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[obtusemedia]

Top 25 Songs of 2021 #24: "I Know I'm Funny haha" by Faye Webster

Country music has always been one of my major blindspots. The twangy vocals and lyrics about rural life rarely connect with me. So it was a surprise to me that one of my favorite new (to me) artists this year was a country-adjacent artist!

To be clear, Faye Webster isn't making music that's very similar to what's coming out of Nashville. Yes ,the Atlanta singer-songwriter loves her slide guitar, and there's a heavy emphasis on slice-of-life storytelling, just like classic country. But Webster's voice is less cowboy and more snarky hipster, and her lyrics rarely, if ever, reference Southern iconography like pickup trucks or whiskey. So I'm not really sure how to categorize her music...indie country? Folk rock?

Regardless of genre – Webster's 2021 record I Know I'm Funny haha is a gorgeous set of dreamy songs, with a perfect lyrical balance of humor and melancholy. The title track in particular is a perfect introduction to Webster's style. You'd think slide guitars and a shuffling country beat wouldn't compliment deadpan lyrics about hating your landlord or Linkin Park's bassist, but they do! And despite her conversational vocal style, Webster also has a knack for writing sneaky-catchy melodies, even on a chorus-less song like "I Know I'm Funny haha."

(If you really want to hear Webster at her best, check out her smooth-as-hell 2019 ballad "Kingston".)

#faye webster #top 25 songs of 2021 #Youtube

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Top 25 Songs of 2021: #25: "Little Things" by Big Thief

Remember when Big Thief wrote relatively conventional music? A simple, heartwrenching piano ballad like "Mary"? or a groovy Creedence-esque rambler like "Shark Smile"? Or breezy, aggressively midwestern folk-rock like "Cattails"?

Well — those days are gone, folks! Big Thief has reached indie-rock A-list status, and now they're trying to take their classic sound into a distorted, warped place. Luckily, they're talented enough to justify that move, as the discordant, woozy "Little Things" absolutely works.

...but it shouldn't work, right? It sounds like there's four guitarists playing three different songs. The drums don't really provide a rhythm as much as a vibe. And lead singer/songwriter Adrienne Lenker occasionally interrupts her sweet folksy melody to heavily breathe into the microphone or yelp like she touched a hot stove.

Somehow, all these oddities and confounding choices result in a gorgeous form of chaos. It reminds me a lot of a song from a very different band: the U2 deep cut "Elvis Presley And America," which also is more about being sucked into a hypnotic mood than having actual song construction. In other words, "Little Things" is the kind of song that you can only really pull off once you've mastered the conventional stuff. (And probably also if you're on mushrooms.)

#big thief #top 25 songs of 2021 #Youtube

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Top 25 Songs of 2021: The Honorable Mentions

As the first full year of the COVID era, 2021 was an appropriately strange year for music.

It started off frighteningly slow – with the exception of a few (sometimes fun!) oddball bands and Olivia Rodrigo, most big names in pop, hip-hop and indie sat out the first few months of the year. But by the end of 2021, a whole score of big-ticket artists had either released a new record or announced one for early 2022.

Even with a slow start, we still wound up with some fantastic albums and singles this year. Here are the 15 songs that just barely missed my top 25 list for 2021:

"range brothers" by Baby Keem & Kendrick Lamar

Baby Keem isn't a top-shelf rapper by any means yet, but his splashy debut this year still showed a lot of promise. But admittedly, a lot of that promise comes courtesy of his surroundings: high-end production and multiple features from his legendary cousin Kendrick Lamar.

Out of the two Keem-Kendrick collabs, I prefer the goofier "range brothers" to "family ties" (although both are great). The first half where Keem delivers his infectious, energetic-little-brother flow over a massive, operatic beat is a lot of fun. But it's that second half switch-up, where Keem and Lamar suddenly pivot into cartoonish cowboy accents that really sell the song. Lamar's repeated "top o' the morning" refrain immediately became a meme, and for good reason — it's funny!

"Chaos Space Marine" by Black Country, New Road

Black Country, New Road are one of the buzziest bands of England's wonky new post-punk scene, which doesn't really have a conclusive moniker yet (New British Alternative? Windmill-core? Gremlin-core??). But there's a reason BCNR stands out amongst most of their intentionally obtuse counterparts: when they want to, they can actually deliver hooks.

"Chaos Space Marine" is just as out-there as most of the other New British Alternative singles — the opening refrain sounds like a country hoedown, and it has multiple tempo switches. But with its rollicking chorus and infectious energy, it won me over anyways. It's like if Arcade Fire were much nerdier.

"BUZZCUT" by Brockhampton feat. Danny Brown

"BUZZCUT" doesn't quite live up to the promise of a Brockhampton-Danny Brown partnership, but it still delivers on some fun chaos. The slamming beat and high-energy verses from Kevin Abstract and Brown are a great throwback to Brockhampton's Saturation era. It's a nice reminder that the group can still rock out, even as their lyrics have become gloomier.

