80. Cathedrals “Want My Love”

It’s hard to get hooked on a song you’re hearing for the first time when the song feels like it’s already been played to death; stale music comes from taking the wrong parts of something that’s already been done. Again and again, Cathedrals have shown they understand this by carefully borrowing from R&B, pop, and dreamy space-out synth. Their sharp single “Want My Love” is no exception to this understanding, as it operates like a warm blanket brought out each winter—like something familiar made new. —Drew Curtis
 

 

79. D.D Dumbo “Tropical Oceans”

You need only listen to a handful of tracks by Australian Oliver Hugh Perry, the man who records as D.D Dumbo, to realize that his sound is too international to be confined to a single genre (his influences include music from Africa to Tuva). And you need only listen to this particular song to gain an appreciation for the blend of exotically-tinged folk and sinuous guitar that makes his work so unique. —Gretchen Tracy
 

 

78. Grace Mitchell “Broken Over You”

Plain and simple, Grace Mitchell was one of the best discoveries of 2014. This standout single is a song about infatuation, a particularly abhorrent torture that most of us probably know a thing or two about. It’s emotionally upfront and at times even blunt, manifested in simple lines where Mitchell is able to accurately express certain feelings that most of us find too complicated to put into words ourselves. Move over, Lorde: there’s another 16-year-old indie pop gal who’s wise beyond her years. —Rebecca Edwards
 

 

77. Alt-J “Left Hand Free”

Last January, English indie rockers Alt-J suffered quite a hit as founding member Gwil Sainsbury decided that the life of a touring musician was not for him. In lieu of this considerable setback, “Left Hand Free” is a bit of departure from the band’s accustomed sound. In fact, the song has a twangy rock vibe that calls to mind classic rockers of the ’70s and ’80s. Despite this strange twist, however, “Left Hand Free” is a catchy track that shows that while the cooks may be different, Alt-J is still in the kitchen. —Rachel Schroeder
 

 

76. St. Vincent “Prince Johnny”

St. Vincent dropped her fifth and eponymous studio album like a bombshell in 2014. It’s chalked full of power that is released subtly like on “Prince Johnny.” Hardened with meaty, distorted drums, St. Vincent’s tender vocals shine atop a choral synth. “Prince Johnny” cuts through best, however, when she chops at her guitar amidst a faint barrage of “ohs.” —Andrew Conley
 

 

75. The War on Drugs “Under the Pressure”

The War on Drugs’ Lost in the Dream is an expansive guitar album focused on the journey rather than the destination. Even if there is no final stop, however, every adventure has a beginning—and Dream‘s starts with “Under the Pressure,” a sprawling nine-minute blur of triumphant heartland rock that moves seamlessly from its first drum pad scratches to its saxophone-sustained outro. —Andrew Brandt
 

 

74. Grimes feat. Blood Diamonds “Go”

The throbbing Blood Diamonds beat that runs throughout “Go” certainly signals a departure from the Visions-era Grimes who I first fell in love with—but despite this, the song still contains the breathy, ethereal vocals that unmistakably mark her signature style. Though it remains to be seen whether this is a new direction for her or just a one-time experiment with a great producer, I’m incredibly excited to see what her new material has in store. —Tori Dexter
 

 

73. J.E. Sunde “Easy Kid”

2014 found J.E. Sunde releasing Shapes That Kiss the Lips of God, a timeless-sounding record that served as a great companion as summer folded into fall and fall into winter. Shapes highlight “Easy Kid” showcases not only Sunde’s narrative talent but also his ability to radiate joy during dark situations. This is, quite simply, an excellent singer-songwriter on his singing-and-songwriting A-game. —Andrew Brandt
 

 

72. Sharon Van Etten “Taking Chances”

After spending the entirety of her career looking at the past, “Taking Chances” found Sharon Van Etten turning her gaze upon the present. Though the track retains her haunting, emotive lyricism, it servers as a natural progression forward for an artist ready to explore new ventures. And while taking the reins into your own hands can bring about feelings of uncertainty, on “Taking Chances” Van Etten sounds as confident—and ready—as ever. —Andrew Brandt
 

 

71. Eagulls “Tough Luck”

From the first rip and roar of feedback, it’s obvious that “Tough Luck” means more than business. The track is a four-minute frenzy of lean rock, propelled by a lot of angst and drums that sound like thunder in need of lightning. And though its vocals are utterly unintelligible throughout, “Tough Luck” becomes strangely more rousing with each blended syllable, pumping you up more than Hans and Franz ever dreamed of doing. —Andrew Brandt
 

 

