Complex AU's Top 25 Tracks of 2015

Complex AU staff break down their top 25 in 2015, the year liking Justin Bieber became totally acceptable.

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Kanye teased us with Swish all year. Frank Ocean's third album was a 12-month rumour. Rihanna has announced the 2016 Anti world tour, but still hasn't actually finished Anti. Was 2015 just a year in music purgatory? 

A team of Complex AU's writers have broken down their personal top five tracks from the year that was. While it didn't deliver on the much-hyped trio above, 2015 still gave everyone plenty to post about with Hotline Bling, To Pimp A Butterfly and the unexpected widespread acceptance of Justin Bieber.

Get your Tweets ready, here are Complex AU's top 25 tracks from 2015. 

Staff writer for Complex AU

Drake "Hotline Bling"

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If you stepped foot in a club, car, supermarket or opened a Vine this year, you were subject to answering Drake’s call on the hotline. While it very well may be about an absurdly controlling ex, this is a track that completely made us forget both that, and the fact it jacked another one of the best tracks of the year in D.R.A.M’s “Cha Cha”. These days, fans’ connections to songs so often rely on the visuals that match it, and what better than letting Drake dad-dance his way through a set of differently coloured rooms to ensure that this was the catchiest and most meme-able track of the year. –Dan Pardalis

Jack Ü feat. Justin Bieber "Where Are Ü Now"

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2015 is the year that closet Beliebers were able to finally emerge from the shadows and declare their love for the once pint-sized pop prince. With an assist from Skrillex, who seemed to simultaneously enter his renaissance period, and Diplo, who has been dope since about the mid 2000s, the Biebster managed to implant the million dollar question in everyone’s minds – is he Timberlaking? After hearing Purpose, the answer is very possibly yes, and this song, which seems to somehow magically meld trap, garage, and future house, was the first warning shot. –Dan Pardalis

Skepta "Shutdown"

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The UK’s grime movement had a solid resurgence this year, and if you were to trace things back to a particular artist, it’s certainly Skepta, who has been overtly co-signed by Kanye, Drake and many others. While “That’s Not Me” came first, “Shutdown” changed the game, boasting some seriously braggodocious lyricism, and a video-game-gone-gully instrumental. The song not only reaffirmed a whole genre, but also established Skeppy’s status as one of the coolest motherfuckers on the planet, while immediately adding the titular term to the modern lexicon. –Dan Pardalis

Kendrick Lamar "King Kunta"

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With easily the boldest opening line of this year ( “I got a bone to pick / I don't want you monkey mouth motherfuckers sittin' in my throne again” ), and a back-beat that seems to have time-travelled from the ‘70s, to the late ‘90s, before arriving in present day, Kendrick Lamar’s “King Kunta” is one of the most unique songs this year, and possibly in the past decade. With this track and To Pimp A Butterfly, Kendrick proved that in 2015, you can create a record that touches on racial inequality, politics and “the powers that be”, while still crafting an incredibly catchy chorus at the same damn time. –Dan Pardalis

Jamie xx feat. Young Thug and Popcaan "I Know There's Gonna Be (Good Times)"

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If you’d told any Jamie xx fan that, in 2015, his next single would be a  soul-sample-based collaboration with one of the most polarising, least comprehensible rappers of this generation, and a slightly obscure dancehall artist, you’d have been branded certifiably insane. For someone that spent most of their career making down-tempo music for white people to break up to, xx did an absurdly good job orchestrating this bizarrely upbeat collaboration, and managed to create one of the most pleasant and hopeful tracks of the year. –Dan Pardalis

Online editor, Complex AU

Anderson.Paak feat. Schoolboy Q "Am I Wrong"

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Future "Groupies"

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Future kind of owned 2015. Two mixtapes to start the year, followed by a collab album with Drake, and of course the inescapable DS2 in July. Say what you want about Future, he’s no lyrical genius, but you don’t rise to the level Future is at without giving people what they want. And people want whatever the hell it is Future is doing. 