"How Not To Drown" by CHVRCHES feat. Robert Smith

After a lackluster, failed mainstream pop attempt in 2018, the CHVRCHES returned to their icier roots with their new album Screen Violence, to solid results! That record's undisputed highlight is "How Not To Drown" — a thunderous single that feels like an updated Cure song with its gothic lyrics and strong melodies. So it's only appropriate that The Cure's legendary lead singer, Robert Smith, delivers a verse of his own, adding to the spooky atmosphere. It's a great homage to an older era of alternative rock.

"White Dress" by Lana Del Rey

2021 was an unusual year for Lana Del Rey. She released two albums, both of which were fine but definitely not on the level of her 2019 masterpiece, Norman Fucking Rockwell. But that seemed almost intentional, as both records were fairly subdued.

One of the brightest spots of those albums was "White Dress," in which combines classic Lana tropes with some new tricks. Lana sings much of the song in an airless, almost-whispery falsetto — a major change of pace for her, but immediately attention-grabbing. Her trademark sense of humor still shines through, peppering a somewhat romantic song with oddball references to Kings of Leon and the "men in music business conference" in Orlando. Even with a slight tweak in her style, "White Dress" is still a great dose of classic Lana.

"I am not a woman, I'm a god" by Halsey

I've never been a big Halsey guy. Their music has always felt like pop that was ashamed to be pop, but was still basic — very faux-edgy. But Halsey took a BIG swing this year with their new album, produced by Nine Inch Nails' Trent Reznor. And while much of it isn't as bonkers as I'd hope, there's still some fun stuff in there. Case in point: the pulsating, moody "I'm not a woman, I'm a god." This easily could've been a Nine Inch Nails single with its grimy, slippery synth-rock aesthetic, and Halsey's moody vocals and lyrics are very up to the challenge.

"In The Car Outside" by The Killers

One of 2020's biggest musical surprises was The Killers' triumphant heartland rock comeback, Imploding The Mirage. One of 2021's biggest musical surprises was that The Killers kept the comeback going with ANOTHER incredible album — albeit, an extremely dour one about poverty, death and drug addiction in rural Utah. That's about as far from "Mr. Brightside" as you can get.

Perhaps the best showcase of Brandon Flowers' new lyrical prowess on that dark new record, Pressure Machine, is one of its least hyperbolic songs, "In The Car Outside." It's a simple country-rock vignette about a man who's falling out of love with his wife, and winds up seeking out an old high school ex as solace. It's gut-wrenching in a very pedestrian way, yet the song itself evokes the anthemic, soaring Killers rock tunes of the past.

"The Right Thing Is Hard To Do" by Lightning Bug

Lightning Bug has already nailed down their specific vibe on their debut album. The New York dreampop band's woozy, gorgeous brand of music is perfectly highlighted on the single, "The Right Thing Is Hard To Do." It sounds like the Cocteau Twins, but for summer. Or as critic Steven Hyden perfectly put it: it's the ideal music for twilight in July.

"Walking at a Downtown Pace" by Parquet Courts

Parquet Courts' previous album, 2018's Wide Awake!, dabbled in dance rhythms. Their new single, "Walking At A Downtown Pace," dives head-first into them. The New Yorkers ride an infectious, pummeling beat all the way through the single, with some angular guitars and Andrew Savage's trademark gruff vocals as accompaniment. It's a fun dance-rock banger by a band that's become quite consistent in delivering those.

"4Runner" by Rostam

Although the former Vampire Weekend member is still a better producer than a songwriter, occasionally Rostam can still knock out a single with killer hooks. "4Runner" is one of those singles — a driving tune that combines heartland rock with Rostam's classic gauzy, melancholic vibes. If you squint just right, it sounds like a west coast version of The War On Drugs.

"Leave The Door Open" by Silk Sonic

There's still no one better at retro-pop pastiches than Bruno Mars. His talent for evoking classic sounds of the '70s and '80s, while not sounding too outdated, is unparalleled.

"Leave The Door Open" — the flagship song of Mars' new collaborative project with drummer/rapper Anderson .Paak — may be Mars' best ballad yet. It's silky smooth, just like the best '70s soul, and Mars' pillowy voice contrasts nicely with .Paak's raspy vocals. It reaching #1 on the charts was inevitable.

"feel away" by slowthai feat. James Blake and Mount Kimbie

The prospect of a slowthai ballad didn't interest me at first — his best songs are spiky, hard-hitting bangers. But "feel away" pulls off the impossible. slowthai shows off his vulnerable side on this breakup tune, and Mount Kimbie's minimalist production is truly gorgeous. Sometimes playing against type works!

"Take My Breath" by The Weeknd

The Weekend releases another '80s throwback banger? And this one has a disco beat?! Of course it's great! Even a slightly phoned-in Weeknd retro-pop single, like "Take My Breath," is going to rule.

