“Juice” wasn’t the hit that landed her at No. A pop miniaturist who shuns grand vocal acrobatics, she skirts the edge of inaudible to invent a new kind of subdued sass. –Colin Lodewick, The heartbreaker and the heartbroken—aka the villain and the victim—are often the stock characters in songs about failing relationships. –Sheldon Pearce, At first, Powder’s “New Tribe” looms ominously. Invoking 2000s nostalgia in a bid to create her own rap hit, Saweetie samples from a crunk classic: Petey Pablo’s Lil Jon-produced “Freek-a-Leek.” But instead of adopting Petey’s suave, come-hither vibe, Saweetie delivers “My Type” with bite: “That’s my type!” she yells, as if she’s just spotted a man at the other end of the club and she’s ready to take a swipe at any woman who dares approach him. –Rawiya Kameir, Cate Le Bon finds the beauty in isolation. “Respect is reciprocal,” he declares, encouraging and upbraiding us at once. There’s the darkly ironic (“Freelance now, yeah I guess you earned it”), the adorably resigned (“No more shoes and socks, I only rock sandals/I can’t tell if I’m hip or getting old”), and the strangely evocative (“You don’t know that you’re rust”). As the folksy pop melody swirls, her words descend like so many colorful blocks on a screen. The refrain samples the British classic “It’s a Fine Day,” made famous in its 1992 rave rendition by Opus III, providing a moment of release from all the romantic tension and misguided hope. “Somebody That I Used To Know (ft. Kimbra)” – Gotye 18. The hyper-specific details—he makes it sound so easy that credit scams probably quintupled in the wake of this song—are what makes his music both seedy and improbably exciting. As a narrator, Cox expresses a kind of numb acceptance, and the scenery he offers—the rotting houses and rusted engines—are as bleak and beautiful as the song’s sweeping pianos and gentle guitar licks. In it, he celebrates his success as a musician and activist while hearkening to the long tradition of dance-instructive tracks in the UK funky club scene that he’s drawn from. Free Uzi forreal. “Remember when/That tree fell on your car?/Glass spilled/All over the yard,” warbles singer-songwriter and guitarist Catherine Elicson as the band collapses around her in streams of detuned synthesizers and guitars that sound like wind tunnels. After years of buttoned-up tastefulness, the band seems to be creeping into enemy territory here. “Con Altura” roughly translates to “do it hard,” according to Rosalía, who borrowed the phrase from a Dominican TV personality. At that point, Dabice splits in two—her internal dialogue goes to the left channel as her newly courageous external self moves to the right. “If it’s needed,” he told the New York Times, “it will find you.” Perhaps it’s telling that, on the solo album ANIMA, Yorke appears to confront his loss on a song called “Dawn Chorus.” It’s a title (if not the same composition) that fluttered around Radiohead lore for years. The song's mix of sped-up and untreated vocals suggests its namesake's split psyche, while its ominous main guitar riff is constantly brushing up against more whimsical musical flourishes. The unassuming lilt in the British percussionist/producer’s voice is enough to make the opaque title feel natural, as if she were interrupting her own train of thought. Paul’s voice breaks away from all affect, and it sounds as though we’re hearing him sing into the booth through the talkback button in a studio’s control room, unadorned and unmic’d. If you enjoyed listening to this one, you maybe will like: 1. In the next year, you will be able to find this playlist with the next title: TOP 100 Songs of 2021 (Best Hit Music Playlist) 101 songs… “Stay (ft. Mikky Ekko)” – Rihanna 13. Buoyed by an infectious hook, a sugar-cereal beat, and Tecca’s Auto-Tuned verses, “Ransom” is two glorious minutes of playing pretend. –Stephen Kearse, Jenny Hval’s work is always moving closer to the essentials: pleasure, creativity, nurture; reproduction, death, survival. Four months later, “Welcome to the Party” dominated the city’s airwaves and guided Brooklyn drill music beyond New York’s state lines. Mark Ronson’s most recent LP, Late Night Feelings, is full of sad dance tracks that mix glitter with broken glass, and none cut as deep as the Angel Olsen feature “True Blue.” Olsen sings like the final patron at a bar, crooning just loud enough to tell her sob story over the blaring jukebox. When he delivers the chorus—which features the word “running” repeated eight times—it feels like a meditation of gratitude. –Ian Cohen, Brooklyn synth-pop band Charly Bliss introduced their second album, Young Enough, with a glimmering, radioactive song that delights in blowing everything up. Its volume drops abruptly, pulling the listener in close, making them strain to catch the breath braided so exquisitely by Billie Eilish and her co-producer/brother, Finneas O’Connell. (Surely it’s no coincidence that all of the above also function as tailor-made catwalk soundtracks.) The song rescues ideas of empowerment from sponsored hashtag hell, with the Puerto Rican star flicking off critics of his androgynous style and class-collapsing brashness over a trap beat that’s as quietly menacing as an alien hovercraft. Singing over her lilting guitar, she makes it known that her decision is a compassionate act. He may be the shooter, but in Polo G’s world, everybody’s a casualty. They came crashing down with “Not.” The standout lead single from Two Hands, the quartet’s second incredible record of the year, is driven by carnal desperation. 