50. Local Natives “Breakers”
“Breakers” is the first single off of the much-anticipated second Local Natives album Hummingbird, which is to be released in January 2013. The first 50 seconds of “Breakers” tell us that we’re in for something great. It gives us the upbeat percussion we’re used to with these fellas, paired with a striking guitar chord. Not long after that the lush vocal harmonies chime, and we’re hooked. The rest of the track is a perfect interplay between moments of vocal clarity and the rhythmic percussion. If “Breakers” is any indication of what’s to come on the upcoming record then it’s time to get excited, folks. —Hillary Sprecher
49. MØ “Pilgrim”
I doubt this will be the last “best of” list MØ will see, especially if she keeps putting out music with in-your-face sensuality the likes of “Pilgrim.” Relying heavily on synth and clapping downbeats, “Pilgrim” is a song with a slow build, climaxing in the fervor of Karen Marie Ørsted’s searing vocals singing, “All the time I just want to let go and go / All the time I just to fuck it up and say yeah.” It’s the 2012 song to crank up when you’re ready to relish in the feeling of giving zero fucks — and yeah, it feels great. —Rebecca Edwards
48. Tame Impala “Apocalypse Dreams”
Tame Impala’s first single off their sophomore album, Lonerism, is a six-minute psychedelic adventure into sonic experimentation and familiar melodies. This track sits somewhere between the controlled, calculated rhythmic sounds of their debut record, and the far-out, intoxicating songs they released with their second. Upbeat, careless, and musically inventive, this track was definitely an essential piece of this summer’s soundtrack. —Sam Swiech
47. John Talabot feat. Pional “Destiny”
Spanish DJ John Talabot made one of the year’s most unassumingly infectious tracks. “Destiny” is a simplistic, pulsing electronic tour de force. The track’s beauty is rooted in Talabot’s minimalism, with a sparse, repetitive synth line gliding over his low-profile vocals. Never one to overdo things, Talabot lets “Destiny” build on its own terms with effortless fluency. The song climaxes with Talabot asking us to “come over here and give [him] your hand.” I will gladly extend a hand to John Talabot. The man crafted one of 2012’s finest albums, Fin, and “Destiny” is a stellar showcase of his strengths. —Ryan Thomas
46. Passion Pit “Take a Walk”
Michael Angelakos bounced off Manners with Gossamer, another versatile synthpop release featuring this first single. Ironically also in an advertisement this year for the fattening Doritos Locos, the song depicts a businessman burdened by financial troubles. Can you believe Passion Pit music began as a Valentine’s Day gift to Angelakos’ girlfriend (2008’s Chunk of Change EP)? —Max Simon
45. Bat for Lashes “Laura”
“Laura” emits a sound that is eloquently simple in a lot of ways, with its humble piano starting the song delicately and repetitively almost to the point of sounding like a lullaby. In the same way, the elegant and light vocals begin in a whispered tone, as Natasha Khan murmurs empathetically to the titular heroine of the song. While Laura is clearly worse for wear, Khan is not. In “Laura” she stands openhearted and vulnerable, with only a mournful piano as reinforcement. It is not an easy feat but she manages to simultaneously display both her strength and her fragility. —Kathryn Doers
44. Tanlines “Brothers”
Jesse Cohen and Eric Emm kicked off the year with a beautiful mix of pop and ’80s nostalgia on “Brothers.” Folky vocals layered on top of thumpy drums and spaced-out synth lines make this track playable in any setting. Centered around the theme of setting a course and making good on your mistakes, this up-tempo single was a perfect New Year’s resolution for those looking to 2012 with optimism and excitement. “Brothers” was a danceable first taste of an outstanding album Tanlines gave us later in the year. —Sam Swiech
43. Kendrick Lamar “Bitch, Don’t Kill My Vibe”
“Bitch, Don’t Kill My Vibe,” the second cut off of Kendrick Lamar’s genius Good Kid, M.A.A.D. City, is a late night burner. Over a laid-back beat, Kendrick accounts for his previous mistakes and knows he must seek repentance in order to change. For the time being, however, Kendrick plans on pushing out that bad and focusing on feeling good (with the intent of keeping it that way). In all honesty, any attempt at conveying this song’s sentiment pales in comparison to what Kendrick’s already laid out. The track requires no description; its title says it best: “Bitch, Don’t Kill My Vibe.” —Andrew Brandt
42. DIIV “How Long Have You Known”
Oshin debuted at the perfect time for summer vibes to take full advantage of what the album had to offer. “How Long Have You Known” is lyrically minimal but surprisingly textured with the standard bass, guitar, and drums directing the upbeat dreaminess of the song. Maybe most important of the simplicity is the space it leaves to insert your own memories; it takes you back to the warmer part of the year when driving with the windows down was all you needed to feel like you were livin’ the good life. —Azaria Posik
41. Delta Spirit “California”