"Moon" by Kanye West, Kid Cudi and Don Toliver

Kanye West's newest album, Donda, may have been a bloated project with some questionable guests, but there are still some incredible gems hidden in the massive tracklist. One of those is "Moon" — a gorgeous, minimalist ballad that serves as a mini Kids See Ghosts reunion between West and Kid Cudi. But the real scene-stealer is R&B crooner Don Toliver, who delivers an absolutely breaking falsetto hook, encompassing all the late-night melancholy of the song in just one turn of phrase: "I wanna go to the MOOOOOOOOON."

"Smile" by Wolf Alice (song begins at 0:20)

Wolf Alice are one of those bands I kept hearing about but never took the time to listen to. Now, I'm kicking myself over that — they're great! "Smile" in particular rips, with its blend of rap-rock, shoegaze and a Siamese Dream-era Smashing Pumpkins vibe. The guitars are the highlight, as they effortlessly switch from crunchy to dreamy multiple times throughout. It's easily one of the most cathartic songs of the year.

#top 25 songs of 2021

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Ranking Lady Gaga's albums, from worst to best

Being a Lady Gaga fan can be an exercise in frustration.

Gaga is far more ambitious than most popstars — I doubt we’ll ever see Ariana Grande or Ed Sheeran make an album as left-field as Born This Way or ARTPOP. But she's also far less consistent, with numerous misbegotten projects.

Gaga's undeniably successful, with five #1 hits, an Oscar and multiple iconic music videos to her name. But her messy album rollouts and tradition of underperforming lead singles make her feel like an underdog compared to the more polished, precise careers of her contemporaries like Taylor Swift, Beyoncé or Bruno Mars.

Gaga is kind of a mess. But she's our mess. This album ranking will cover some records I can't stand — albums that make me constantly hit the fast-forward button, or albums I ignore altogether. But there isn't a single record on here that wasn't a bold move. Even the "back to basics" albums made strong aesthetic choices.

So let's dive into the career of the most fascinating Millennial popstar.

#8: Cheek To Cheek (2014)

This really shouldn't count. It's a Lady Gaga album in name only. But, technically it's a Gaga album, so here we are.

I've got nothing against Gaga having fun playing Rat Pack-era dress-up with Tony Bennett. She's a theatre kid at heart, and I'm sure every theatre kid would kill to make a Great American Songbook covers record like this. It sounds like she and Tony enjoyed themselves, so I'm happy for them!

...but I'm sorry. I can't be objective about Cheek To Cheek, it's the opposite of my taste. There's only so many bland lounge ballads I can take.

BEST SONGS: I have to pick one? "Anything Goes" is cute, I guess.

WORST SONG: "Sophisticated Lady"

#7: A Star Is Born (2018)

Let me first make this clear — A Star Is Born, the movie starring Bradley Cooper and Lady Gaga? It's a masterpiece. It's electrifying and tragic and I'm still upset it didn't sweep the Oscars that year. There's even a cute dog! You won't hear me say a bad word about it.

But A Star Is Born, the accompanying soundtrack? It's extremely hit-and-miss.

Yes, it includes arguably Gaga's best-ever song and one of the greatest movie hits ever written, "Shallow." And there's plenty of other great tunes in the tracklist too — "Always Remember Us This Way," "I'll Never Love Again," the "La Vie En Rose" cover.

Even the country-rock songs from Bradley Cooper (who, reminder, is not a professional singer) are mostly good! "Black Eyes" RIPS, and "Maybe It's Time" feels like a long-lost classic.

But sadly, there are so many mediocre filler tracks on this thing. The second half of A Star Is Born's hour-plus runtime (Gaga's longest!) is padded with generic songs like "Look What I've Found," "Heal Me" and "I Don't Know What Love Is." The only good one out of the bunch is the silly, intentionally-bad "Why Did You Do That?"

In the movie, these filler tracks serve a point – they're meant to show Gaga's character selling out. They work in the movie when you hear them for a few seconds and see Cooper make a drunkly disappointed scowl. But I don't want to listen to them, and sadly, they make up half the album.

In other words — A Star Is Born would've made an incredible six or seven-song EP. But as an 63-minute-long record? It's a slog.

BEST SONGS: "Shallow", "Always Remember Us This Way," "Maybe It's Time"

WORST SONG: "Heal Me"

#6: Joanne (2016)

After Born This Way and ARTPOP, I get why Gaga needed to make a more lowkey, back-to-basics album. I also understand that many of these songs have extremely personal lyrics for her.

But is a down-to-earth album what I really want from our most outré popstar? Not really.

Luckily, Joanne is better than that description suggests. Yes, there are some bland acoustic ballads and awkward hippie-era throwbacks (two styles that are really not in Gaga's wheelhouse), but there's also some Springsteen-style heartland rockers! And those go hard in the paint.

Joanne works best when Gaga works the record's dusty aesthetics into her brand of weirdo pop, like on the sizzling "John Wayne," the winking "A-YO" or the delightfully extra Florence Welch duet "Hey Girl."

