100. Santigold “Disparate Youth”
When is the last time you heard a track composed of nothing but hooks? “Disparate Youth” boasts a beautifully intricate beat, a captivating note progression on loop, cutting guitar, a muffled keyboard which fills the offbeat, and the sensual and seeking vocals of Santigold star Santi White. The track challenges the listener to reject the status quo and embark on a pilgrimage to a better place as White’s vocals blaze the path and the music provides the fuel. —Drew Curtis
99. Miner “Hey Love”
“Hey Love” opens with a comforting guitar riff, followed closely by Justin Miner’s spirited voice. The banjo then grabs the focus and sparks the entertaining, good-natured feel of the track. Riding on the heels of the numerous folk groups to recently surface throughout the U.S., Miner’s positive message and delightful banjo would fit in nicely sandwiched between The Avett Brothers and The Lumineers. While the mini-genre expands and the twangs of a banjo become more common, Justin Miner’s voice and songwriting may lead Miner safely through the “folkplosion.” —Chris Kraemer
98. Zulu Winter “Silver Tongue”
“Silver Tongue” begins with whirling and calm synths, but they are suddenly joined by a startlingly lively drumbeat that sets the tone for the rest of the song. Zulu Winter keeps the synths around to keep the jittery rhythm tolerable and to make the song beautifully mellow. When the chorus comes around the rest of the band joins along with Will Daunt’s powerful vocals, and all of them are belting in unison and in harmony. This song will have masses of people chanting along with them, singing “you are silver tongued, you are…” throughout the night. —Kathryn Doers
97. Dark Dark Dark “How It Went Down”
The piano within Dark Dark Dark’s “How It Went Down” is fitting of cocktail lounge, as its delicate arpeggios provide a bluesy ambiance for Nona Marie Invie’s soulful and sultry voice. Even more perfect are the jazzy plucking and strumming of the guitar and the grooving rhythm of the cymbal-ridden drums. It will take you back in time, that’s for sure. Invie sings of remembering and learning from a past relationship with honesty and without embarrassment, allowing raw emotion to seep into the jazzy track. —Kathryn Doers
96. The Antlers “Crest”
The Antlers’ Undersea EP was fresh, innovative, and very true to its namesake. “Crest” took a much lighter approach than earlier tracks, creating a vivid imagery of the vast, deep blue sea with pulsating beats. It certainly has a subdued type of element — but in a calming, not sleepy, way. The song showcases lead singer Peter Silberman’s vocal range but does not rely purely on his talent, proving that “Crest” is very much an effective collaborative effort, an effort that allowed us to sail, with ease, from summer to fall. —Erica Matlin
95. M. Ward “The First Time I Ran Away”
Contemplative and restless from the start, M. Ward’s “The First Time I Ran Away” leads the listener through an unconstrained ethereal escape with delicate vocals, familiar strings, and comforting percussion. Despite its sedative qualities, the track instills a warm unease, forcing a sleepy departure from the status quo and looking forward to a thrilling unknown. As the song lazily drifts away, it asks the listener for nothing more than a reconfiguration of perspective and to stop fighting the current. —Drew Curtis
94. Cat Power “Cherokee”
Chan Marshall has been making records since the mid-1990s, and in 2012 sounds more hi-fi and electronically textured than ever before. Drops of delay open “Cherokee” before her grainy vocals radiate warmth. This track does not bore us with a small handful of repeated riffs, a daring move that keeps one listening until the end. With more soul than perhaps any other chillwave indie-pop of its kind, Cat Power has tried something new and created one of her richest songs yet. —Alex Wolfe
93. Bahamas “Lost in the Light”
An enchanting lullaby of a track, “Lost in the Light” will make you close your eyes and smile upon each listen no matter how many times you hit repeat. Simple chords suggest a campfire concert while the relaxingly dependable beat couldn’t disrupt a glassy-calm lake. Yet the background singers in this tune are certainly no s’more-roasting anybodies. These two female vocalists bring pure bliss to your ears with humming more beautiful and powerful than any instrument could possibly generate in this Bahamas gem. —Chris Kraemer
92. Geographer “Lover’s Game”
“There’s nothing we can do. We were born to die fools.” It is the superb falsetto of Michael Deni on lyrics like these that consistently defines Geographer. Synthesizers take more of a back seat than on previous efforts by the Bay Area trio, allowing Deni’s relaxed party lyrics to rise above the foundation provided by the steady, softening cello of Nathan Blaz. A soulful track aided by its opening piano riff and an upbeat agenda, “Lover’s Game” could grace a dance floor as easily as it could properly serve a study group. —Chris Kraemer