70. Hamilton Leithauser “Alexandra”

The members of The Walkmen may have collectively hung up their hats last fall, but 2014 showed that frontman Hamilton Leithauser wasn’t quite finished. A highlight from his mid-summer release Black Hours, “Alexandra” picks up right where recent Walkmen material left off; it’s an effortless track that finds the new father feeling cozy in his environment, showing off his continually strong, continually charming vocals. Grace has always suited Leithauser, and “Alexandra” is a dapper, perfect fit. —Andrew Brandt
 

 

69. Hundred Waters “Cavity”

Hundred Waters’ music has a cinematic, weightless quality that would kill as a soundtrack. “Cavity” fits this descriptor to a T: its instrumentals flow seamlessly from one mood to another without conveying a particular genre, while singer Nicole Miglis spits impressionistic lyrics with uncanny fluidity and lends a human touch to the band’s electronica. Fusing ambient synths with minimalistic computer drums for a sound that’s both haunting and seductive, “Cavity” takes the strongest elements of Hundred Waters’ 2012 LP and consolidates them into one stellar package. —Ryan Thomas
 

 

68. Sturgill Simpson “Turtles All the Way Down”

Country songs are all about the same thing, right? Drinking, big trucks, growing up on a farm, and…uh, lizard people? Sturgill Simpson isn’t afraid to experiment with the genre, and any cornfield country in “Turtles All the Way Down” is branded with a big crop circle. Though it bears resemblance to more traditional songs in structure, the lyrics go left field like a country boy on psychedelics. “There’s a gateway in our minds / That leads somewhere out there, far beyond this plane / Where reptile aliens made of light / Cut you open and pull out all your pain,” Simpson sings. You’re going to want to hear what else he has to say. —A.J. Dellinger
 

 

67. EMA “So Blonde”

In the video for this song, pixelated vixens writhe on street corners while EMA, aka Erika M. Anderson, sports a Jim Morrison t-shirt and a slouchy cardigan around Venice Beach. This contrast is a perfect visual representation for the track itself, in which Anderson’s voice alternates between sugar and angst over a backdrop of sun-bleached rock. —Gretchen Tracy
 

 

66. The Preatures “It Gets Better”

If you like your classically-inspired rock ‘n’ roll with a side of bubblegum, this single is your jam. Lead singer Isabella Manfredi’s vocals snap crisply above a funky bass line, and swells of guitar carry the choruses. It’s a little bit sour, a little bit sweet, and a lot bit replay-ready. —Gretchen Tracy
 

 

65. TOPS “Way to Be Loved”

The first track off of TOPS’ new album, “Way to Be Loved” begins with a tUnE-yArDs-y quality to it, percussive and pleasantly unpredictable. The guitar riffs act as the glue, guiding Jane Penny’s breathy, mercurial vocals. These moving parts make the chorus just that more powerful as everything slides into place in their story and their sound. “Way to Be Loved” has the comfort and catch of an ’80s hit but with simple, poignant lyrics, marking TOPS’ graduation from their past uber-sweet synth pop to a more matured yet playful identity. —Riley Beggin
 

 

64. Jenny Lewis “She’s Not Me”

Those of us who experienced our angst-fueled 20s against a Rilo Kiley soundtrack can now join Jenny Lewis as she navigates the lost dreamscape of her 30s with her third solo album, The Voyager. The glossy folk-pop sound is hardened with stark lyrical stories. The most vulnerable track, “She’s Not Me,” tells a simple story of fucking up. No metaphors here, just a blunt and candid confession. —Lauren Toler
 

 

63. Kendrick Lamar “i”

This Isley Brothers-sampling tune might sound simple to some, since the beat is classic and Lamar’s message of self-love has been criticized as trite. But in a year that sparked nationwide conversation about race-based issues in the U.S., a black man’s expression of self-love can be viewed as a radical act. Kendrick Lamar has already established himself as an innovator; this track is simply proof that his shit has gone next-level even more quickly than we expected. —Gretchen Tracy
 

 

62. Zola Jesus “Dangerous Days”

To put it gently, “Dangerous Days” is a forced to be reckoned with. The song is wide, expansive, and passionate, brilliantly blending her niche style of industrial pop with something almost akin to a power ballad. It has an element of keeping up with the times while also taking a thoughtful step back. As Zola Jesus continues to move away from her goth rock days and into radio-friendly territory, her music somehow only becomes more beautiful and empowering. —Andrew Brandt
 

 

61. Sheer Mag “What You Want”

Philadelphia’s Sheer Mag has only existed since February, but they write fuzzy, blissful rock ‘n’ roll that feels 40 years old. Case in point: this debut single, a timeless three-and-a-half minutes of pure ear candy that would feel right at home beside your favorite classic rock records. —Andrew Brandt