is a 100% proof distillation of the smiley stuff. 3) or war (see the … Simply brilliant. At other points, the melted murmurs and shimmered syllables feel soothing and psalm-like, as though the girl’s ghost is mourning herself. But he also sneaks in the briefest of guitar interludes, once again relying on incidental audio spliced in from our real world—the flip of a tape deck switch, the click and hiss of a needle on a vinyl record—to better bring us into his own. Dry, papery beats, synchronized claps, and muffled chit-chat lend the atmosphere of a packed, pulsing nightclub—and the molasses-slow breakdown offers one of the best beat-drop payoffs of the year. –Isabelia Herrera, “I Know the End” packs an album’s worth of ideas into five minutes and 45 seconds. One of the great tunes of the past five years was an unexpected one: the third single from the British duo’s debut. Pure comedic genius isn’t exactly what comes to mind when thinking about early ’90s rap, but controversy sure is. Top marks for the deliciously retro video, too. The instrumental break following an unexpected chord change lurches like a luxury liner in choppy water; melodic lines become queasily detuned. –Jeremy D. Larson, On his sophomore album græ’s first true song, Moses Sumney wields his falsetto like a lancer: He thrusts in unexpected directions and blocks when necessary. –Paul A. Thompson, Listen: Jay Electronica, “The Neverending Story”, The Chicks dropped “Gaslighter”—the title track of their first album in 14 years—on March 4, shortly before 2020 went all the way up in flames. –Rawiya Kameir, Amaarae’s delicate vocals melt into a beat like butter on a warm slice of bread. It’s a feat that the song exists at all, encapsulating a year in which women have been leading both the statistics and conscience of rap, and even forced conservative talking heads to contend with the extraordinary power of the word “pussy.” –Clover Hope, Listen: Cardi B, “WAP” [ft. Megan Thee Stallion], © 2021 Condé Nast. –Emma Madden, Listen: Ana Roxanne, “Suite pour l’invisible”, Restless experimentalist Moor Mother couples her searing spoken-word delivery with New York rapper billy woods’ oblique rhymes to mesmerizing effect on this one-off collaborative single. So pop open that top button and dust off your disco moves as you surrender to the groove. For anyone who’s ever relished the delicious longing of a summertime crush (that’s all of you, then), Canadian popstrel Carly Rae Jepsen crowned summer 2012 with this perfect pop anthem. Less a slice of ’80s cheese than a functioning time machine to that decade, this song will add gel to your hair, shades to your eyes and a sandy beach beneath your feet. “Get Lucky” finds the French duo switching its modus operandi from referencing classic disco music to actually creating it: The single features (and was cowritten by) Chic star and producer Nile Rodgers, and hip-hop mastermind Pharrell Williams—who, you may be interested to know, heard about the project from Daft Punk at a Madonna party. Incessant use of the word booty, a driven four-on-the–floor drumbeat and a psychedelic music video featuring divas in neon spandex suits spinning like propellers. It’s comforting but heavy, the weight of the world on your chest—even, as Allison reminds us, when everything is fine. “I’ll love you forever,” she swears, over a rush of radiant synths, “even when we’re not together.” It’s a moving testament to a romance that right now means everything—even if it ultimately fades away. –Matthew Ismael Ruiz, The title track to Angel Olsen’s stripped-back 2020 album is one of her most haunting songs in a catalog full of them. Losing none of the aggression and confrontation that make her records so arresting, “Mequetrefe” is buoyed by a sweet and tender string melody that’s at odds with its twitchy surroundings but at peace with itself. Thankfully, with a song as universally beloved as this, it's pretty well guaranteed you'll never fly solo. “Angel” is sad but happy, alluring yet absurd, expressing the simple things we struggle to define. The salve of “Gaslighter” is easy to apply to almost any wound, whether or not it involves a now-ex-husband misbehaving on a boat. On “Mo Money Mo Problems,” he is ably assisted by Harlem World rapper Mase and ubiquitous hype man Puff Daddy (in the days before Diddy), but it’s all prologue to Biggie’s verse. –Anna Gaca, The title of Fiona Apple’s spectacular fifth album is a call to “fetch your tool of liberation [and] set yourself free,” and its title track captures the cautious jubilation of accomplishing that feat. –Matthew Strauss, Róisín Murphy’s glossy totem to the dancefloor is based on an adage that feels extremely appropriate given this year’s circumstances: anything that can go wrong will go wrong. –Madison Bloom, Grimes’ vision of our technologically mediated future is either marvelously prescient or totally wrong, but inside the elaborate cryogenic chambers of her albums, everything goes her way. Use of this site constitutes acceptance of our User Agreement (updated as of 1/1/21) and Privacy Policy and Cookie Statement (updated as of 1/1/21) and Your California Privacy Rights. Parties… we miss ‘em, don’t we? “Blinding Lights” was its rallying cry, a cold New Wave song about a protagonist so detached and listless that clamoring to turn his obsessive carnal fantasies into reality is all that appeases him. Writhe on, kids! When it’s on, dancing is not optional. was gunned down months before the release of his No. The atmosphere is intimate and understated, as if we’re hearing her thoughts before she has time to process them. In 2018, it was her verse on Kanye West’s “Ghost Town” that saved ye from complete, disaffected gloom. “Delete Forever” extends the kind of empathy no AI can. –Natalie Weiner, Arca’s music has always challenged listeners to free themselves from the constructs of pop, embrace bedlam, and find melodies in the noise. –Ian Cohen, In 2019, Charlotte rapper DaBaby bull-charged rap with 100 frenetic variations on a single song, like a jabbering, grinning, dumb-punchline-dispensing perpetual motion machine. Given the song’s thumping beats, it’s pretty much impossible to ignore that request. Later edit: Still