The record also has "Perfect Illusion" — a glorious red herring of a lead single that sounds nothing like anything else on Joanne. It's a roided-up mixture of woozy Tame Impala production and hair metal histrionics, and it rules. It might be Gaga's best-ever lead single! (at the very least, it's her most underrated.)

And there is one slow tune that's unambiguously great: "Million Reasons," another solid Gaga lighters-in-the-air power ballad pastiche.

Despite what some Little Monsters may tell you, Joanne isn't a disaster. There's some great stuff in there, and even the worst songs are just forgettable. But it's still far from her best.

BEST SONGS: "Perfect Illusion," "Diamond Heart," "Million Reasons"

WORST SONG: "Come To Mama"

#5: Chromatica (2020)

When Chromatica was released near the start of the COVID-19 pandemic, it had been seven years since Gaga had released music in her classic gonzo-synthpop vein. I can easily picture the record serving as an "ugh fine, I'll give you what you want" response to the many Little Monsters annoyed with Gaga's half-decade of folksy ballads and Julie Andrews cosplay.

I'll say this about Chromatica — outside of The Fame Monster, it's her most consistent record. There's not a single track that's a glaring mistake. And the three singles — "Stupid Love," "911" and the triumphant Ariana Grande duet "Rain On Me" — easily stand among her best tracks.

But although "all bangers, no ballads" album sounds rad in theory, it doesn't really succeed in practice. Chromatica is solid, but it's also a very same-y record. It feels like Gaga had one really great idea for the album ('90s club music with super-depressing lyrics) and repeated it over and over and over again to diminishing results.

There are some songs that are able to separate themselves: the three singles, of course, as well as the goofy "Babylon" and "Sine From Above," the Elton John duet that's the closest Chromatica gets to a ballad. But by the end of the album, you feel more worn out than electrified.

Also — and this is probably unfair, but still — Chromatica came out just a couple months after another retro-dance blockbuster pop album: Dua Lipa's magnum opus, Future Nostalgia. That's not a flattering comparison.

BEST SONGS: "Rain On Me," "Stupid Love," "911"

WORST SONG: "1000 Doves"

#4: The Fame (2008)

Out of all of Gaga's records, The Fame is most like a time capsule. It REEKS of late '00s/early '10s pop — which isn't an entirely fair criticism, seeing as Gaga popularized that era's sleazy, synthy aesthetic. It's also not a bad thing! I don't mind a little nostalgia!

As you already know, The Fame's singles are masterworks. "Just Dance," "Poker Face," "Paparazzi" — these tracks have titanic legacies for good reason. And although it's probably the least-beloved of this album's hits, despite being a total banger, "LoveGame" should still be commended for having arguably the most Gaga lyric ever (you know, the "disco stick" line).

And even though those tracks are front-loaded on The Fame, there are some gems deeper in the tracklist. "Summerboy" is basically Gwen Stefani covering The Strokes (so obviously, it's great). "Eh, Eh" is adorable. "Starstruck" is the most 2008 song ever recorded, with aggressive Auto-Tune and Flo Rida showing up to make Starbucks jokes.

Sadly, The Fame still feels like Gaga before she became fully-formed at certain points. The back half has a number of songs that feel like generic club tracks forced by the label, and "Paper Gangsta" is one of the clunkiest songs in Gaga's catalogue.

But at the very least, the bad songs on The Fame at least serve as little nostalgia bombs for that era of pop. And the best songs are untouchable classics.

BEST SONGS: "Paparazzi," "Just Dance," "Summerboy"

WORST SONG: "Paper Gangsta"

#3: ARTPOP (2013)

For much of Gaga's career, she's been ahead of the curve. She tries something, and a year or a few years later, other popstars try something similar to diminishing results.

That doesn't just apply to the successful stuff, like Gaga's extravagant music videos inspiring many copycats from 2010-2013. It also applies to the mid-late '10s trend of legacy popstars making a controversial record with risky aesthetic or lyrical choices that backfired: reputation. Witness. Man of The Woods.

Gaga did this first, with ARTPOP — arguably the most abrasive, and bizzare major label album released by a major modern popstar. And she did it better, because unlike Swift, Perry and Timberlake, Gaga's weirdness was for real. And it was in service of some prime, hyper-aggressive bangers.

ARTPOP isn't Gaga's best work — some of her experiments on it are major misfires, from the obnoxious "Mary Jane Holland" to the bland Born This Way leftover (and Romani slur-utilizing) "Gypsy."

But when ARTPOP is on, it's ON. The opening stretch in particular, from "Aura" to "Venus" to "G.U.Y." to "Sexxx Dreams," is chaotic synthpop at its finest. Those songs took Gaga's classic sound to an apocalyptic, demented extreme, and they're fantastic.

"MANiCURE" is a great glam-rock banger, "Dope" is another classic Gaga piano ballad, the title track is some sikly-smooth dreampop; even the misguided, clunky trap anthem "Jewels N' Drugs" is bad in a hilarious, charming way!

