazy, drawn out syllables. The falsetto adds a touch of frenzy that seems perfect, but not without the actual lyrics that are universally likable if you’ve ever been one who couldn’t buy your significant other (or anyone) something nice. —Azaria Posik

98. Tennis “Take Me Somewhere”
An interesting combination of doo-wop, pop, and alternative, “Take Me Somewhere” gives us the imagery of people swaying at a 1950s high school dance, except the punch is spiked and the band is the husband/wife duo of Alaina Moore and Patrick Riley. Moore’s voice may be old fashioned but their sound is modern, bringing together that nostalgia of what used to be and the fast-paced present we face everyday. —Erica Matlin

97. Cut Copy “Where I’m Going”
“Where I’m Going” is a busy song — keyboards swirl, background singers shout, and layers upon layers build behind Dan Whitford’s vocals. The appealing opening guitar is quickly dominated by the rest of the instrumentation. However, the accessibility of those first seconds manages to stay afloat in this dynamic track as “Where I’m Going” showcases Cut Copy’s sun-baked enthusiasm perfectly. The track never shies away from adding more when it could use less, and although the end result may be a little unfocused, it is a lot of fun. —David Ruiz

96. Carter Tanton “Murderous Joy”
Tanton is formerly the lead singer of the band Tulsa, whose “Shaker” was a Top 20 selection here in 2007. Through his progression as a solo artist, he has found the power to gently speak his warm thoughts through a passionate, soothing voice. “Murderous Joy” is an exceptional display of his vibrant approach to folk music. This combination of peacefulness and vivaciousness makes for a stimulating, refreshing song and in due course sets Tanton apart from the rest. —Max Simon

95. Dale Earnhardt Jr. Jr. “Skeletons”
Soft. So soft you can hear the contact of a thumb on an acoustic guitar’s strings. But quickly an incredibly rhythmic drum sets the pace for this melancholy ballad. Reverbed vocals paint the picture of a beautiful yet chilly walk with an old friend that builds to a climax, right as the song ends. Just how the best part of a conversation often brings its closure, because to keep it going would only do it an injustice. —Sam Sklover

94. Gang Gang Dance “MindKilla”
Danceability isn’t something that’s heavily emphasized in today’s indie scene, but Gang Gang Dance’s “MindKilla” at least flirts with the idea. The track is constantly shifting, at any given time being driven by the powerful bassline and shuffling drums, Lizzi Bougatsos’ vocals, or the glitchy energy of the electronic instrumentation. —David Ruiz

93. Strange Boys “Me and You”
This feel-good number from the Strange Boys tugs on your heartstrings with perfectly wailed vocals, and a keyboard line that would make all of New Orleans raise their glasses. This is truly “long highway drive” music. The bar-room feel of this masterpiece keeps the listener ebbing on the emotional builds it provides. —Sam Sklover

92. Iron and Wine “Tree By the River”
I can’t really put my finger on the emotion this song gives off. It’s somewhere between “everything went better than expected” and “kinda bittersweet.” But in classic Americana fashion, ex-University of Miami film professor Sam Beam uses insanely perfect imagery to place us in the middle of a story from the depths of his memory, or the collective memory of all the great folk singers. I guess the real name for the emotion this song gives is “finally perfect.” —Sam Sklover

91. Tapes ‘n Tapes “Badaboom”
Roll the tape. Again. Again. You’ll find that the “Badaboom” explodes with faded madness, driving us to a faint feeling of lunacy. In addition, we uncover nothing about ourselves in this song yet we end up craving something electrifying. The concurrent paradoxes represent the track’s complexity as we are challenged to configure our emotions and consider our next move. —Max Simon

90. Lykke Li “Love Out of Lust”
Something about the quality of Lykke Li’s voice paired with steady drums and organic sound waves make this seem boundless and free. It’s not like someone singing at you, but for you. Beautiful and serene, the words float through precious musical space to reassure that it’s worth the risk to take chances with love. —Azaria Posik

89. Gardens & Villa “Black Hills”
The wavering vocals and fuzzy keys can’t slow the driving rhythm of “Black Hills,” and the song thrives from this disconnect. The track coolly saunters through soft-spoken instrumental breaks and chanted choruses, seemingly disaffected with all of it. “Black Hills” is tepidly brilliant; the song’s unassuming pieces build up to a whole that is definitely more than the sum of its parts. —David Ruiz

88. Chad VanGaalen “Sara”
The acoustic resonance, steady pace, and peaceful message epitomize “Sara” as VanGaalen’s remedial love. Corny metaphors get cliché at a certain extent, but his expressions like “you can soothe my mind with your silence” resemble nothing but adoration and desire. With this, listeners are given a channel for escape. And given a serene setting and the right mindset, this song will gently color your world with an array of warm feelings. —Max Simon