DS2, a storm of vindictive lyrics over contorting, tweeter-testing basslines, is a surprisingly fun listen. Particularly this one. Fresh off a public breakup with Ciara, Future rides Metro Boomin’s ridiculous production to spit a savage, bitter testimonial to groupies. It’s like a big, loud obnoxious middle finger. Or a sub-Tweet to an ex about how great life is now without all that negativity. More musicians should be this petty, it's great to listen to. –Steve Duck

Young Tapz "Killa"

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The Game feat. Anderson.Paak and Sonyae "Crenshaw/80s and Cocaine"

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The Game's The Documentary 2 was good, but The Documentary 2.5 was great. It felt to me like TD2 was The Game delivering what he knew would work in 2015, while TD2.5 was Jayceon saying fuck it and making what he knew would have his core fans eating out of his hand: West coast gangsta shit. 

I am one such fan, and the references to Crenshaw, '64 Impalas, gang signs, Inglewood, Compton and other various staples of classic LA rap were all I needed to make this one of my most-played tracks of 2015. That switch-up at the end didn't hurt either. –Steve Duck

Snoop Dogg "So Many Pros"

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Snoop's first officially released track, "Deep Cover", dropped 23 years ago. And somehow, between the super fun, Pharrell-helmed Bush album and his recent Scoop DeVille collab "Back Up", Snoop is still releasing really dope music in 2015.

"So Many Pros" was my favourite joint on Bush, and another step toward Snoop gradually becoming Bootsy Collins. Also, that video is fire. –Steve Duck

Staff, Complex AU

Rihanna "Bitch Betta Have My Money"

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There is no mainstream musician more interesting than Rihanna. 2015 marked ten years of Rihanna Fenti on the music scene and BBHMM showcased just how much she’s changed since 2005’s "Pon De Replay". This song is literally about getting ripped off, calling someone out on it, and demanding satisfaction. Often when women express anger they get lumped in to the “crazy girl” category, but with BBHMM Rihanna challenges audiences by celebrating her aggression. This track is Rihanna not just owning her own narrative, but shaping broader ideas as well. You should thank the music gods for Rihanna. We need her more than she needs us. -Mitch Parker

Oscar Key Sung "Brush"

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Oscar Key Sung is making the best R&B music in Australia right now. Using his background in electronic production Oscar creates his own backing tracks, leaving just enough space for smooth, and frequently sensual, vocals. Brush is straight up remarkable. On this song Oscar pairs a Tropicana style backing with lyrics about respecting a woman’s independence and turns it in to a summer jam. Anyone who can pull that off deserves not just praise, but a broader audience—share this one with your mates asap. –Mitch Parker

Grimes "Flesh Without Blood"

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When Grimes’ dropped her long-awaited album this November a lot of people were disappointed by the album’s direction. Some fans felt alienated when the album turned out to be full of pop bangers and not subdued indie electro like its predecessor. But that’s what makes Grimes’ new work great—she doesn’t give a fuck about what you wanted. The whole album is a tribute to ‘90s girl power pop—especially Flesh Without Blood. This track is further proof that 2015 became the year that liking pop music isn’t just ok, it’s mandatory. –Mitch Parker

Vic Mensa feat. Kanye West "U Mad"

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A friend once said to me, “Vic Mensa is making the best punk music in the world right now,” and I can see why. Mensa channels the aggression and bravado that is commonplace in hip-hop but uses punk elements to somehow finesse his message. This song is like losing yourself in a mosh pit. The heavy, pounding beats hit you like a stray arm in the crowd, but you don’t care—giving in to pain is part of the unhinged joy of letting go. –Mitch Parker

Justin Bieber "Sorry"

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Hating Justin Bieber in 2015 is a lot like hating the Kardashians in 2015. It’s lazy, and frankly, makes you a boring person. –Mitch Parker

Freelance writer, Complex AU

A$AP Rocky “L$D”

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It’s true; my favourite track on At.Long.LastA$AP isn’t even a rap track. The album as a whole was a diverse, really enjoyable collab-and-sample-laden listen. I loved hearing how much A$AP had grown and progressed since Long Live A$AP, and “L$D” is a perfect example.