great in 2020 So i was playing around with the EQ, trying to find a good combination, and i think i found the perfect one. But there’s also something lonely and maybe even a little spooky about the song, which the Moscow musician says was written during a difficult time. –Gabriel Szatan, Listen: DJ Python, “ADMSDP” [ft. LA Warman], What makes Tame Impala mastermind Kevin Parker so compelling is how he melds the sounds of his favorite pop idols with a production style that updates arena rock for the age of microdosing. Max Martin’s polish helped make it a number one single for four weeks, the hurried drumbeat, surging choruses, and neon ‘80s synth allowing Tesfaye’s falsetto the euphoric if grinding edge of an amphetamine high. That means fully inhabiting their newfound rock star persona and doing away with the thin line between art and artifice. Nicki, you’ve still got our heartbeats running away. Instead, it serves as a celebration of music as a source of solace and rejuvenation, and an exhilarating reminder of its profound potential. It’s something like Phoebe Bridgers’ version of Neil Young’s “After the Gold Rush,” in which fear and bombed-out desolation are buoyed by an undercurrent of defiance. Gaga’s lusty bravado and Ari’s airy coos complement each other perfectly as they sing about the restorative power of uncontrollable sobbing. Sung over the simplest of orchestral accompaniments, his words spill out and burn like a fever dream, as if they were bestowed unto him—or maybe he’s just associating as he goes. One moment the Punisher closer is a hushed acoustic ballad, the next it’s a swelling mid-tempo strummer, and then it explodes into an orchestral fanfare, and each section has its own emotional arc. Even after its short-lived heyday, TNGHT remains one of electronic music's most potent recent matchups. Absolutely epic fight song. Pop-idol pinups they may have been, but the members of Norwegian trio A-ha also made great, genuinely inventive music in their mid-’80s heyday. The meaning of it all is right there in plain sight. “Can you just wait here with me?” he pleads with his partner. Outside the context of booming sound systems and late-night revelry, even the most expertly crafted club tracks have lost some of their luster, which makes the glittering elation of “For You” all the more precious. Getting carried away by languid harmonies and the open wound of SZA’s honesty, you start to wonder if there’s anything you’re hiding from yourself. –Mina Tavakoli, Yung Miami and JT of City Girls are grade-A, gold-standard shit talkers. They offered a comforting shoulder to cry on, a lit match to long-simmering rage, and a temporary substitute for the dancefloors and mosh pits the pandemic stole from us. On the one hand: multipazillionaire hip-hop star/ladies’ man/Lil Wayne-BFF who curses a lot. Trying to make literal sense of why Brandon Flowers spends every verse sketching out a hard-luck heartbreaker with “Hollywood eyes” only to belt out on the chorus that he’s throwing caution to the wind is as futile as locating “South Detroit” on a map. How about a false ending and surprise return? Staring down trumped-up conspiracy charges in which his music was on trial as much as his actions, Drakeo oozes with swagger over a moody JoogSZN beat on “Backflip or Sumn.” He casually drops threats and flexes on the case he eventually did manage to beat, all the while stressing how unimpressed he is by it all. Step aside, Aaron Carter; this banger signaled a new generation of boy bands, bigger and better than ever. No matter how late it gets, what better way to keep the party going than the supremely uncool cool of the Bee Gees? “Me ah go put you pon lockdown,” Koffee insists, the clever wordplay spelling out a shamelessly jubilant love story in the age of ’rona. His yearlong blitzkrieg campaign garnered him a No. Rick James’s 1981 hit won’t just get people on the dance floor; it will have them bouncing off the walls. But SZA is buoyant as she sings about her inconsistent love. With “Acid,” their debut single for Warp, the London duo angle their funhouse mirror at the sort of contemporary chanson-pop that soundtracks indie rom-coms and Francophile café culture. Oh snap! –Simon Reynolds, Beatrice Laus, aka beabadoobee, initially gained attention as a bedroom indie artist who dreams of Pavement and scored her first major success earlier this year playing the Dido to Canadian rapper Powfu’s Eminem on his sad-sack TikTok smash “death bed (coffee for your head).” But with “Care,” the lead single from her debut album Fake It Flowers, Laus makes a bid for stardom on her own terms. He sings “Vanishing Twin” in a double-tracked whisper over a deceptively complex arrangement of fretless bass, plucked strings, and distant percussion. 1 album, a billion streams on Spotify, and a persistent reputation as a one-note artist. The duo seemed to be an unstoppable force, churning out hit … But critics were silenced by the irresistible single “Hey Ya!” A limber funk bassline, a hand-clapping refrain and a simple, unforgettable chorus made this André 3000 vehicle dance-floor catnip, even before you saw the daffy video OutKast made for it. Pop starlet Swift speaks words of gleaming truth on this 2014 smash, which suggests that the best way of dealing with life’s haters is to let loose on the dance floor. I can do the twist! Go big and aim with attitude to practice firing off colossal stunt shots like the ones the Dude Perfect guys do in their show and videos The Dude Perfect Signature Bow is the biggest Nerf toy bow, measuring a whopping 42 inches (122 centimeters) long The bow comes with 2 Nerf arrows that make a whistling sound as they fly through the air After a raft of heavy breaths, barking dogs, and a pounding-heart bassline that convey the frazzled yet determined energy of finding your footing, the song ends with a twinkling flourish of keys—a playful ta-da underscoring the realization that a broken lock is just the beginning. “The Power” might be most famous as a snippet in service of jock jams, but the tune is a force: It’s a paranoid, rushing affair, anchored by the appropriately named American emcee Turbo B.
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