We are getting closer to the ultimate batch of the year's best:
21. Peppers (Lana del Rey):
twists and turns so seductively.
22. The Musical (Avey Tare):
a song about Avey’s two decades in the music biz. “Is your audience the trees, or do you crave to be a professional?” he asks aspiring musicians. It’s an expression of hard-won road-warrior knowledge that still shines with gratitude and amazement. (PITCHFORK)
23. Truth No Lies (Slim Guerilla feat. Freddie Gibbs):
drill/rap at its finest.
24. Bad Idea, Right? (Olivia Rodrigo):
Were the person performing “Bad Idea Right?” even slightly less committed to the bit, it likely wouldn’t have worked. But Rodrigo, a capital-P Performer, barrels into the song with profound commitment to playing the role of sloppy main character. Chattering over the song’s strutting bassline, Rodrigo narrates her decision to link up with an ex-boyfriend like she’s relaying the information in real time: “I’m out right now and I’m all fucked up/And you’re callin’ my phone and you’re all alone/And I’m sensing some undertone!” (PITCHFORK)
25. Straight Dope (Skyzoo & The Other Guys):
seamless rap clearly influenced by the shoulders of others.
26. Hunter (Ryan Beatty):
at just over seven minutes, is by far Beatty’s longest song to date, and arguably his most complex. He details a hunting trip with a mournful man, upon which he discovers several flighty animals, once again sleeps under the stars, and realizes that he is as quick to run as the deer and mares he encounters. Featuring some of his strongest imagery and poetry yet (“Cedar trees fall in the forest / Echoing the cardinal chorus”), he showcases his newfound lyrical expertise. (TASTEMAKERSMAG.COM)
27. I’m The President (Knower):
bringing new, exciting elements to their electronic power pop aesthetic.
28. Miss Nectarine (Ashnikko):
features a very metallic sheen to its electronic flourishes.
29. Flip A Switch (RAYE):
constructs an impressively lovely cross-stitch of guitar and electronics over a dancehall rhythm, simultaneously delicate and tough. (THE GUARDIAN)
30. HOE (Heaven On Earth) (JPEGMAFIA & Danny Brown):
simplicity in its flow, diametric in its construction.
31. Two Days (Killer Mike feat. Ty Dolla $ign):
which features Ty Dolla $ign, brings is a harder Funk-Rock Trap sound that we have not heard on the record yet. The song is driven by a groovy guitar riff that has so much grit; it reminds me of the kind of riff one would expect to hear on a song by artists like Sly And The Family Stone or Funkadelic. This guitar riff is added to by a delightful keyboard riff and the layered background vocals of Ty Dolla $ign. Killer Mike’s performance on this song is solid, but Ty Dolla $ign is the one who drives the song. His raspy voice fits this instrumental so well and adds to the fun attitude that the melody has. (EAST SIDE VIBES)
32. For Granted (Yaeji):
the squelchy beats gradually escalate into frenzied drum & bass—a transition that occurs precisely when the full force of Yaeji's ruminative lyrics hits listeners. In this sweet spot where uncertainty transforms into catharsis, she releases the last of her relatable thoughts over an explosion of hyperactive drums. (RESIDENT ADVISOR)
33. Helmet (Steve Lacy):
the at times two-faced nature of “Helmet” is also present in the tone of the song. The instrumentation of the track is deceptively upbeat, driving Lacy and the listener quickly to the end of the song (and relationship). Meanwhile lyrics create a darker tone, with Lacy repeatedly pleading to his partner to end things. (ATWOOD MAGAZINE)
34. Ultra Scuro (Gaika):
as future-facing as self-proclaimed "ghetto futurist" Gaika's non-musical endeavours are, he channels past influences (Massive Attack, Wu-Tang Clan, Prince) as much as anything else, so his music is both thoroughly alien yet also tantalisingly familiar. It's nostalgic escapism that, according to Gaika, is meant to channel the feeling of being a kid. (RESIDENT ADVISOR)
35. No More Lies (Thundercat & Tame Impala):
on this psychedelic-soul gem, Los Angeles is to blame for a relationship that doesn’t quite work. “I’m sorry, girl, didn’t mean to drag you in my dreams,” Thundercat sings, as he and Tame Impala’s Kevin Parker create a beautifully hazy track. The two musicians let the groove move them toward a sense of understanding that always seems to be alluringly out of their reach. (ROLLING STONE)
36. Stranger Danger (Hemlocke Springs):
song that oozes odd, demanding your attention to keep up with her unraveling. With intricate lyricism and character at play, you’re not quite sure who the enemy is, and that’s the whole game. It’s not every day that someone wordplays XML or reimagines Peaches & Herb's lyrics, but Hemlocke Springs isn’t one to abide by the norm. (ONES TO WATCH)
37. Will Anybody Ever Love Me? (Sufjan Stevens):
the song ends in a resolute, even triumphant place. Stevens and his chorus repeatedly sing “My burning heart,” and this declaration drowns out the voices that ask “Will anyone ever love me?” It's a compelling self-affirmation, and it's refreshing to hear it coming from Sufjan Stevens's voice. (THE HARVARD CRIMSON)
38. Fuck It Puppet (Slowthai):
listening to those delusional voices in your head can lead to a very fatal outcome.
39. Water Slide (Janelle Monae):
as an artist who fearlessly pushes boundaries and breaks free from conventions, Janelle Monáe reigns supreme as music’s foremost freeassmuthafucka. Her ability to seamlessly blend genres and challenge societal norms has solidified her status as a true visionary. With “Water Slide,” she invites us to revel in the pleasure of the present moment, encouraging us to embrace our authentic selves and celebrate the joy of being alive. (THE HYPE MAGAZINE)
40. In Spite Of War (Yves Tumor):
chews on its relentless energy.