Trust me: ARTPOP will go down in history not as a flop, but as a gutsy, underrated record from a legend. Less Witness, more In Utero.

BEST SONGS: "G.U.Y.," "Venus," "Sexxx Dreams"

WORST SONG: "Gypsy"

#2: The Fame Monster (2009)

Objectively speaking, this is probably the best Gaga album.

It's her one record with no fluff, no filler — only 34 minutes and 8 tracks, all of them stellar.

It's the record that took Gaga from "wow, this new woman is a fresh new face in pop!" to "this woman IS pop."

It's the record with her signature track, "Bad Romance," which was accompanied by arguably the greatest music video of the 21st Century. (It also has my absolute favorite Gaga track, the relentlessly catchy "Telephone.")

I don't think I need to explain what makes mega-smashes "Bad Romance" and "Telephone" and "Alejandro" great, nor the accompanying legendary deep cuts "Speechless" and "Dance In The Dark." They speak for themselves.

However — the sleek, calculated perfection of The Fame Monster, while incredible, isn't something I return to often. It's just not the side of Gaga that's my favorite. That honor would have to go to...

BEST SONGS: "Telephone," "Dance In The Dark," "Bad Romance"

WORST SONG: "So Happy I Could Die" (but it's still pretty solid)

#1: Born This Way (2011)

One of my favorite podcasts is Blank Check. The concept of the show is to analyze each movie by a famous director — in particular, those who had big success early on and then got a blank check to make whatever crazy passion project they wanted. Here's a great example: because Batman was a massive hit, Tim Burton got to make whatever Hot Topic-core movies he wanted to for decades, from Edward Scissorhands to a creepy Willy Wonka remake.

That long-winded tangent is just to say: Born This Way was Lady Gaga's blank check. By early 2011, she had conquered the pop universe, notching hit after hit after hit. Every other pop star was copying her quirky music videos. So the label let Gaga do whatever she wanted — and she didn't waste that opportunity.

Born This Way is wildly overproduced. It's both extremely trend-chasing (those synths were cutting edge at the time but charmingly dated now), but also deeply uncaring about what the teens want (I don't think Springsteen and Queen homages were big at the time). And I love every messy, overblown second of it.

From the hair-metal/synthpop hybrid opener "Marry The Night" to the majestic '80s power ballad "The Edge of Glory," Born This Way starts at an 11. And Gaga never takes her foot off the pedal for the album's entire hour-plus run time. Clanging electric guitars, thunderous synths and Clarence Clemons (!!!) sax solos collide into each other as Gaga champions every misfit and loser in the world. It's gloriously corny in the best way possible.

Born This Way is also the perfect middle ground of pop-savvy Gaga and gonzo Gaga. It doesn't go quite as hard as ARTPOP, but the hooks are stronger. And the oddball moments are tons of fun, from the sci-fi biker anthem "Highway Unicorn" to the goofy presidential-sex banger "Government Hooker" ("Put your hands on me/John F. Kennedy" might be the greatest line in pop history).

Born This Way will always be my favorite Gaga album. It's armed with nuclear-grade hooks, slamming beats, and soaring anthems. Although it's not as untouchably pristine as the Mt. Rushmore of '10s pop classics (for the record, that's 1989, EMOTION, Lemonade and, of course, Melodrama), Gaga isn't best served by meticulousness. She's proudly tacky and histrionic, and so that's what makes Born This Way an utter joy.

BEST SONGS: "The Edge of Glory," "You and I," "Marry The Night"

WORST SONG: "Bloody Mary"

[obtusemedia]

Top 25 songs of 2020 #1: “People, I’ve been sad” by Christine and the Queens

It’s already cliché to say 2020 sucked. That’s why I’ve tried to skirt around that fact in most of my countdown this year. But, to be fair — 2020 did suck.

This year has given us near-weekly violent clashes between anarchists and far-right extremists, police killings of Black people (that’s not new to this year, but the arguments around it flared up in a major way in 2020 after the deaths of George Floyd and Breonna Taylor), and a wildly stressful/chaotic U.S. election. On top of all that, of course, there was a global pandemic that killed more than a million people worldwide, sent nearly everyone into quarantine, forced millions into dire financial straits and created another topic for conspiracy theorists to exploit.

Naturally, the song that connected with me the most this year is a song that tapped into my (and everyone else’s) cloudy outlook. “People, I’ve been sad” — the new wave ballad by French indie-pop star Christine and the Queens — doesn’t specifically list any of those events above. In fact, it was released about a month before COVID-19 exploded in the Western world. But it captures the mood of 2020 better than any other song released this year.

“People, I’ve been sad” is a bummer of a song — I mean, just look at that title — but Christine doesn’t oversell that. She’s not whispering, but her voice sounds more dejected than histrionic. But despite that, and even though half the song is in French and the English lyrics are fairly oblique, Christine’s emotions come through loud and clear. And it’s hard to not get swept up in her burnt-out catharsis.