101 songs. Week 2. At the end of one year, and looking ahead to the next decade, here are the tracks we believe will stand the test of time. On “Not,” she uses that vivid specificity to outline an absence, her voice snarling and burning as she prowls around the indescribable. “I was just a placeholder, a lesson never learned,” they sing and sigh, like someone who’s grown all too accustomed to getting that “I think we should just be friends” text. The South Korean producer Peggy Gou’s “Starry Night” summons revellers around a familiar gathering point: bright, bold piano chords, the tentpoles of summertime house classics ever since the music migrated from Chicago basements to Balearic terraces. On an album largely about the joys of being unattached, “NASA” offers a nuance: the freedom to be attached, just not right now. Only Carti is better at navigating Bourne’s circus beats than Nudy—they’ve both had more practice than anyone—but here, they prove they work best as a team. These gonzo escapades lack the teeth-chattering urgency of Brown’s previous music, but ultimately, his dirty-uncle act comes across as relief. It’s a peek at the direction in which Uzi’s rap is headed, raising his pitch and unveiling his take on the baby voice popularized by Playboi Carti. They give "I Need You" the feeling of being suspended between two planes, its knees planted on the ground as its spirit drifts to the sky like a prayer. Atop sparse beats and a hazy guitar, she sings poetically about the wave of self-actualization that hits after the end of a long-term relationship, noting that “the door slams hard behind you when you leave the house of judgement.” –Jillian Mapes, To hear him tell it, Mike Hadreas has a terrible relationship with his body. On “Get Well Soon,” Taylor Vick, the Oakland-based folk-pop singer who has performed as Boy Scouts for nearly a decade, chooses instead to look at how breaking someone’s heart can break yours, too. But if you ask Lewis about it, there’s a more innocent dependency at its core: “I feel like that song is more about Candy Crush than heroin,” she explained, “if that’s even fucking possible.” And indeed, during the breezy pinwheel of a hook, Lewis sings the name of the time-sucking iPhone game, letting those two words sum up the helplessness that haunts the song. –Rawiya Kameir, Listen: Megan Thee Stallion, “Cash Shit” [ft. DaBaby], “Binz” is a one-minute-and-51-second playful fragment of music bleeding out of and into the songs before and after it on Solange’s album When I Get Home. [1] For 2019, the list was published on December 5, calculated with data from November 24, 2018 to November 16, 2019. On “New Apartment,” Lennox conveys this particular sense of freedom with a delightful string of images. Nudy is a perfect sidekick, Carti is a born star, and Bourne is the most daring rap producer working now. On “All Mirrors,” the title track of her latest album, Olsen introduced her latest (and perhaps greatest) incarnation: mighty goth sorceress. But the tone is one of illumination—a sense, rare in Yorke’s music, that the light at the end of the tunnel was daybreak, after all, and not just another false dawn. And truly, Uzi is the only rapper that could confess on record to being a loyal viewer of The Big Bang Theory and still have it slap. But soon, the song’s steady groove and bright handclaps underpin a growing skepticism, as her perfectly intact heart begins to strike her as its own worrisome condition. On “Door,” her first single released under her own name, Polachek turns her malleable voice into a sing-song hook—“Back in the city/I’m just another/Girl in a sweater”—that scales up and down infectiously. On “Daylight Matters,” from her delightfully eccentric fifth album Reward, she spins repetitive, circuitous speech patterns into delicate bridges and euphoric choruses. So Hooked On Your Lovin Gorgon City Extended Remix. Defected. Eventually, Gretel pushes the evil creature into an oven, frees her caged sibling, and the pair escape. The song’s straightforward production matches the force of her emotions; little more than a simple beat, bassline, and backing vocals elevate her voice. The track itself is minimalist brilliance, but the song’s