This song sounds like it should be on the soundtrack for a long road trip. Or maybe this should be the only song on the playlist. Set on loop. “California” is inspirational and relaxing, the synths and slightly distorted plucked guitar joining a quick drum beat to form a danceable chorus. There’s power in the lyrics and Matthew Vasquez’s emotional voice, but also restrained simplicity. This is a new sound for Delta Spirit, and anyone who has been following them are probably used to their Americana music. No band should stay the same forever, though, and this is a beautiful song. —Kathryn Doers
40. Haim “Forever”
These three sisters (Este, Danielle, and Alana Haim) were a SXSW 2012 favorite shortly after their release of the three-track Forever EP in February. They’re everything you’re not expecting with their seemingly impossible mix of something in between folk, rock, and ’90s R&B. “Forever” is a prime example of exactly what these ladies have going on. Danielle’s voice has hints of sultry but still manages to come right to the front of that heavy drum beat and those bass-loaded transitions. Then we have Este and Alana coming in at all the right moments with their harmonies, giving “Forever” that one last dynamic we needed to make this a song we can’t help but hit the repeat button on. —Hillary Sprecher
39. Gotye feat. Kimbra “Somebody That I Used to Know”
“Somebody That I Used to Know” is a song perfectly crafted for our generation. It’s a soft, lyric-driven piece so remixable that Gotye has a remix of his own. A vocal eclipse enhanced by Kimbra, Gotye’s track is both playful and pleasant. The song contrasts sharply between its verses and choruses, in both intensity and gender, giving a beautiful dual meaning to an already beautiful piece. Nobody hated this song before it was overplayed. —Max Simon
38. Dirty Projectors “Gun Has No Trigger”
Bass, drums, and vocals; only three basic musical elements created this pliable seed of music. Soulful harmonies grave and graceful insinuate a warning tone of underlying caution. Carefully crafted pop in the age of postmodernism should be made with appropriation in mind, which Dirty Projectors certainly do. Over time, “Gun Has No Trigger” will grow into many remixes by a variety of artists, functioning as a quality core to be altered through synthesized songs and the rearranging of live samples. Dirty Projectors have surely been appropriated before, but in 2012 they have managed to create a brilliantly minimal song to play an individual role in a larger symphony of sharing and borrowing musicians. —Alex Wolfe
37. Cat Power “Ruin”
Chan Marshall, better known as Cat Power, has done it again. On her album, Sun, she has turned the pop/folk/blues/rock album into a passionate, expressional commentary on the world we live in today. “Ruin” is true to the band’s power in its strong melody and earthy vibes, but don’t let the easiness fool you. The repetitive chorus, which carries the song’s namesake, poses the question, “What are we doing? We’re sitting on a ruin.” Simple, indeed, but here Cat Power is speaking to their generation of listeners and asking them, in all honesty, what the fuck they are doing, exhibiting the depth to which music can speak. —Erica Matlin
36. Lotus Plaza “Strangers”
Instant shimmers of guitar are effortless to grab onto from the first second. Immediate also is a bold increase in the instrumental presence of Lotus Plaza. While 2009’s The Floodlight Collective expelled a single moving wall of shoegaze, the music is sensed with more intensity than sound here. A higher plateau of accessibility was reached with “Strangers.” Topical contrast appears vivid; in the opening verse Lockett Pundt croaks, “You’re on your own, there’s no one else,” yet the chorus pivots into sunlight as he beams “Waiting for a while, the strangers smile.” Behind the chorus vocals float bright guitars, resonating a feeling that rises above the worrisome negativity of the verse. Pulling and expaning, a decrescendo moves the last two minutes into a larger space. Delayed guitars unwind like an open highway, giving the music miles of room to breathe. —Alex Wolfe
35. Milo Greene “Don’t You Give Up on Me”
This year, quintet Milo Greene released their self-titled debut album, which has quickly established them among the up-and-coming leaders of the indie-folk scene. Simple but gripping, “Don’t You Give Up on Me” highlights the group’s ability to coordinate multiple instruments and craft soothing harmonies. What keeps this album fresh is the constant rotation of band members from track to track. Aside from a static drummer, the remaining members alternate vocal roles and instruments, allowing the group to avoid the repetitive quality that anchors other artists in the genre. —Drew Curtis
34. Sharon Van Etten “Give Out”
Sharon Van Etten might only play the same three-chord progression but it is her lyrics and her voice that make her music ubiquitous. If there were one word to describe “Give Out” it would be devastating. Van Etten reveals her personal triumphs and misfortunes through her music and this track is a foreshadowing of sorts. It is a song that sheds light on her struggle with love and geography: “You’re the reason why I’ll move to the city, you’re why I’ll need to leave.” The chorus repeats as her voice crackles in that volatile yet contained way. The song had been written some time before Tramp was released in February, but the album version has an effervescence that makes it whole. —Rachel Angres