Even the musical backing has a tragic vibe. The minor-key synths are pristine and sound like a lost ‘80s breakup ballad. A song like this, just about how much everything sucks, might not have worked if it wasn’t as stunningly gorgeous as “People, I’ve been sad.” Christine knows what she’s doing.

I adore “People, I’ve been sad,” but I frankly wish I didn’t. If 2020 hadn’t been an absolute disaster, a fun banger from Lady Gaga or Dua Lipa might have topped this list. But because of how horrifying and dark this year was, Christine’s all-time great ballad struck me harder than any other song this year.

#christine and the queens #top 25 songs of 2020

[obtusemedia]

Top 25 songs of 2020 #2: “Rain On Me” by Lady Gaga & Ariana Grande

Since Joanne, I’ve wished for the return of bangers-only, over-the-top, meat-dress Lady Gaga. And guess what? Gaga delivered!!

“Rain On Me” is exactly what I want in a Lady Gaga song. It’s got a thumping beat, it’s incredibly fun to sing along to, and there’s a gaudy music video attached that makes no sense at all. Ariana Grande getting a neon escape hatch from her typical downcast R&B is a nice touch too. It’s magical hearing these two powerhouse vocals over a thumping house beat!

But there’s also an uplifting element to “Rain On Me.” Unsurprisingly, a song all about surviving life’s challenges was fitting for the COVID-19 era. It’s not the most accurate representation of our current mood — it’s far too optimistic for that — but it’s still a nice reminder of the power of perserverance.

"Rain On Me” easily the best song on the just-okay Chromatica (turns out it’s really hard to make an all-bangers, no-ballads album not sound same-y throughout). It’s absolutely Grande’s best-ever song. And I’m just happy that the post-A Star Is Born Gaga renaissance soldiers on.

#lady gaga #ariana grande #top 25 songs of 2020

[obtusemedia]

Top 25 songs of 2020 #3: “After Hours” by The Weeknd

There isn’t a better example of what made After Hours — The Weeknd’s magnum opus, no matter how badly the Grammys snubbed it — a modern classic than its title track.

What makes After Hours, both the album and song, work so well is its seamless blend of The Weeknd’s two strong suits: murky, nocturnal R&B and uber-catchy ‘80s-style synthpop. Yes, Abel Tesfaye breaks out his undeniable falsetto for a monster hook on “After Hours,” but the song also has a haunted edge to it that you wouldn’t find on a Justin Beiber album.

And that darkwave production!! Longtime Weeknd collaborator Illangelo and Tesfaye himself crafted a pulsating, heart-pounding synthy vibe that wouldn’t sound out of place on the Drive soundtrack. I’ll admit, that particular sound is a major weakness of mine. But “After Hours” is so catchy, so compelling, that even those adverse to seeing Ryan Gosling in a gold scorpion jacket wouldn’t resist it. 

“After Hours” is just one classic track of many from its namesake album that exemplifies why The Weeknd has become a modern pop legend. But there’s no song that better distills that record’s dual pleasures.

#the weeknd #top 25 songs of 2020

[obtusemedia]

Top 25 songs of 2020 #4: “Break My Heart” by Dua Lipa

Dua Lipa’s second album, Future Nostalgia, has retro disco bangers for days. It’s the kind of dance record that’s so incredible that even shuttered clubs couldn’t slow its momentum — people just danced in their living rooms.

Lipa’s best song off that album is “Don’t Start Now,” which was technically released as a single in fall 2019 (and it made my year-end list that year). But a very, very close second is her follow-up single, “Break My Heart,” which rides an absolutely brilliant gimmick all the way to disco heaven.

About that gimmick — modern pop’s used blatant samples for decades now, from Destiny’s Child riding the “Edge of Seventeen” groove to Puff Daddy essentially covering a Police song. Dua Lipa also heavily sampled a classic ‘80s tune in “Break My Heart,” but it’s used much more subtly. 

She doesn’t jack the beat from INXS’ immortal “Need You Tonight”: she just steals the iconic guitar riff and both turns it into a bass groove and turns it into a melody on the chorus. It’s pretty sneaky, and the kind of trick you might not catch the first time, especially considering the four-on-the-floor maximalist grooves of “Break My Heart” is a far cry from INXS’ steamy minimalism. But it’s a great trick, and amplifies what’s already a fantastic pop tune.

#dua lipa #top 25 songs of 2020

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Top 25 songs of 2020: #5: “betty” by Taylor Swift

Taylor Swift’s semi-dramatic reinvention this year into a quiet, faux-indie folk singer has been hit or miss for me. I’ll admit, I miss Swift’s charmingly corny pop bangers. But there are some absolutely gorgeous ballads on folklore and evermore that are highlights in her long-running discography. And “betty” rises above them all.

“betty” is about a topic Swift frequently wrote about in her early years, teenage love. But there’s a twist: it’s not about herself! Swift created a charming narrative, stretching over multiple songs on folklore, about a fictional teen love triangle. And “betty” is the undisputed highlight of that trilogy; a desperate, pleading apology from a boy for cheating on his girlfriend.