origin story and its dancefloor potency are what makes it such a compelling listen. Updated July 30, 2020. The lyric about being “a host who left a ghost” behind feels even more poignant after Berman’s death this year, as every utterance remains familiar and inviting, ushering you in from the cold. Time for new beginnings and new music! The opening track of her second album, At the Party With My Brown Friends, it is Pacific Northwest indie rock at its finest—all quiet humming and watery guitar, mist and cold air—but it retains the redemptive quality of gospel. Springsteen has been open about his lifelong battle with depression, and “Hello Sunshine”—with its warm pedal steel, serene strings, and nostalgic piano chords—sounds like him trying to hang on to a happy moment. Civilization teeters toward oblivion, the temperature climbs upward, and Lana Del Rey is our soothsayer. Visionaries like FKA twigs, Angel Olsen, and Charli XCX took their art to new heights. –Katherine St. Asaph, Róisín Murphy begins “Incapable” as cheerfully as its disco-ready bassline suggests she will. –Alphonse Pierre, It may not have been intentional that Normani’s first solo single after the dissolution of Fifth Harmony shares the effervescence of Beyoncé’s 2005 bop “Check on It,” but it was definitely subliminal: Like her Houston sister, here was a former girl-grouper stepping out on her own, eager to show the world her talent after a half-decade of performing as a cog in that system. In 2019, with one killer track, an artist could become a household name, sparking infinite conversations and even more memes. “Juice,” Lizzo. She’s had a ball, but as she flips through the photo album, she concedes that the culture is a little too lit, that the heat is making her breath feel heavy. It’s a song best listened to alone, where the beauty of its restraint can be made clear. A whisper of a beat propels an inquisition into self-doubt, longing, and regret—her voice aches, soaring with resolve before a gravitational pull brings it back down. “Roar” – Katy Perry 20. Behind her, though, a synthesizer chirps like a second, excitable singer. On “Capacity,” singer Eva Hendricks questions her tendency to put other people’s needs before her own while remaining empathetic towards her anxious, overachieving younger self. But a funny thing happens as the song continues its endless build: It pulls you in. Gorgon City. “This must be the light you saw/That just left you screaming,” he sings over sweetly plucked guitar. On “Bags,” the lead single from her debut album, Immunity, the Gen Z pop songwriter sings with the kind of bittersweetness that could either herald the beginning of a new romance or signal its smoldering end. Projecting strength in moments of extreme fragility feels like it’s become part of her routine more recently; a very public breakup with her Hollywood ex was followed by the discovery of a medical condition anchored in her uterus. –Julianne Escobedo Shepherd, Lizzo began 2019 as a cult favorite and ended it as a full-on industry darling. It masterfully makes the ugly, complicated mess of interrogating lost love feel like an act of pride. Healy wrote the lyrics while touring the American South earlier this year, around the time Alabama signed a draconian anti-abortion bill into law, and he shows the most desperate kind of gallows humor: “The economy’s a goner, republic’s a banana, ignore it if you wanna.” The song is both a wake-up call and an admission of defeat—a balls-out strut to be played for the indifferent masses as the world burns. Until recently, the governing body that oversees college sports wouldn’t let student athletes profit in any way off their talents or likenesses, and 2 Chainz, a former player himself, weaponizes that hypocrisy into a rallying cry. Nestled among an album of brilliant—if sometimes exhausting—intensity, “Claim It” is a pause for thought as the South London producer peels back the sticky layers of her songs to reveal the textural skill beneath. He draws from the rollercoaster hooks and blown-out emotion of his early-’00s Nassau County forebears, but strives to write, in his words, more “conscious” lyrics. When Bill Callahan returned with his first record in six years, he did so as a father. On paper, Mendes is pining after the girl who got away with the obsessiveness of an Instagram stalker—and yet his effervescent delivery, and shameless cheesing in the video, make it clear that this winning rom-com of a song has a happy ending. Wouldn’t that feel like cash printed on demand? If you are looking out for top songs for your day, then you must check out Today’s top 5 Hindi playlist, Today’s top 5 Punjabi playlist, Today’s top 5 International playlist, and many more. –Ben Cardew, If “Thinkin Bout You” is any indication, even after three years of marriage to her football-star husband, Ciara is still in the honeymoon stage. –Stephen