Opening on a sparse rhythm and that low, warbling bass, “L$D” is seductive and sensual from its very first moments. With a deep, syncopated rhythm, blushing synths and blooming melodies, this is precisely the type of luscious, hazy atmosphere that I look for in actual psychedelic rock; it almost feels as though we’ve entered an alternate universe, another life, where A$AP rocky isn’t a rapper at all, but a post-Hendrix hippie musician with a penchant for turning on, turning in and dropping out.  –Lauren Ziegler

 

Action Bronson feat. Chance the Rapper “Baby Blue"

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I had never really paid Action Bronson much attention until the Mr Wonderful singles started rolling out; no real reason for it, I’d simply missed the boat. Yet “Baby Blue”, the album’s fourth single, immediately crept under my skin when it came out back in March. In the months since, I’ve become as accustomed as possible to Bronson’s music, and have fallen hard for his oily flow and his irreverent, funny, at times vulgar train-of-thought lyrics.

Chance the Rapper was one of the most prolific collaborators of 2015, and adding his raspy, spiteful guest verse to Bronson’s [arguably] unique flow introduced a sublime new tone to the whole track. Tied together by the simple yet masterful bluesy production (courtesy of Mark Ronson), this is an incredible track from an incredible album.  –Lauren Ziegler

Aesop Rock & Homeboy Sandman “So Strange Here”

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This track only came out last week and immediately entered my 2015 top five. Aesop Rock is my all-time favourite storytelling rapper, and teaming up with Stones Throw’s Homeboy Sandman for a free five-track EP was the early Christmas gift I never knew I needed. 

“So Strange Here” is remarkable intimacy and honesty, not to mention beautiful instrumentation and sampling. Aesop might be a storyteller, but it’s not often that we hear his own story. 

“I’m scared to share my thoughts,” says Homeboy. “I’d be lying if I didn’t admit I’d like to curl up on Long Island and die,” says Aesop. Both end their verses on the introspective line, “It feels so strange, now it seems so strange to be here.”  

An emotive, genuine track that reflects the recent discussion on depression in hip-hop, “So Strange Here” is smart, memorable and so thought-provoking.  –Lauren Ziegler

Big Grams feat. Run The Jewels “Born to Shine"

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News of a full collaborative project between Big Boi and Phantogram was incredible enough. News that both Run the Jewels and Skrillex would be featured guests on their EP was almost too much to handle. Each track on their eponymous EP is phenomenal, but considering my love for RTJ, I’ve chosen “Born to Shine” as its top five representative.

Anchored by a rumbling bass-line, decorated by fluttering percussive rhythms, organs and brass, each and every layer is endlessly satisfying. The track signals a homecoming for Killer Mike, who first rose to attention on OutKast’s Stankonia, and the four-way collab could not sound better. El-P, Mike and Big Boi each deliver brilliant, hard-hitting verses, sewn together by Phantogram’s lurching rhythms and sexy, Portishead-style trip-hop vocals. Flawless. –Lauren Ziegler

Miguel "The Valley"

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Miguel's 2015 album Wildheart grew on me slowly; it took a few listens to fully appreciate it, but it's gone on to become of my favourite releases of the year. Although not a primary single, the one track I found – and still find – myself playing over and over on repeat, is "the valley". Its raw, visceral sexuality, exuded both musically and lyrically, immediately drew me in like a moth to the flame.

 

Featuring sparse synths, a cushioned rhythm and unrelentingly graphic lyrics, “the valley” oozes, drips and sweats sex from every pore, every orifice, every word, every beat. Yes, this track will undoubtedly make some listeners uncomfortable, but to me, it's what I love about him, not to mention what separates Miguel from his contemporaries. 