91. El-P “The Full Retard”
True to his frequent stays in an alternative and altered reality, El-P has set up one hell of a metaphor with this song. If the puppet in the accompanying music video is any indication, El-P still likes to party his face off and is generally a menace to all of New York. Instead of surrounding his stern voice and dark flow with fluffy topics and light-hearted happiness, El-P chose a deep-rattling backbone of bass and distortion. This peak at a day in the life shows that El-P dares to go exactly where Robert Downey Jr. advised not to in Tropic Thunder: “The Full Retard.” —Chris Kraemer
90. Tennis “Origins”
With “Origins”, Tennis delivers a Sunday School lesson in creation, adding some color to the Genesis myth in a three-minute groovy shuffle. Lead singer Alaina Moore’s delicate crooning over husband/guitarist Patrick Riley’s harmonic string work makes for a comforting perspective on the biblical tale about the fallibility of humankind. If God had bestowed musical talent upon Adam and Eve, then surely “Origins” would have been the rebuttal of the pair’s Eden expulsion. Challenging God has never sounded so melodic when Moore sings the last chorus lines, “How much is required to set things right? / Have you confused your power with mine?” —Jason Oliva
89. Yeasayer “Longevity”
This psychedelic single from Yeasayer’s Fragrant World is a song that no one should miss. The experimental track is infused with trippy vintage-sounding synths, an almost dubstep beat, and groovy vocals from lead singer Chris Keating, turning it into a funky conglomerate of sound. In a good way. There’s catching glitches, overlaid with long, processed violin melodies. Truly a funk fest. Along with the track, the band has released a kaleidoscopic video that, in true Yeasayer fashion, feels like an acid trip. —Kathryn Doers
88. Grizzly Bear “Sleeping Ute”
Grizzly Bear roused from a well-deserved hibernation with “Sleeping Ute.” The band snags a few seconds to take in their surroundings, then — as any well-rested bear would do — they fully unleash. Cannon-blasting drums introduce the words “brash” and “energetic” to the band’s vocabulary, as they fire behind guitarist Daniel Rossen’s sweet ’70s honey-smackin’ riff. Daniel Rossen’s haunting vocals fight for space with the splices and snippets of electronics until they whiz by one too many times, halting the track to a swirling, peaceful finish. Never has Grizzly Bear sounded so in control yet so ready to come unhinged. —Andrew Brandt
87. Wye Oak “Spiral”
Morphing from pastoral folk-rock charmers to a special blend of chillwave, Wye Oak branched out into electronic dance music in 2012. A band that once sounded like a walk in the park now seems to belong exclusively at the club. Ascending chorus-heavy guitar and vocals that echo with soul affect the listener in a completely different way than any past Wye Oak material. Artistic and cultural experimentation was one of the really good things that happened in 2012. Wye Oak creating music with such different mediums is a positive example of all the minds open to change and growth this year. —Alex Wolfe
86. Wild Nothing “Nowhere”
“Nowhere” is the result of Jack Tatum’s first foray into a proper recording studio and serves as an affirmation that the man behind Wild Nothing has mastered his craft. Tatum sheds nearly every layer of the haze that ordinarily engulfs his unintelligible vocals, but, with the exception of a harmonica (!), every other element is in the same vein of the quality product we listeners have come to expect. As an added bonus, Twin Sister’s Andrea Estella lends vocal support, and she blends beautifully into the world Tatum has created. Tinted in his trademarked sense of yearning, “Nowhere” proves that Wild Nothing has dug a well-earned and distinct niche in an overcrowded genre. —Andrew Brandt
85. Rhye “Open”
Is there a “best of” list for hookup songs? Nightcap anthems? Or a competition for first track off your go-to post-date mixtape? “Open” would be the front-runner for each. Those categories may not differ greatly but if lovemaking is involved, Rhye’s single can cover the spread. Released by a so-far anonymous L.A. duo, the no-name basis of the track fits the genre even more perfectly. The lead vocalist pleads with the listener to stay as he lists the reasons he’s fallen. More suggestive with each entry, Rhye is capable of setting the mood and building a track to climax like no other. —Chris Kraemer
84. Daughn Gibson “In the Beginning”