Kearse. Top 100 Songs Zimbabwe , 19/11/2019 The Zimbabwe Top 100 Songs music chart is compiled and based on the most popular songs for 19/11/2019. Best when he’s blustery, he took the raring energy of his early singles and channeled it into an extended brag concurrent with the vibe of the dance that inspired him. But the music here is slower-paced, introspective. –Alphonse Pierre, “I do not weep at the world, I am too busy sharpening my oyster knife,” Zora Neale Hurston wrote in 1928. On “bmbmbm” (pronounced “boom boom boom”), they are puckish and aloof, stacking oblique lyrics and a warped sample of a wailing woman over a calm bass riff and steady drumming. The track is a perfect expression of a distinctly modern anxiety: being stranded in a place with no cell signal, dying to know what’s going on in someone else’s head. –Jenn Pelly, When it comes to peak-hour dance tracks, there are crowd-pleasers that give the audience a perfect loop or breakbeat to sink their teeth into, and pivot tunes that give the DJ space to steer the night in new directions. It’s that sugary delivery and his control that elevates the track into a standout in a city that has no shortage of hits. –Sam Sodomsky, Listen: Lana Del Rey, “hope is a dangerous thing for a woman like me to have - but i have it”, In the Brothers Grimm fairytale “Hansel and Gretel,” a young brother and sister are lured into a house made of sweets by a child-eating witch. Together with her fellow riot-starter Dylan Brady, Les crunches steel-wool bass and styrofoam guitars into something wonderful. Part of London singer-songwriter Nilüfer Yanya’s early appeal was her deadpan, detached cool. Top100 Songs Dec 7 - Dec 11 2020. The song’s central tension is nothing new—being surrounded by people yet feeling so alone—but how she chooses to alleviate that pain is something special: with a bombastic, bulletproof synth-pop chorus that revels in the roiling chaos of social anxiety. In the next year, you will be able to find this playlist with the next title: Top 100 Rap Songs of 2021 - Best Popular Rap Songs 2021. His talky flows scan as bar-heavy despite most of his raps being filler, simply because their ferocity can raze beats to cinders. “I feel you/In my mind/All the time,” he sings with care, revealing the kind of love he feels: implicit, unconditional. The rapper sounds at ease over this colorful backdrop, his laundry-themed wordplay as loose and entertaining as it is technical. But despite his fame, he’s grown up with his head screwed straight. A cartoon fever dream about getting high like a pilot, liking girls’ pics on IG, and the designer brands he wears while he glides through the streets of Georgia, “Flyin’” is the quintessential Duwap single. In The Sun Still Burns Here, a dance piece from Hadreas and Seattle-based dancer Kate Wallich, it becomes the totality: One preview described part of the performance as “essentially a fully clothed orgy,” for which Hadreas both composed the score and performs as a dancer. On “Ashes to Ashes,” she tills the sediments of sex, art, and mortality, dragging ash from a cigarette into a grave and equating penetrating fingers to the double-digit swipe of a phone screen to a frantic drowning kick. Like Bobby and Cardi, it happened fast for Pop Smoke: At the start of 2019, he was an unknown with only a single remix to his name. –Alphonse Pierre, Ari Lennox had to fight to put “New Apartment” on Shea Butter Baby because, she said, Dreamville label head J. Cole didn’t quite “understand” it. –Matthew Strauss, Listen: Bruce Springsteen, “Hello Sunshine”, Four Tet’s “Only Human” started life as a dancefloor edit of Nelly Furtado’s “Afraid,” the opening track from her now-iconic 2006 album Loose. It’s a song about communion, an invocation of the very act of coming together, and an irresistible reminder of why we do. Released on the label of the powerful and enigmatic producer Don Jazzy, who also helped establish Afropop powerhouses like Tiwa Savage, Rema’s self-titled EP was composed of four tracks, each with a different sound—Juice WRLD-style trap, Young Thug-influenced melodies, and Afropop love ballads. Thank you for being there. Her virtuosity is in tone and texture: the delicious derision of “duh,” the way she smudges consonants and crumbles vowels in her mouth. She’s not quite happy but she’s definitely not sad. The Tokyo electronic musician is famous for lengthy, off-kilter DJ sets that disorient and envelop in equal measure. Inspired by the slow-burning funk of Chic’s “At Last I Am Free” cover, Polachek takes her time unfolding the details surrounding that small realization. In this economy? Normani breezed through the track, co-written by Ariana Grande, with the confidence of an artist who knows her worth, and further stamped her star power with the stunningly gymnastic choreography in its video. “I don’t wanna touch down,” she sings, musing over “treasures luminous and divine.” For three-and-a-half minutes, we’re up there with her. Which ones are featured on the best pop songs of the 2010s decade?The biggest pop stars have released their hits, and we've ended up with this list of 2019 pop songs. She described the process of creating for someone other than herself as “relief” from writer’s block, saying that there was freedom in that transference. “Staring at a screen/Makes me itch and scream,” Ali Carter yells. He runs rampant, bullying, threatening, and coercing his enemies, his claims brought to life by his bum-rushing delivery. Ferreira’s vocals alternate from husky and over-heavy to lullaby-plaintive, then slide into the vulnerability that's marked her best songs. As he sits by the titular airplane’s window, “flying through some stock footage of heaven,” he compares the celestial sight to an infant’s purity. There’s something heartwarming about seeing the young talent—his sartorial tastes unbridled and his budget now virtually unlimited—take on looks that range from Resident Evil hero to hypebeast Halloween ghoul. Their sound is shamelessly opulent and sumptuous with rot, like fruit losing its color but deepening in scent. As Four Tet describes it, he happened to hear the original song and began working on it almost as a lark, layering Furtado’s vocals and locking them into sizzling hi-hats and knocking percussion. What emerges is a strangled, melodic hook offset by unsettling vocal effects and chords that spiral upwards in a nervous twist of energy. The gut punch of the song is that despite her exhaustion, she sounds fulfilled. After a mixtape’s worth of unfinished music was leaked in 2013, Paul basically disappeared for the next six years, establishing himself as a reclusive mad genius. She narrates these end times with a wry resignation that’s nostalgic and tactile, dreamy yet prickly. “Do you remember the nights I called you up?” Dabice asks her former lover. But her debut album, Miss Universe, challenges the idea that anyone should be so poised, and on the guitar-thrashing “In Your Head,” she dazzlingly loses her shit. Get into the year-end groove as OFM counts down the one hundred most popular new releases featured on the sound of your life in 2019! It is, quite certainly, the horniest song of said epoch. –Madison Bloom, Listen: Mark Ronson, “True Blue” [ft. Angel Olsen], On “The Barrel,” Aldous Harding says a lot but gives away almost nothing. In the spring, he was at the top of the Nigerian charts. She has spent her career shapeshifting between genres and personas, from solo folkie to barnstorming indie bandleader to Mark Ronson- collaborating pop singer. Saweetie’s raucous energy falls in line with another generation of women in rap: Three 6 Mafia’s Gangsta Boo and Crime Mob’s Diamond and Princess, who were exhilarating to listen to because they weren’t meek, pleasant, or well-mannered. Again and again, she ventures into dank places and emerges with observations that are striking for their lucid originality and humor. The titular vocal sample, chopped into oblivion, is a suitable mantra: Nate returned to footwork while recovering from an injury that left him temporarily paralyzed from the waist down, a particularly cruel irony in a scene defined by movement. It’s as if Clairo is envisioning a breakup at the very moment of the first kiss, the sparks and the sadness translucent and overlaid on top of each other. –Sam Sodomsky, Whatever accounts for it—club culture’s ongoing fragmentation, some creeping suspicion that levity is bankrupt—dance music has been short on anthems in recent years. As her voice drops to a whisper, she takes in this surreal and depressing panorama—what a truly ludicrous ending, right?—then suddenly she perks up. To help you find something fresh to complete your upcoming setlists, we have compiled a list of the top 100 worship songs trending on PraiseCharts. In “Snow Is Falling in Manhattan,” he turns a brownstone into a snow globe, his ragged voice rumbling over gentle guitar and drums. Its data, published by Billboard magazine and compiled by Nielsen SoundScan, is based collectively on each single's weekly physical and digital sales, as well as airplay and streaming. The song itself is all sweeping Laurel Canyon haze: a hook that’s almost entirely pedal steel guitar and a sad, swooning vocal delivery that seems coated in FM static. He speaks of his return to creativity, and the way music airlifts the grief-stricken from despondency, in near-mystical terms. But the overarching feeling is one of ease, unburdening, and his. –Alphonse Pierre, listen: pop Smoke, “ Pissy Pamper ” was irrepressible then,... View saved stories, Polo G ’ s repeatedly expressed the desire to transcend his own form... Its juxtapositions, “ Pissy Pamper ” was his breakout, the mournful lyrics are inscrutable... 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