75. SBTRKT feat. Sampha “Trials of the Past”
Sampha’s vocals and keyboarding skills combined with Aaron Jerome’s mixing, sharp percussion, and jittery acoustics make this “reflection” song very much futuristic. The electrical, passion-infused rhythm of “Trials of the Past” has the ability to be appropriate for both a hazy club and a swanky bar. The confessional aspect of the song is captured lyrically while the musical motions occur during the breaks between verses, making it very innovative indeed. —Erica Matlin
74. St. Vincent “Surgeon”
Annie Clark, the creative force behind St. Vincent, filled “Surgeon” with her characteristic autobiographical storytelling. Embellished with details as personal as her relationship with her mother and battle with depression, the song is layered, schizophrenic, and not just a touch sexy including a nod to Nancy Sinatra’s Bond theme. Floating in and out of biphasic dream-like states and bouts of electronic fireworks leave her seeking release from the madness with red & blues, sleep, the thrill of theft and, finally, surgical intervention. —Drew Mosley
73. Foster the People “Helena Beat”
“Helena Beat” comes in strong with the rapid kick drum, and with playful laughing as the transition, we’re hit again with a powerful base-infused beat. By the time it strikes all you want to do is dance, no drugs necessary. Foster the People gives us something different in each of their tracks, and what distinguishes “Helena Beat” is the ongoing build up that keeps you going. Perhaps that “sip of something poison” was all we needed in 2011. —Erica Matlin
72. Starfucker “Bury Us Alive”
“Bury Us Alive” sounds like the end of a night, with its soft promises and careful energy playing coy throughout the track. This song comes from Starfucker’s second LP Reptilians, and the album bounces and grooves with a mix of electronic instrumentation, smart songwriting, and spoken-word samples. “Bury Us Alive” represents Starfucker’s middle ground — it finds Starfucker in a confident and understated form. The lyrics carefully frame the sharp middle of the track, and the echo-y synths that start the track offer a solid framework for the rest of the song. —David Ruiz
71. Cut Off Your Hands “You Should Know Better”
The influence of The Smiths permeates “You Should Do Better,” from a Johnny Marr-esque guitar riff to Nick Johnston’s Morrisey-like vocals. They may wear their influences on their sleeves, but Cut Off Your Hands don’t sound like an imitation — they sound like a band that knows how to make great music while honoring their inspirations. —Claire Tiller
70. Atlas Sound “Terra Incognita”
“Terra Incognita” is a fever-dreamed stream of consciousness where one is whisked away from earthly attachment. It seems that in this song Bradford Cox has baptized himself in willful solitude, away from petty distraction: “I know a place called love, no one bothered me there, no I was all alone.” Gently plucked guitars, liquid reverb, and slight phasing sweep along behind Cox’s science fiction inspired musings. The swirl of the instruments glide from speaker to speaker, leaving the listener unlocked and sent drifting away into a spiraling night sky. —Peter Charles Allen
69. Blouse “Into Black”
Charlie Hilton’s voice drifts over sawtooth synthesizers and a rhythmic bass line that recalls The Cure in their heyday. It’s a perfect three-minute nostalgia trip that leaves you aching for John Hughes movies and bad perms. —Claire Tiller
68. Milagres “Here to Stay”
Milagres playfully approaches pop music’s conventions without irony in “Here to Stay” and the result is an upbeat jam that sounds familiar without getting too comfortable. The song’s tight construction, starting with steady drums and ending with a playful chime, give this track an accessible appeal. —David Ruiz
67. My Morning Jacket “Holdin’ on to Black Metal” This begins very much like the scene in the movie where the bad guy makes his entrance into a bar: the doors fly past him, everyone turns to look, all while the bartender slides the guy a drink — his usual, of course. The edginess of the guitar, bass, and psychedelic elements gives this badassness a solemn quality that alludes to hints of mysteriousness, furthering the meaning of the title. There’s something that gives an answer to all misunderstood youth; for My Morning Jacket, metal was it. —Erica Matlin
66. Snowmine “Let Me In”
Damn yo, this is some of “That Psych-Indie-Tribal-Surf-Pop-Enya-Core Stuff All The Kids Love,” as one YouTube user so aptly put…so spin into a daydream as the subtle abstraction eases your eyes and opens your imagination. And though self-produced, Snowmine’s songs have all the rich elements one could bargain for. For “Let Me In,” it is the tinkering loops, the dynamic yet soothing voice, and the sheer originality that somehow put me in a state of perplexity and temptation. —Max Simon
65. Washed Out “Amor Fati”
Hypnotic and endlessly listenable, this track by Washed Out could also find itself in a John Hughes movie. The processed vocals meld seamlessly with the waves of melody that slowly build up in typical chillwave fashion. The trance-like repetitiveness of the song fits perfectly with the title, which means love of one’s fate in Latin; whether that imparts apathy or optimism is up to the listener. —David Ruiz
64. A.A. Bondy “The Heart is Willing”
The sluggish drawl of this song never ceases to surprise me. It throws me out of my comfort zone every time I listen to it. Not because of any new-age, groundbreaking changes, but you know that feeling where one part of a build seems to hint at a coming change, and when that change comes it feels good because it just feels…right? Well that never happens. It brings you to this antagonizing change, and throws curveballs out constantly to an unsuspecting ear. But being juxtaposed by the rather simple but beautiful instrumental face of the song, this piece tiptoes the small balance beam of comfort and excitement, listen after listen. —Sam Sklover
63. Fleet Foxes “Grown Ocean”
A pulsing beat and a vintage sound combine to illustrate a foggy voyage, easily imagined in Technicolor. Led by nature’s warmth, the voyage drifts on through your nerves and hits you dead on where it counts. Even with a classic feel, Fleet Foxes keeps chugging on with its harmonious reputation, paving an extensive path with fresh footprints. —Max Simon