 

If 2015 delivered one new song for your bedroom playlist, this is it. –Lauren Ziegler

Staff, Complex AU

Vic Mensa "U Mad"

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This was the song of 2015 for me. It takes the brooding menace of Kanye’s Yeezus and  picks up where it left off — turning it into a punk anthem. There's something about what Vic's doing recently that's incredibly interesting, I think there's been a wider shift to a more antagonistic sound in hip-hop that's channelling a lot of wider social and cultural frustration. It wouldn't surprise me if Vic becomes a household name in 2016, especially if he keeps following this trajectory. Someone played this at a house party recently and I spilled like eight people's drinks jumping around like an idiot. Sure, Kanye's “photo thot / photoshop” line isn't exactly peak lyricism – but it's perfect for screaming into a stranger's face at 3am. –Sean Irving

Kanye West "All Day"

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In keeping with the theme of antagonism, seeing the footage of Kanye debuting this live at the Brit awards was one of those watershed moments that legitimately gave me chills. The evolution of Kanye over the past decade has definitely been one of the most interesting developments in the cultural landscape. There's a real resolve and focus – backed with an anger that's just impossible to ignore – and it manifests itself here so clearly. Seeing 'Ye onstage with a mob of crew all dressed as thought they're ready for a riot reads like a manifesto of sorts. The great thing about Kanye is that he does everything with whole hearted sincerity, for better or worse. I don't think irony is a concept that exists in his universe, and that's incredibly refreshing. Also is there anything more indicative of a massive cultural dichotomy than seeing Taylor Swift trying to dance to this track in the live footage? –Sean Irving

Drake "Know Yourself"

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If You're Reading This It's Too Late was released while I was in Thailand with my girlfriend. We had been hopping islands for a little while, and made the decision to splurge on a decent hotel  for one night instead of the budget backpacker accommodation we'd been staying in. One of the benefits of this was I got a decent wifi connection for the first time since I'd left Australia, and the first thing I did was stream the album on Spotify. I played this track three times back to back off my shitty iPhone speakers, lying on a bed in the dark in 35 degree heat. It was perfect. –Sean Irving

Jamie xx feat. Young Thug & Popcaan "I Know There's Gonna Be (Good Times)"

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This year I had the displeasure of living through what was easily the worst hangover of my entire life. I'd spent the evening with some friends for an impromptu housewarming BBQ. We drank ridiculous quantities of red wine that tasted like nail polish remover while watching back to back Boiler Room sessions, before I stumbled home sometime just before dawn. The kicker was the fact that the next morning I had committed to a winery tour as part of a surprise birthday present for a mate (who happens to be my housemate) organised by his girlfriend (who also lives with me). There was no getting out of it. A bus was literally coming to our house to pick us up in the morning – and I'd prepaid to attend. I made it through tastings at four wineries before puking everywhere. Anyway, on the way home someone figured out how to access the bus' sound system via an inbuilt VCR (seriously) and played this song – it's the only positive memory I have of that nightmarish experience. –Sean Irving

The Weeknd "Can't Feel My Face"

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Music is often so closely linked to space, and that seems super exacerbated when you're travelling. This year I was lucky enough to have the opportunity to spend some time in Italy with my family. My parents had hired a car, and for some reason insisted on using the GPS that was programmed in Italian (which they definitely don't speak/read). One day they were trying to find a local beach, and inevitably got lost. We ended up in a back road somewhere in the outskirts of Sicily. They started arguing, and somehow managed to flip on the radio while trying to reprogram the GPS. This song was playing and the situation was so perfectly surreal – sitting on a dirt road on the other side of the world with the MJ inspired hook blaring as a robot-Italian voice told us to turn back and my parents argued. It was the perfect mix of mundane and exotic that I feel gives The Weeknd gravity. There's something about his music that seems to give weight to any given situation, it makes the most routine activity seem cinematic. I took it as a sign and listened to Trilogy exclusively for the rest of the trip. –Sean Irving

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