20
The Smoke Detector by The National
The National’s most audacious and intense song to date, “Smoke Detector,” spreads like a twisting vine, weaving through Matt Berninger’s psyche after his mental breakdown. While showcasing some trademark elements of the band – the jagged guitar work from “High Violet,” Berninger’s characteristic lyrical style with lines like “dog in the driver’s seat with a red helmet and his head out the window,” and the relentless pursuit of self-improvement as seen on “Alligator” – this eight-minute epic also marks a significant stride forward. Originally an improvised piece during a soundcheck, it may seem steady with its tense refrain, but upon closer listen, it brims with captivating details that hint at its unstable nature, mirroring the heightened sense of awareness that often accompanies depression. Raw, searing, and immediate, it serves as a whispered dispatch from the depths of despair as Berninger desperately searches for even the tiniest glimmer of hope. Written by Laura Snapes.
19
Boygenius – Not Strong Enough
Julien Baker, Phoebe Bridgers, and Lucy Dacus, known as the “three graces” for their insightful music, achieved great success with their latest song, a catchy pop-rock anthem. The song was nominated for three out of their seven Grammy nominations in 2024, including record of the year. The relatable lyrics “I don’t know why I am the way I am” resonated with many disaffected individuals, while the powerful line “always an angel, never a god” could easily be chanted by crowds in arenas – a likely scenario for the trio in the near future. Amidst the universal themes, there are also specific and clever details in the trio’s songwriting, such as the mention of kitchen appliances with mismatched clock times, adding a novelistic touch that speaks volumes about the distracted person living there. Ben Beaumont-Thomas.
18
Hudson Mohawke and Nikki Nair collaborated with Tayla Parx for the song “Set the Roof”.
Nikki Nair, a US producer, takes the intense and extravagant sound of Hudson Mohawke and distills it to its most sharp and precise form on the title track of their joint EP. This skittish 2-step beat is energized by Tayla Parx’s unique falsetto vocals and then tightened to perfection by HudMo’s apocalyptic production techniques. The bassy scratches that emerge in the latter half of the song bring to mind the mischievousness of Mr Oizo, adding a playful element to the already daring track. LS
17
Miley Cyrus – Flowers
Following the moderate success of Plastic Hearts in 2020, Miley Cyrus’s latest single, produced by Kid Harpoon and Tyler Johnson, who are known for their work with Harry Styles, has become her most successful song yet. It spent 10 weeks at No. 1 in the UK and eight weeks in the US, and has been streamed 1.6 billion times on Spotify. The timing of its release on her ex-husband’s birthday in January added some juicy gossip to its popularity. The lyrics, which focus on self-love and determination, resonated with many as they made their new year resolutions. However, the true reason for its widespread appeal is its perfectly crafted vocal melody, which seems almost miraculous for not having been created before.
16
Sampha – Spirit 2.0
Since releasing his first album six years ago, Sampha has been featured on tracks with major artists like Kendrick Lamar, Drake, Stormzy, and Solange. This has solidified his status as a talented British songwriter in the popular music scene. However, on his highly anticipated return, he emphasizes the importance of intimacy and the spiritual support that comes from spending time with close friends and family. This can be as simple as going for a drive in a hatchback, chatting and opening up to each other while cruising down country roads. With a blend of neo-soul, jazz, and breakbeat, Spirit 2.0 is a lively and intricately rhythmic album that showcases the rejuvenating effects of quality time spent together.
15
The song “I Saw” by Young Fathers.
Can you reword this?
Is it a rock song or the sound of soldiers marching? The Scottish group created a cleverly ironic anthem with a chorus that mocks those who ignore immorality and submit to authority (“I saw what I saw, I keep on walking the line”). However, there are also opposing voices (“don’t forget I won’t fall for your nonsense!”) and in the end, a powerful childlike chant overpowers everything with its triumphant call to resist: “Brush your teeth, wash your face, run away!” BBT
14
Big Thief – Vampire Empire
In 2022, the American folk-rock band released their highly praised double album called “Dragon New Warm Mountain I Believe in You”. They followed it up with a new song that quickly became a favorite among fans. The verses have a Dylanesque style of rambling, while the chorus is incredibly catchy. Lead singer Adrianne Lenker showcases her vocal range with surprised octave jumps, expressing the chaotic nature of the toxic relationship mentioned in the title. The couple’s dynamic shifts from intimacy to weariness in a constant cycle, like two magnets pushing and pulling against each other. As Lenker puts it, “It’s like trying to start a fire with matches in the snow / Where you can’t seem to hold me, can’t seem to let me go.” BBT
13
Jorja Smith – Little Things
Little Things attempts to be relaxed and non-committal. Jorja Smith simply desires one night of enjoyment, and she casually shrugs, saying “if it’s meant to be, then that’s okay.” The UK funky piano is unpredictable and difficult to define; her dancehall-influenced vocals are delivered with a nonchalant sneer and a tough, guarded demeanor, creating a vibe similar to Amy Winehouse at her most carefree and Katy B under the flashing lights. However, in the middle eight, true longing enters her voice and the low, off-beat piano notes add depth, unraveling her facade of coolness. LS
12
Charli XCX – Speed Drive
In her music, Charli XCX has explored various musical genres, ranging from gritty industrial sounds to mainstream pop. However, one theme that has consistently appeared in her music is her love for driving recklessly in fast cars. This theme is especially highlighted in the soundtrack for the film Barbie, directed by Greta Gerwig. In this soundtrack, Charli XCX’s song serves as the perfect accompaniment for Margot Robbie’s character as she evades the control of the corporate bigwigs at Mattel. The song, which cleverly incorporates elements from Toni Basil’s “Mickey,” adds a rebellious and energetic flair to the film. So let’s buckle up and hit the road! LS
11
The artist Billie Eilish explores the question of her purpose in the song “What Was I Made For?”