Swift has always had a knack for detailed storytelling, and those little moments really flesh out her story of James and Betty. It’s incredible how vividly she can paint this scenario in just a few minutes (and it’s a tad shocking and fun to hear Swift sing “fuck” multiple times).

But it’s not just Swift’s lyrics that are winning here: the melody and country-adjacent production are stellar too. My endorphins rush every time the final chorus comes with a bright key change, emphasizing the narrator’s optimism.

Although Swift may be finished with pop megastardom (hopefully not!), “betty” shows that she might have a fine career writing gorgeous folksy vignettes.

#taylor swift #top 25 songs of 2020

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Top 25 songs of 2020 #6: “Gospel For a New Century” by Yves Tumor

I love to watch an artist level up. And that’s exactly what experimental indie rocker Yves Tumor did this year with his triumphant single “Gospel For a New Century.”

Yves Tumor somehow channels both Prince and Marilyn Manson in this blaring track. They have the raw sexual swagger of the former, but the latter’s wink-wink transgressive edginess. Yves’ rockstar energy toes just up to the line of over-the-top sleazy schtick, but they somehow pull off the ridiculous pastiche. 

The blaring horns, charging in like the theme of an old Hollywood movie, are essential to the massiveness of “Gospel.” The word “epic” has been overused quite a bit, but there’s not really any other word to describe how unstoppable this song feels — it sounds like being trampled by a marching band from hell. (in a good way!)

Not every song needs to be this extra. But if you’re going to go over-the-top, you can’t half-ass it. And “Gospel For a New Century” is anything but half-assed: it’s the coronation of indie rock’s newest superstar.

#yves tumor #top 25 songs of 2020

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Top 25 songs of 2020 #7: “Gasoline” by HAIM

It wasn’t anywhere near 2020′s most shocking comeback (that would probably be The Strokes), but HAIM’s Women In Music pt. III was certainly the best. It was a decisive bounce back after the LA sister trio’s mediocre 2017 sophomore record, and one of the best indie-pop albums of the past 10 years.

It’s weird to call any track from an album that consistent a standout. But if there is any song that stands out, it’s “Gasoline” — easily the smoothest single the Haim sisters have released to date. It’s a seamless blend of R&B and ‘70s pop-rock; the kind of song that sounds effortless to write but likely took months of refinement.

The guitar and bass and occasional keyboard add-ons seem to meld together into an almost liquid sound, and the sisters’ harmonies on the chorus give off a classic AM radio vibe. Frankly, I’m shocked it’s not a cover of an existing Fleetwood Mac song! Nope — it’s just one of modern rock’s most talented acts finally reaching their fullest potential.

#haim #top 25 songs of 2020

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Top 25 songs of 2020 #8: “Lil Scammer That Could” by Guapdad 4000 feat. Denzel Curry

Denzel Curry’s aggressive, weird brand of Miami hip-hop has spread to the west coast. I’m thrilled about it!

Technically, the blistering “Lil Scammer That Could” is a song by Oakland MC Guapdad 4000. And he earns that lead billing, with his charmingly squeaky flow and Lil B-esque off-kilter sense of humor.

But sonically and style-wise, “Scammer” owes a lot to Curry — one of alternative rap’s biggest stars. So when he gets the second verse and cranks up the energy to 11, it’s a perfect fit. Curry’s more confrontational verse adds some anthemic flair to the otherwise-goofy (in a good way!) track.

Is this what the future of hip-hop sounds like? Probably not, unfortunately — stuff like “Scammer” will always be a bit too odd for rap radio and the folks who just want to vibe out. But I hope Curry and his acolytes keep pumping out fun oddball rap like this through the rest of the decade.

#top 25 songs of 2020 #guapdad 4000 #denzel curry

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Top 25 Songs of 2020 #9: “Momentary Bliss” by Gorillaz feat. slowthai and Slaves

(song starts at 1:00)

I would call it shocking that Gorillaz came back in a major way this year ... but is it really a surprise? Damon Albarn’s had about 5 comebacks in his 30-year career at this point, you can never count him out. But Gorillaz’s Song Machine is still the virtual group’s (led by Albarn in real life) best album in a decade. And “Momentary Bliss” is a key example of how the band managed to re-obtain relevance.

“Momentary Bliss” is quite different than a typical Gorillaz song. While many of their past singles were tightly controlled, pinpointed affairs, “Bliss” is chaotic and almost feels improvised on the spot. That’s due in large part to punk outfit Slaves providing a hyperactive, bouncy ska-punk musical backdrop to the song. And slowthai — arguably Britain’s best rapper at the moment — pounces on the unusual beat, rattling off goofy insults (I don’t know what “turkey Twizzler” means, but it sounds hilarious) in his heavily-accented yelp. 

I love that Albarn, this far into his career, is willing to play around with Gorillaz’s sound and make a drastic shift in the name of making fun, anarchic music.

