Best Songs of 2015

First of all, we're sorry. Seriously. We made a mistake. There is no good reason that this list should be 100 songs long. By the time we realized this, it was too late. We know that you don't want to click through 100 slides, and we don't blame you.

Making this list, we just stopped wanting to cut any more songs. We had around 300, and the goal was to cut it to 50, but it got more and more difficult. Everyone on the team was attached to different singles, and toward the end of one meeting about this list, we just decided, "Fuck it, let's just make it 100." Maybe not the best decision, but here we are.

This year, probably more than any other in our lifetime, we saw a shift in music consumption. Not just from the album to the single, but from the six-month hit to the two-week hit. As soon as you fall in love with a song, something else comes along and steals your attention. Adele is still selling CDs, but most young music fans are committed to a stream-only lifestyle, and with access to that much music comes a change in how we view things.

The upside: we've got so much fucking music. It's great. The downside, of course, is that it becomes harder to distinguish what's really important. Clearly, that's something that we're still trying to figure out.

Here are our 100 favorite songs of 2015.

Never again.

Mac Miller had a stellar year, releasing GO:OD AM, his most mature and well-rounded artistic statement to date. It was proving hard to pick just one song from that cohesive and cleverly sequenced album, but then Alchemist came along and solved all our problems. The fire-alarm beat goes hard, and Migos and Mac waste no time in killing it. An unlikely combination, but a winning one. Can we get a mixtape, please?—Constant Gardner

Carrie & Lowell has been touted as one of—if not the best—Sufjan Stevens albums to date, and songs like the gorgeously lush "Should Have Known Better" make it abundantly clear why. In dealing with his estranged mother's death, "Should Have Known Better" touches on a number of things: his depression, heartbreaking memories of his mother, and, ultimately transcendence from his sorrow.

This latter part is reflected in the song's production, where hopeful and bright electric keyboards follow melancholic acoustic guitar, pointing towards acceptance and peace.—Joyce

18-year-old Indiana-based singer dev09 made a powerful introduction with “Lethal,” but it felt like just that: an introduction. At under two minutes long, it left a lot to be desired. For “You Made Me,” Dev is back with producer Stelios Phili, and she turns up the tempo for a more pop-leaning approach with a big hook. Despite the catchiness, “You Made Me” has teeth, thanks in part to Dev’s confidence, attitude, and liberal use of curse words.—Confusion

Read more about dev09 here.

There aren’t many rappers who can remain dynamic regardless of the production they’re rapping over. But Young Thug definitely can, and he proves it on “Pacifier.”

The beat is noticeably more poppy than Thug's usual diet of hard-hitting trap production, but he still commands the track and makes it his own. “Pacifier” is one of Thug's most fun works to date, and sometimes that’s just what you want from an artist.—Katie K.

LCD Soundsystem is no longer with us, but "Clearest Blue" is a strong reminder of "Dance Yrself Clean." James Murphy's classic created a thrilling climax with a long buildup before taking everything away, like an EDM drop but with some substance and meaning.

When "Clearest Blue" reaches its apex, CHVRCHES strip away the lighter instrumental elements and let the thumping bass burst through the mix, making for one of the most satisfying musical moments of 2015.—Derrick Rossignol

When Big Sean's “Blessings” first dropped, someone on Twitter wrote, “That chorus gonna sound stupid until we’re drunk in a club yelling it to our crew.” It’s true. What makes the song so good isn’t that it’s groundbreaking or thought-provoking like some of the other hip-hop releases this year.

What makes it so good is that it allows us to be unapologetically obnoxious while listening to it. Because when Drake sings, “Wayyy up I feel blessed” over that ominous beat, it’s damn near impossible to not raise your glass and sing along.—Katie K.

If Kurt Vile has a thesis statement, "Pretty Pimpin" is it. He may not realize that it's his own teeth that he's brushing, but that's only because he's having a profound experience that takes precedent over everything else. Vile is a psychedelic slacker on the surface, but his daydreaming is never futile.—Derrick Rossignol

Over the past few years, females have dominated the electro-pop genre. But for the most part, the music veers either too far into that accessible bubblegum pop sound, or gets lost in an opaque experimental world.

It isn't often that something finds that sweet spot right in the middle.