On the opposite end of the spectrum, the most profound track on the Barbie soundtrack was a delicate piano ballad that not only addressed the doll’s disillusionment, but also the dehumanizing effects of fame and the conflicting emotions it can bring to those who attain it. Billie Eilish, a well-versed individual on this subject, sings, “I looked so alive, but it turns out I’m not real / Just something you paid for.” Her falsetto, filled with shock and isolation, reflects her detachment from her former self. Accompanied by nearly microtonal strings, her voice glistens and trembles, as if Eilish herself is fading away along with any sense of purpose. LS
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10
“Investigate the Grave” by Lankum
Lankum’s rendition of the traditional song “Go Dig My Grave” is a haunting and oppressive piece that lasts for nine minutes. The combination of Radie Peat’s powerful vocals, which she manipulates like a bagpipe, and the mournful tone of the song creates an intense atmosphere that feels like it’s coming from six feet under. The weight of their sorrowful melodies and unearthly drones is suffocating, and Peat’s ability to evoke the grief of a young woman who takes her own life is almost unbearable. This track stands out as a raw and unique release this year. LS
9
Collaboration between Central Cee and Dave called “Sprinter”.
This track has gained almost 500 million plays on Spotify, with a large portion of listeners from different parts of the world. It has effectively disproved any doubts about UK rap being limited to mundane topics such as beans on toast. The instrumental, featuring a flamenco-inspired acoustic guitar line (credited to co-producer Jim Legxacy), showcases each rapper’s impressive skills, as they compete to outdo each other with clever wordplay and rhymes. The lyrics also humorously depict the ups and downs of their fame and relationships – from filling their van with groupies to Dave’s girlfriend leaving him for P Diddy, and Central Cee protecting his DMs from prying eyes by offering his Amex pin instead of his Instagram password.
8
Yaeji – For Granted
In the uncertain times we currently live in, For Granted captures the mood with its bittersweet lyrics set to a background of lively percussion and daring basslines. The song, rooted in drum’n’bass, embodies a quintessentially British sound, similar to tracks by Kenya Grace and PinkPantheress. However, the Korean-American producer Yaeji adds her own unique twist to it. Her emotive lyrics take listeners on a journey, reflecting the chaos of overthinking while also mirroring the sporadic and disjointed sounds of the track. Eventually, Yaeji urges herself to let go and go with the flow, as the beats shift into a frenzied sequence of jungle drums and dynamic basslines, representing the exhilaration that comes with releasing control.
7
Can Olivia Rodrigo’s song “Vampire / Bad Idea” be interpreted as a bad decision?
The second album by Olivia Rodrigo, titled “Guts”, was preceded by “Vampire”, a fiery blend of ballad and rock opera that follows a similar style to her hit song “Drivers License”. The track serves as an epic rant against a person perceived as using Rodrigo for fame, now possibly facing the repercussions of crossing someone with such a large following. While her debut album “Sour” mainly focused on feeling wronged, other tracks on “Guts” showcase Rodrigo embracing bad behavior and reveling in the thrill of being the one causing trouble. One of these tracks, “Bad Idea Right?”, was tied with “Vampire” in critics’ rankings and takes listeners on a campy journey back into an ex-lover’s bed, disregarding any potential consequences. With a lively new wave sound reminiscent of Toni Basil and the Waitresses, it’s impossible to resist the temptation of rebellion.
