Another batch of remarkable tracks:
61. Ends Meet (Panda Bear):
another very hooky, acid-washed banger with a throwback appeal. The tune and the chords, honestly, are, weirdly enough, giving La Bamba vibes. On some level, this tune does sound like your uncle getting funky at the family wedding. But it still goes. I love that somehow Noah on this record on multiple occasions is touching, even pole dancing, on every uncool third rail in music and somehow sounding amazing doing it. Also, the pure scuzzy noise solo on the bridge of this track is a surprising and, I think, very interesting addition to the song. It's like this fun edgy distraction to throw you off of the actually cheesy source material inspiring this track. (THE NEEDLE DROP)
62. So Far Ahead (Clipse feat Pharrell Williams):
rifts between a gospel vibe and haunting horrorcore – a perfect fit for the duality Malice and Pusha bring to each track. (SOULINSTEREO)
63. KO (NLE The Great):
diss track of the year?
64. Give Me Mercy (The Weeknd):
reminding us all that, quietly, he can still break his heart in a track and awe us into paying attention.
65. Crumbling Empire (Sam Fender):
isn’t just a standout because of its themes. It’s undeniably the album highlight, with arrangements that immediately pull you in before Fender’s signature emotion-fuelled grit hooks you for the long haul. However, its message becomes its anchor, with Fender addressing the cracks that the working-class community feel, within which people can work hard and tick all the boxes they’re supposed to but still get left behind by the system. (FAROUT MAGAZINE)
66. Wood (Taylor Swift):
a fun, but not terribly memorable, ode to Travis Kelce's sexual prowess. It's provocative only when you compare it with the rest of Swift's work. On its own, you'd never notice the randy parts unless someone (me) told you the backstory. (SF GATE)
67. Lip Service (Jade):
treads lightly but impact fully felt.
68. New David Bowie (Jim Legxacy):
his usual mix and match production but now he is exploring way more.
69. Crashing (D4VD feat. Kali Uchis):
bittersweet love fully explored.
70. Million Years (HAIM):
tight, blissful harmonies.
71. Spire (Preservation & Gabe Nandez):
old school done right.
72. Hotbox (Lil Nas X):
campy and fun, packed with hilarious, to-the-point lines and cheeky bars. Specifically, the rapper talks about going out, flirting with guys, bringing them home, and all of the fun things that come with that. (RATINGS GAME MUSIC)
73. Nomonogamummy (Lily Allen):
when pop stars try to incorporate reggae or dancehall, it’s usually bad but given the purpose of Allen’s new project, this shines and sears.
74. Don’t Remind Me (Amber Mark & Anderson .Paak):
not quite the knockout return but here Amber grabs Paak for a sultry detour.
75. Ice In My OJ (Hayley Williams):
more a boast but so nonchalantly done.
76. My Type (Sudan Archives):
a full-on rap banger full of snapping percussion and futuristic synths. It's at this point that it's clear that she could take on just about any aspect of black music and wrestle it into any form she likes. (POPMATTERS)
77. Himalayan Yak Chew (Aesop Rock):
his odd spoken word flow nails it.
78. Y Ya (Denzel Himself):
mixing and mashing genres masterfully.
79. Shake It To The Max (Fly REMIX) (MOLIY, Shenseea, Skillibeng & Silent Addy):
last October, Ghanaian-American Afrobeats singer MOLIY casually leaked a snippet of a dancehall-infused track she was working on with producer Silent Addy. She didn’t think much of it—until “Shake It to the Max” went viral, blowing up on TikTok. And that was before the remix with Shenseea and Skillibeng even dropped. What started as a throwaway snippet is now a full-blown posse cut: one of the funnest, sweatiest dancefloor anthems of the year—the true “song of the summer” for people who were actually outside. (COMPLEX)
80. Born Again (Lisa feat Doja Cat & Raye):
the killer trio of Lisa, Doja Cat and Raye trade verses over a lithe synth funk beat that could have easily found place on an album by The Weeknd. The song percolates and surges in all the right places, benefiting greatly each time the vocal arrangement decides to add some spice. Curiously, Lisa’s portions of the song see her exclusively singing, ceding Born Again‘s brief rap verses to her collaborators. At times she feels like a guest in her own song, with Doja Cat absolutely walking away with the track on verse two as she lands the biggest and best punches. (THEBIASLIST)