Tove Styrke's "Ego" is one of these rare exceptions. The song is brilliant in its ability to be both catchy and unique, all while delivering one kick-ass, pro-female message.—Katie K.

Read our interview with Tove Styrke here.

Toronto rapper Jazz Cartier may only be a mere 21 years old, but you wouldn’t know it from his music. He handles a variety of production, from orchestral to gritty, all with the confidence of a much more seasoned rapper. Jazz knows exactly when to go hard and when to let the beat breathe.

“New Religion” has all his talents on display, cutting raps slicing over the aggressive production's twists and turns. His subject here, money, isn’t an unfamiliar one in hip-hop, but the blatant nature of his hook makes it near impossible not to get stuck in your head.—Katie K.

Lontalius' "All I Wanna Say" is perhaps one of the most gentle to songs to come out this year, emanating a certain kind of warmth that's unique to his music.

Expanding upon his lo-fi, Casio-centric covers on SoundCloud, "All I Wanna Say" sees the New Zealander in full bloom. Few artists are capable of creating music that's tender without coming across as saccharine, but Lontalius' understated approach really nestles itself in a sweet spot all his own.—Joe Price

This song is knife fight at a playground. The beat is a stuttering game of hopscotch over a lava pit. The melody careens, a barbed wire jumprope. Caroline Polachek’s voice is bubblegum: elastic and sweet, popping notes in our ears. It's bass-heavy, simultaneously light and teeming—you’d be hard-pressed to find another song this year that bottled dynamism quite as effectively.

Chairlift, until now, have made their name on precious mid-2000’s indie-pop and carefully constructed, careless and freewheeling '80s revivalism. Both albums, especially 2012’s Something, worked wonders. "Ch-Ching," however, is something different. This is something new.—Brendan Klinkenberg

Even though melancholy is explored in countless songs, there are very few young artists that nail the feeling better than Kevin Abstract. "Echo" is one of his most complete and thoughtful songs to date, and it marks a bold change from what we heard on his debut album, MTV1987.

It might sound disappointing to some that Kevin's been so quick to move away from the style he built his name on, but "Echo" proves he's trying, and subsequently succeeding, to create something far more ambitious than all of his previous output.—Joe Price

At the beginning of the year, Anderson .Paak and Knxwledge linked up to release “Suede,” their first single together as NxWorries. In this fast-paced internet age, it’s always impressive when a song not only sticks around, but gets even better several months after its release.

The single’s popularity continued to steadily rise throughout the year until eager fans were practically begging NxWorries to drop their Link Up & Suede EP.

“Suede” is the perfect example of just how unique Anderson .Paak and Knxwledge are as a team. Knxwledge delivers a mid-tempo, cruise-worthy rhythm with a deep groove that can make heads nod along. Anderson’s vocals are both versatile and very distinct, giving the track a special quality that cements its status as one of 2015's best.—Adrienne Black

2015 has been a big year for Little Simz: her debut album dropped in September, she’s been touring non-stop, and the British rapper has been closing out the year with some fire singles.

If you haven't already blown away by Simz's sheer lyrical skills, listen to “Don’t Forget,” her recent collaboration wit Hit-Boy, and you’ll be convinced. Her flow is strong and relentless over the buttery beat, and she even picks up a little West Coast drawl for the occasion, making this one of her best loosies to date.

We’ll definitely be banging this track well into 2016.—Lia McGarrigle

There's a palpable energy in everything the Brockhampton crew releases, and it has to do with more than beat selection or style. Whether they're singing, rapping, or screaming, there's a young and disruptive element that conveys a sense of urgency and importance. "Fye" is Brockhampton affiliate Merlyn Woods' debut, and it's an unpredictable, unbalanced, and excellent introduction.—Confusion

Everything about Night Lovell's hefty banger "Fraud" commands attention. Barreling through Dylan Brady's absolutely huge instrumental, Lovell weaves in numerous flows and hypnotic refrains quite unlike anyone else.