87. Peter Wolf Crier “Settling It Off”
Peter Wolf Crier’s simplicity here is what solidifies them as a folksy pop band. They’re not trying to be too ambitious with this song, and in doing so they accomplished a pretty empowering sound. Yes, the harmonies will be left echoing in your mind, but the drumming beat pushes you to imagine an entire stadium of fans simultaneously clapping the beat. That image, especially for such a calming song, is enough to give any music fan the chills. —Erica Matlin

86. Yuck “Get Away”
If you’re a fan of Sonic Youth, then you’ve probably caught on to this band, and if you haven’t then now is the time. The lyrics on “Get Away” give off that attitude of teen angst (“So the sun says get out now, I want you”) and the electric guitar offers that feeling of young romance. The strength of the bass also aids in keeping this song afloat, although no help is necessary. “Get Away” reminds us why this band is disgustingly good. —Erica Matlin

85. Cults “Abducted”
Cults nailed the theme song for dating life with this modern tune. It is an indie-pop love-angst song at its truest and finest. The age-old story of girl loves boy, boy doesn’t love girl back, but they hang out, drink PBR, and make out anyway. The group is known for their upbeat xylophone and glimmer sounds (such as last year‘s “Go Outside”), but here Madeline Follin’s massive vocal performance shows grit and hard truth alongside the glimmer. —JoAnn Schinderle

84. Youth Lagoon “Montana”
With this much reverb, the sound in this song really does connote Big Sky country. A vastly open piano is the medium throughout this track from Youth Lagoon’s debut, The Year of Hibernation. That medium gets cut across by terse synth and bell sounds, but a gathering sense of uplift catches you as the sounds blend in a towering, near “hallelujuh” moment for the song right before its satisfying close. An artist this young ensures his spot on future lists for years if he keeps churning out pieces like this one. —Sam Sklover

83. Beirut “East Harlem”
One of the many reasons “East Harlem” is worthy of praise is because it perfectly carries us through the changing seasons; it premiered in summer and is still playing on our fall and winter playlists. The rich accordion gives the song an old world, folk sound that is familiar and reminds us that we don’t have to be in Manhattan to know what it’s like be so close while still so far from someone we love. —Azaria Posik

82. Radiohead “Codex”
Nearly all instrumental, “Codex” takes you off the cliff, plunging into the ocean. The brief riffs of electric echoes, somewhat resembling the call of a whale, is what lets us soar off on our own. With just three verses, Radiohead leaves the setting of the song to our own imaginations. With peace and simplicity, “Codex” gives us the extra push to just let go and daze off. —Erica Matlin

81. Black Lips “Modern Art”
In case you forgot what a great rock song could be like, “Modern Art” will remind you. Lyrically it’s somewhat confusing yet satisfying, which is probably appropriate for a song set in the modern museum of K-hole. Get caught up in the electric riffs and crazy snares and briefly wonder if this is a commentary on the relationship between artists and mind-altering substances. Then forget that and have fun, just as the Black Lips intended. —Azaria Posik

80. Wye Oak “Holy Holy”
Named for what was the largest white oak tree in the United States, Maryland’s Wye Oak has the ability to invoke an earthy feeling of morose in their music while capturing the listener’s imagination in the process. “Holy Holy” is a frantic song that features dynamic guitar riffs combined with the beautiful swoon of Jenn Wasner’s voice. The track beckons the listener to discover the unknown ahead while simultaneously reminding them that there is no time like the present. —Nick Crow

79. Bon Iver “Towers”
Justin Vernon’s ability to mesh naïveté, naughtiness, and obsession all in the midst of a tranquil tun is what makes “Towers” bound to invoke goosebumps. Love, often a cliché topic, feels brand new when this Bon Iver masterpiece blends nature’s pure chill with the wrongful reliance on fairy tales. Thumbs up as a sequel to For Emma, Forever Ago, and with a distinctly new sound, it will be on repeat until Bon Iver is at it again. —Max Simon

78. TV on the Radio “Caffeinated Consciousness”
If Rage Against the Machine were less pissed off they would’ve made this song. Hard-hitting Brooklyn mainstays TV on the Radio are no surprises when it comes to critically-acclaimed music, and rightfully so. This song is going to be right up your alley if you like great music and don’t mind being punched in the face—in a good way. —Sam Sklover

77. Hooray for Earth “No Love”
Hooray for Earth’s “No Love” starts like an ’80s gem, but once the bridge rolls around and the horn section makes itself known, it’s obvious that this song resists easy classification. The backing instruments grow bolder as the song picks up steam, and the vocals respond with a restrained energy of their own that is reminiscent of Sufjan Stevens. “No Love” is a dense, uplifting, infinitely enjoyable track. —David Ruiz

76. The National “Think You Can Wait”
Moviegoers may recognize this soothing, rhythmic piece as the theme song from Thomas McCarthy’s film Win Win; those who did not catch this excellent dramedy will still feel a keen sense of ease while listening to lead singer Matt Berninger. The distinctness of this talented baritone is heightened, lyrically and musically, by the background vocals of his band mates that echo softly throughout the chorus. The words offer a combination of sadness and hope, while the gentle tempo makes it the perfect song to drift off with into a dream world. —Erica Matlin