33. Autre Ne Veut “Counting”
Autre Ne Veut’s single “Counting” is entirely delightful to consume but has a bittersweet aftertaste. An ode to coping with the death of his grandmother, singer Arthur Ashin’s emotive vocals over an irresistibly grooveable beat makes for one of the best songs of the year. Although its heartfelt hook is written for a family member, it embodies the heartbreak and chaos of a time of loss in any relationship. That accessibility, combined with charmingly askew instrumentals and entrancing falsetto, makes this track downright addicting. —Riley Beggin
32. Poliça feat. Mike Noyce “Lay Your Cards Out”
It’s not hard to see why Minneapolis band Poliça has gotten so much attention this year with the release of their first album, Give You the Ghost. In “Lay Your Cards Out,” Channy Casselle’s voice, paired with a heavy bass, creates a soulful R&B sound that overlays perfectly, and maybe a little unexpectedly, with the synth-heavy electro style. The track’s sensual sounds are mesmerizing, certainly deserving of the hype. —Hillary Sprecher
31. Bear in Heaven “The Reflection of You”
Joe Stickney’s energetic percussion valiantly battles for an upbeat atmosphere on “The Reflection of You.” Ultimately futile, heavy synthesizer and the dreamy voice of Jon Philpot end up trumping the mood. Together the parts form the most complete song from I Love You, It’s Cool and the best example of Bear in Heaven’s layering prowess. Albeit trance-inducing and perfectly suited for a brilliant light show, Stickney’s persistent beat invokes dance and breathes life into this entertaining track. —Chris Kraemer
30. Divine Fits “Would That Not Be Nice”
“Would That Not Be Nice”, the hip-stirring second offering from newly formed “supergroup” Divine Fits, is cool from beat one. Anchored by a chugging bass line, the guitar, synth, and shaker all pitch in their two cents while allowing plenty of room for part-time vocalist Britt Daniel to howl in the forefront. The sum of these parts amounts to a level of swagger and confidence reminiscent of Daniel’s full-time gig Spoon. Yet, the addition of Dan Boeckner’s synths put this badass Spoon-style-stomp-romp over the top, proving that letting loose and keeping cool can be one and the same. —Andrew Brandt
29. Azealia Banks feat. Lazy Jay “212”
Listening to “212” is like the friend you don’t want to have out with you at the bar, because it’s the best musical pep talk to diva-dom you’ve ever heard. It makes you want to own every room you walk into, hit your ex’s girlfriend, or something else you’d generally regret the next day (in a good way). The pulsing beat and startling vulgarity of Azealia Banks on this single is one of the many reasons it exploded into popularity this year, and it’s well worth the hype. —Riley Beggin
28. The Walkmen “Heaven”
The Walkmen reinforced their position this year as the premier American stadium-rock act currently playing mid-sized American theaters. With Heaven they’ve reached optimum crowd-swelling grandeur. After tinkering and stripping their sound of this and that on previous efforts, everything’s come together for them this time around. The title track, as with most on the record, bursts with regret and nostalgia and pure emotional propulsion. Even if The Walkmen never actually headline a stadium, we can still spark up our lighters in clubs and living rooms. There’s little music being made today that deserves it more. —Adam Page
27. Of Monsters and Men “Mountain Sound”
Of Monsters and Men have already proved themselves with songs like 2011’s “Little Talks,” but this year “Mountain Sound” confirmed their presence in the music world. The repetitive lyric, “We sleep until the sun goes down, deep into the mountain sound” is intriguing and fits the hopeful, youthful theme of the band. Youthful in their high energy and the storytelling-like sentiment each song contains, yet their sound is mature for a new band. Nevertheless, “Mountain Sound” gives new meaning to the genre of chamber pop and makes being from Iceland sound pretty fuckin’ awesome. —Erica Matlin
26. Frank Ocean “Pyramids”
The velvety opening of “Pyramids” sets the mood to a dulcet R&B cruise from a different time, while the synth-fueled electronic sounds that comes in, infused with European electro-dance energy, takes us back to the present or maybe to the future. The image of a self-destructing tale of a pimp madly in love with a prostitute slowly appears in our eyes as the song slows down again with steady drumbeats and Ocean’s narrative. The track pushes the limits of a song as the listener gets drawn into a storyline that can only be written from real life experiences. The experimental John Mayer guitar solo and saxophone melodies help bring the artistic value of the song to the front, and show Ocean’s various influences in his music, ranging from Prince to Elton John. “Pyramids” is not just one of the most acclaimed tracks of 2012 but a nearly 10-minute expedition to the artist’s creative mind and personal life. —Idil Gur
Edited by Jon Kjarsgaard and Derek Hagen