6
Blur – The Narcissist
The emotional intensity diminishes in this return song as Damon Albarn reminisces on his journey from his bedroom to big arenas, from carefree adventures fueled by drugs to struggles with addiction – all of which were amplified by fame that both boosted his ego and diminished his sense of self. Alex James takes a break from promoting his obnoxious celebrity wine venture (a Brut named Britpop) to play a powerful bassline that combines rhythm and melody; Graham Coxon’s steady garage-rock riff and Dave Rowntree’s straightforward drumming give the impression of a group of friends jamming together in the moment. BBT
5
Troye Sivan – Rush
After being in a long-term relationship, Troye Sivan ventured to Melbourne’s gay clubs and embraced a wild, indulgent lifestyle. He has revealed that this experience helped him let go and his latest single reflects this carefree attitude. Departing from his previous polished hits, this track has a lively house beat that evokes memories of the sun-kissed Pet Shop Boys. With the beat persistently looping, it captures the essence of a never-ending night. Sivan’s vocals dance around the rhythm, soft and slightly distorted, hinting at the euphoria to come. The verses are filled with admiration for a new lover, with lines like “Kiss it when you’re done, man, this shit is so much fun” portraying the intense sensory experience that makes one want to shout it from the rooftops. And in the chorus, Sivan leads a boisterous chant reminiscent of a sports team’s locker room, adding a deliciously queer twist to the song as he cheers on for full-on physical contact. LS
4
Kylie Minogue – Padam Padam
Kylie created a catchy word, “padam,” that quickly became popular and was used as a vocal filler, similar to how Italians say “prego.” This type of trend keeps pop music exciting, and it was refreshing to hear Kylie return to modern dance-pop instead of her recent nostalgic albums. The bassline gives the song a very current sound. Her vocals are slightly altered, giving her a robotic quality as she sings about searching for a partner in a nightclub. The way she confidently sings the chorus shows her underrated dramatic abilities.
3
NewJeans – Super Shy
The use of loud, energetic music with a mix of funk and light tones, commonly found in K-pop, has become overused. However, with the rise of girl group NewJeans and other innovative artists like Aespa and Fifty Fifty, there has been a refreshing change. Super Shy, with its collaboration from 4AD’s avant-pop star Erika de Casier, has a unique production combining elements of liquid drum’n’bass, UK garage, and Jersey club. These sounds have been popular in other genres this year, but here they are synthesized with a vocal hook straight from pop heaven. The lyrics may express shyness, but the delivery suggests a playful flirtation.
2
PinkPantheress and Ice Spice – Boy’s a Liar Pt 2
The original version of the song released in November 2022 was already close to perfection. However, when Ice Spice added their touch to the remix, it became even better. The addition of some salt to the sweetness made the pop song comparable to the work of a highly skilled chef. The production has a charmingly lo-fi quality, with delightful sounds reminiscent of old flip-phone ringtones. Each singer shares a common story of being hurt by someone who they can’t seem to forget. Ice Spice’s performance is particularly noteworthy, as they skillfully use their voice to convey emotion and paint vivid pictures with words. Despite the heartache, the longing and vulnerability in their brief line, “but I don’t sleep enough without you,” is truly captivating.
1
Lana Del Rey – A&W
“Amidst the haunting sounds of A&W, Lana Del Rey, with her piercing head voice, poses the question: ‘Why am I so divisive? Why am I like this?’ In this standout track from Did You Know That There’s a Tunnel Under Ocean Blvd, Del Rey seems to embody a character straight out of a Cassavetes film, struggling for air amidst a cloud of face powder. Through the song, she explores the idea that perhaps after facing constant criticism and accusations of inauthenticity, one might just give in and become what others perceive them to be.”
A&W is known for its root beer, but in this context it refers to “American whore”, a provocative statement by Del Ray that may offend those who dislike her tendency to mix American culture, sexuality, and capitalism. As the main character, who has been estranged from her mother and mistreated by men, comes to terms with her nihilistic perspective and accepts that she no longer needs someone to love her. She arranges emotionless encounters in average hotel rooms, pushed into this lifestyle but also aware that it is a trap. In one of her songs, she questions whether anyone would believe her if she said she was raped, implying that society would blame her for it. Her vocals convey a mix of cold anger and shock.
According to A&W, it’s possible that she never had a chance because being born female means being destined to lose innocence, to give up carefree activities and simple relationships from childhood, and to inhabit a body that is viewed as both someone else’s possession and a danger. Del Rey often urges us to “examine the length of my hair, my face, and the shape of my body” (she’s a weightlifter, which has led to unkind remarks in recent times) in order to face her truth and the overwhelming burden of responsibility and pain that her observers have imposed on her.
The song, which is seven minutes long, features a unique combination of distorted guitar, moody piano, and fuzzy background noise. It evokes the feeling of a body stretching and relaxing in a luxurious way, defying traditional expectations. Despite facing criticism and pressure from men and society, Del Rey’s true self shines through in her wonderfully strange and unconventional music. In the middle of the song, there is a shift from the dreamy sound to a more rebellious trap beat as she teases a lover who is under the influence. This part of the song is reminiscent of her older, often criticized work, but it’s also strangely brilliant. Del Rey’s individuality is unmatched and she is truly one of a kind.
Source: theguardian.com