#top 25 songs of 2020 #gorillaz #slowthai

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Top 25 songs of 2020 #10: “It Might Be Time” by Tame Impala

I wouldn’t consider myself “old” yet, only being 26. But am I really considered “young” anymore? In the grand scheme of things, sure — I’m much closer to 18 than 80 — but also, not really. I can’t get into TikTok, my back is starting to hurt all the time and I find myself disliking more and more new hip-hop (why do the youths like Lil Baby so much?!).

So yeah, “It Might Be Time” hit kind of close to home for me. The Tame Impala cut is explicitly about the paranoia of being too old to be cool anymore. It’s something that happens to all of us, as Grandpa Simpson once warned. So when Kevin Parker bluntly informs himself, “You ain’t as young as you used to be...you ain’t as cool as you used to be,” I can relate. Especially considering that, I assume, still listening to Tame Impala in 2020 would be considered “so Millennial.”

But “It Might Be Time” isn’t just a warning to all us 20- and 30-somethings. No, it’s also a supreme synth-rock banger. Parker threw thundering, Chemical Brothers-style drums and G-funk air-raid sirens into his typical hypnotic sound, and it’s intense as hell. “It Might Be Time” literally sounds like being waken up from a dream (especially after listening through the mostly-sleepy new Tame Impala album). Parker might be past his prime, but he can still wow us when he wants.

#top 25 songs of 2020 #tame impala

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Top 25 songs of 2020 #11: “Me & You Together Song” by The 1975

The 1975 maybe released the most disappointing album of 2020 (it’s either them or that already-forgotten Car Seat Headrest misfire). Notes on a Conditional Form was too long and clogged with dreary filler. 

But at the very least, the album’s singles were mostly great. And probably the best of all of them, “Me & You Together Song,” is a nice change of pace for The 1975.

In some ways, “Together Song” isn’t too different than the Manchester band’s typical M.O. — it’s a retro pop song that manages to be both very catchy and very wordy. But unlike The 1975′s previous nostalgia trips, “Together Song” doesn’t replicate the new wave sounds of the ‘80s. It’s saturated in the bright minivan rock of the early aughts like Third Eye Blind or sellout-era Liz Phair. That’s not a sound you hear many homages to, and frankly, the comparatively-idyllic 2000 sounded like a nice year to escape to during the horrors of the pandemic.

But that novelty wouldn’t matter if the song wasn’t great. And “Together Song” is a top-notch pop-rock banger, with its rollicking groove and sing-along refrain. Matty Healy’s lyrics still have a bit of pretentious snark, as always, but it’s all in service of a very sweet love song. Even if The 1975 are past their peak, let’s hope they can at least continue to crank out fun singles like this now and then.

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Top 25 songs of 2020 #12: “Dying to Believe” by The Beths

Power pop is a subgenre you’d think would be more prevalent. It’s just pop songs with a rock edge, simple enough! Yet, it’s usually been confined to the margins of the music world. There’s really only been a few power pop acts that have had sustained, mainstream success — The Cars, Weezer and Paramore perhaps being the most prominent — and even then, they’ve never conquered the Top 40 charts like pop divas, nor critics’ year-end lists like edgier indie acts.

That long-winded intro was just to say: power pop is great. And The Beths are great at it. 

The Auckland four-piece’s single “Dying To Believe” is a blast of infectious fun. Elizabeth Stokes’ shy vocals contrast nicely with the band’s revved-up energy. The hooks are plentiful, and it’s an easy song to air guitar/drum along with. 

If it feels like there isn’t much to say about “Dying To Believe,” that’s because there really isn’t — it’s simply a great pop song.

#the beths #rock #top 25 songs of 2020

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Top 25 songs of 2020 #13: “chinatown” by Bleachers feat. Bruce Springsteen

(song starts at 0:35)

I’m a sucker for Jack Antonoff’s production, but what he truly excels at are collaborations. The work he’s produced/co-written for Lorde, Taylor Swift and Lana Del Rey have been some of those respective artists’ best work. He’s a master at creating great art within various songwriters’ aesthetics. 

But what happens when Antonoff brings a fellow New Jersey legend into his ‘80s-worshipping, nostalgia-drenched aesthetic? And what if that someone happens to be the greatest rockstar in American history? You get “chinatown” — a glorious power ballad that’s the best thing Bruce Springsteen has made in nearly 20 years.

“chinatown” isn’t anything new sonically for Bleachers, Antonoff’s band. It’s all Millennial whoops and ‘80s production, coupled with Antonoff’s corny lyrics and charmingly limited vocals. The first half is a solid, B-tier Bleachers single.

But when Springsteen pops up out of nowhere to take over the vocals in the second half...goosebumps. His gravelly howl brings a sense of gravitas to Antonoff’s song. It’s like a lost track from Born In The USA or Tunnel Of Love, especially in the outro when Springsteen yells over the cascading, pillowy synths. 

Springsteen elevated “chinatown” from good to great. And now I desperately need Antonoff to produce his next album.

#bleachers #bruce springsteen #top 25 songs of 2020