This Daughn Gibson track is definitely an interesting song, with an eclectic and novel sound that takes some getting used to. But after a few listens, it becomes hypnotic. In a world of singers with falsetto tendencies, the bass voice of Josh Martin (a.k.a. Daughn Gibson) is refreshing. Piano chords, robotic female harmonies, distorted drums, and echoing synth runs accent his deep-toned and reverb-filled voice. This combination would be too much for the ear if it weren’t for Martin’s calm and constant deep voice. The album was self-recorded in a two-bedroom apartment. That alone is an accomplishment, but the fact that the record is becoming an indie hit is a testament to Daughn Gibson’s talent and style. —Kathryn Doers
83. Yellow Ostrich “Marathon Runner”
Yellow Ostrich’s first offering as a full-fledged band, “Marathon Runner” is a single sealed in self-doubt. Yet the burden of desperate lyrics against a backdrop of brash, rocking guitars feels light, as Alex Shaaf’s adolescent vocals give the track a sense of innocence and hopeful wonder so frequently found in youth. It’s a self-centered catharsis, a footstep onto unsteady ground, and — most obvious — it’s a song about just getting the fuck out. “Marathon Runner” is best worn as a badge for all of us who still call ourselves kids, growing up and getting lost along the way. —Andrew Brandt
82. Of Monsters and Men “Dirty Paws”
Six-piece Icelandic folk group Of Monsters and Men released their debut album, My Head is an Animal, earlier this year and it was bound for instant success. Lead track “Dirty Paws” opens softly with a traditional folk sound, but it soon builds into something that certainly stands out. It’s enchanting, with is male-female vocal harmonies and lyrics that talk of nature, “beasts of the snow”, and the “forest of talking trees.” The stunning sounds created by this group could almost convince us that maybe their home country is in fact a magical place that holds all of these fantastical things. —Hillary Sprecher
81. The Helio Sequence “Hall of Mirrors”
Take your time. March to the beat of your own drum. Deep breaths. “Hall of Mirrors” plays out like an ambassador for such sentiments. A rallying cry for a pause, a pause to step back and search for the answer to our most fundamental question. Such a strikingly deep mood is quite the accomplishment for a single. The Helio Sequence understands their place in the universe, and “Hall of Mirrors” captivates and enlightens. —Chris Kraemer
80. Jessica Pratt “Bushel Hyde”
Jessica Pratt’s track “Bushel Hyde” is one of those songs that easily conjures an image. It’s an image of mid-’60s California, combined with a solo, acoustic Stevie Nicks. The track is clean, stripped down to its essential parts: a single-guitar melody, Pratt’s raw vocals, and the occasional and slight harmonies. Pratt’s ability to capture attention is clear; it takes us back to the simple sounds of unburdened acoustic folk. —Hillary Sprecher
79. Lemonade “Neptune”
San Francisco alt-dance act Lemonade have been pooling together influences of electronic and world music to form a cooled-off blend of refreshing sounds. The vocals in “Neptune” strongly bring the rhythm and blues, and overflow with heartache and soul. The percussion hits high and dances around the mind, while the ethereal synth tones flow together and result in a sonic waterfall. Chillwavers taking on R&B not only deserve much respect but they have also resulted in some of the freshest music of 2012. —Alex Wolfe
78. The Tallest Man on Earth “1904”
Now, if you ever heard any track by Swedish darling Kristian Matsson, I don’t need to sit here and convince you that he’s any good. We already know he’s better than just good. Matsson released his third album, There’s No Leaving Now, and it was no surprise that we fell in love all over again with his flawless fingerpicking and oft-compared Dylanesque voice. “1904” has all the classic Tallest Man on Earth sounds but it’s still fresh. This track manages to perfectly balance finely crafted lyrics with a few high-necked riffs layered behind a well-paced strum. He creates a mood and story that, when you listen, will surely leave you wanting more. —Hillary Sprecher
77. Mr. Little Jeans “Runaway”
Best known for covers of Beyoncé’s “Single Ladies” and Arcade Fire’s “The Suburbs”, it seems Monica Birkeness is ready to create a personality all her own. Flying in the face of the odd and artsy angles of its video, “Runaway” is incredibly catchy and filled with repeating hooks that are hard to dislike. The initial bass beat rarely leaves your side and will be hard to remove from your head. —Chris Kraemer
76. Divine Fits “My Love is Real”
Sometimes you just gotta move, and the members of Divine Fits seem to know this all too well. “My Love is Real” is the ultimate ’80s throwback with the combination of its driving synth and head-bopping beat. A collaboration of the best kind, get ready to pop your collar and dance. —Rebecca Edwards
Edited by Jon Kjarsgaard and Derek Hagen