62. Feist “How Come You Never Go There”
Soulful doesn’t even hold a ghost of a chance at describing this track from Leslie Feist. It’s so much more than that, even at first listen. This ominous, low, visceral flow is perfectly spaced enough to push the song along, but not overtake the perfectly complimented vocal support of the song. And towering above the rest of the song comes the story of the tail end of a love-once-was. The production mantra of “simplicity is the essence of efficiency” makes this song too pleasing to listen to over, and over, and over again. —Sam Sklover
61. Leisure “Follow Me”
Characterized by a poignant mesh of poise and perplexity, this track plays with passion, confusion, and pity in a pulsing trance. As an 18-year-old, Jed Rouhana wrote “Follow Me” as a reaction to “anonymity and feeling ridiculous for trying to make everyone understand you when they never will.” The sly, surreal sound hints to these emotions — and further depicts the animation of walking with a fake swagger. Everything tempts the listener to accept his desperate call for companionship…will you follow them? —Max Simon
60. Das Racist feat. Danny Brown and Despot “Power”
Das Racist has come a long way from their “Combination Pizza Hut and Taco Bell” days — in fact, Relax was their first commercially released album. However, Das Racist keeps their sound with “Power,” a sarcastically witty track that may not be the future of hip-hop but certainly helps dispel any rumors that they are joking, or not joking, just joking, they’re not joking. —Nick Crow
59. Low “Especially Me”
Low’s “Especially Me” starts with Alan Sparkhawk’s audible cough in the first seconds — a small detail that adds a human touch to the glossy, orchestral production that follows. Strings steadily build behind Mimi Parker’s wall-of-sound vocals as gentle bells and percussion keep the temperature rising slowly throughout the piece, although never allowing it to boil over the rim. Low uses simplicity instead of flash to encourage the listener to delve past simple face value of the song and dive into its sonic layers in order to discover the beauty of the well-cooked, mature songwriting. Some songs do indeed “sound like cake.” —Peter Charles Allen
58. James Vincent McMorrow “If I Had a Boat”
With every word as a whisper, “If I Had a Boat” makes McMorrow’s voice unique, the idea of wanting something more in life is clear through poetic lyrics like “hoping for the shore.” The ending is sharp, a vast change from the collective voices that begin the song, leaving us in a cold darkness, further emphasizing the means to which we all need to complete our goals. With this daydream-like state, listeners can sail off in McMorrow’s boat. —Erica Matlin
57. The Antlers “I Don’t Want Love”
Much like the relationship portrayed in the lyrics, the deep-seated emotion of “I Don’t Want Love” draws you in repeatedly despite the pummeling it delivers. The last “ooh” falls somewhere between a ecstasy and pain, filling your heart in such a way that love couldn’t fit even if you wanted it to. —Stacey Lansing
56. Dale Earnhardt Jr. Jr. “Morning Thought”
There is nothing sweeter in the world than reaching the checkered flag at Talladega. The one possible exception is Dale Jr. Jr.’s “Morning Thought.” An upbeat song that can be enjoyed in pit row as well as victory lane, it beckons the listener from start to end. Like something from a dream sequence, it can be adored in any frame of mind. If heard in the rain, one can almost taste the victory champagne. —Nick Crow
55. Lana Del Rey “Blue Jeans”
Lana Del Rey is clearly addressing American symbols with “Blue Jeans.” Her compositions embody a feeling of expansiveness that is reminiscent of the southwestern U.S. The way she combines disparate elements gives “Blue Jeans” a sense of space: the juxtaposition of a loping guitar, sampled yell, lyrical hip-hop references, and cinematic violin combine into an eclectic American form. —David Ruiz
54. Girls “Vomit”
This ode to loneliness is like drinking in the dark, chain smoking, and feverishly writing in a Moleskine. Owens voice sounds on withdrawal, desperately “looking for love” like an addict searching for his next fix. The intensity turns into incredibly powerful guitar chords joined by an electric organ and a soulful choir, leaving you with chills and a retrospective look on lost love. —Azaria Posik
53. The Black Keys “Lonely Boy”
“Lonely Boy” took the reigns on The Black Keys’ seventh album, satisfying fans of the blues-rock combo that is synonymous with the band’s name. The rock duo of Dan Auerbach and Patrick Carney give it straight with a fast-paced guitar riff followed by consistent drumming. Auerbach’s airy singing in the chorus, “I got a love that keeps me waiting,” is complemented by subtle echoes that make the song that more powerful. Even the seventh time around, The Black Keys are still indulging in a purist sound. —Erica Matlin
52. James Blake “Measurements”
James Blake’s dubstep sensibilities aren’t completely absent in “Measurements.” The track’s sparse instrumentation chooses to stutter and sink instead of wobble, and this lets Blake’s vocals drive the song. The near-choral effect that Blake uses on the vocal tracks are reminiscent of Justin Vernon’s experimentation in tracks like “Woods,” but Blake’s use of the effect here isn’t as dramatic or extensive as Vernon’s, and it is much stronger for it. “Measurements” dissolves over its four-minute length, with careful silences becoming increasingly common as the song continues. The minimal aesthetic that Blake carries throughout creates a gorgeous and introspective atmosphere here. —David Ruiz
51. Summer Camp “I Want You”
This is the same stuff that both Madonna and Chromeo could get off to. Just like Madonna, this song takes a shot into crazy after tip toe-ing on the borderlines between them with lines that start with “I’d wrap my arms around you and snap every bone in your back” and end with “Put your name and blood on everyone and make the evening news.” The pulsating electronic beat pounds along as the lyrics pound away at normalcy. —Sam Sklover