Despite only being 18, Lovell is starting to look like one of Canada's most talented rappers, and "Fraud" makes that abundantly clear.—Joe Price

No matter the length of a creator’s hiatus, the right song is impossible to ignore. Jamie Woon resurfaced from a four-year gap between albums with the incredible “Sharpness,” slicing through waves of internet noise to deliver lovelorn lyrics over a funky, playful backdrop. When he sings of a newfound susceptibility to romance, that sudden need to belong to someone else, it's irresistible.—Alex Siber

Wealth and excess are topics that find their way in hip-hop songs all too often, but Pell’s take on the subject in “Almighty Dollar” is different. Instead of rapping about how much he has, he illuminates his struggle to survive in an incredibly relatable narrative. His story is delivered over massive production courtesy of TV on the Radio’s Dave Sitek, whose percussion-heavy beats transform Pell’s melancholy tale into something more uplifting.—Katie K.

As the respective members of Black Hippy (Kendrick Lamar, Jay Rock, Schoolboy Q, and Ab-Soul) continue to take over the rap game, it's become more and more exciting to see them get back together for the occasional posse cut.

Jay Rock's 90059 played host to the latest, "Vice City." All four rappers go in over a off-kilter Cardo beat—there's a cypher-ish feel to the proceedings, each rapper popping in for a quick 16 before handing it off to a compatriot. When you've been working together for this long, greatness comes easy.—Graham Corrigan

Few songs released in 2015 could restore faith in the future—even if only for a handful of blissful minutes—quite like the centerpiece of Towkio’s .Wav Theory, “Heaven Only Knows.”

With expert production from Lido and one of Chance the Rapper's tightest verses to date, the song brought smiles to listeners’ faces in a year when genuine happiness was tested and strained. But at the end of the day, this SAVEMONEY core provided a reminder of how pure, can’t-contain-yourself joy should sound.—Alex Siber

There’s something to be said about a vocalist’s instincts—knowing when to twist a note, where to add the flourishes. Kacy Hill may still be taking the first steps in her music career, but “Foreign Fields” gives us reason to believe her instincts are already light years ahead. With her voice barely above a whisper, Hill sets the mood immediately.

It doesn't hurt that she's paced by production from P&P favorite Jack Garratt. With her unique background and unlimited potential, it's impossible to predict where Kacy goes from here, but we'll be listening.—Alex Siber

Floating atop production from the always skillful and increasingly impressive Monte Booker, Smino paints pictures too vivid to ignore. He's a rapper that only makes sense in modern times. Combining high-power deliveries with slick, in-the-pocket flows, Smino is a snapshot of the evolution of rap. This is not an imitation of where hip-hop has been, or a look at where it's at right now; this is a glimpse into where it could go.—Alex Siber

Everything that French duo Her has released thus far has been highly stylish, but "Five Minutes" is what cemented them as a force to be reckoned with. A careful balance of smooth, seductive R&B melodies, suggestive lyrics, and a hint of abrasiveness in its production—the horn-like sound that keeps the song on pace—makes "Five Minutes" a subtle yet bold addition to their catalog that leaves you wanting more from Her.—Joyce

The Neighbourhood dropped one of 2015's best albums with Wiped Out!, so it's no surprise the lead single packed this much of a punch (if Hype Williams agrees to direct your music video, you know you're on the right track).

Morbid overtones aside, "R.I.P. To My Youth" is a pitch-perfect anthem for all the quarter-life crises out there, with lead singer Jesse Rutherford's stark vocals cutting through the anthemic instrumentation like a scythe through wheat.

Jesse explained in an interview with KROQ that the song is a recap of all the "awesome opportunities they've had," but also a reflection on the tribulations of success: "Making decisions with people all together, it’s a challenge, no matter what... it’s kind of a lot to do sometimes."—Graham Corrigan

Biggie, this goes out to you. It takes confidence to spit over a sample that is essentially owned by B.I.G., yet The Game takes the challenge head on and owns it.

With "Standing on Ferraris," Game does what Game does best, spitting straightforward flows over some classically mean beats. Those “Things Done Changed” drum fills tie the whole thing together, and it wouldn’t be a very Biggie track without Diddy talking over everything—which might be either a couple minutes too long or the best thing about the track, depending who you're asking.—Lia McGarrigle

There are sweet spots between hip-hop and R&B, between feel-good party jams and sedated chill-out music, and between accessible and interesting. A.Chal’s “Round Whippin” lives in these spaces. It's the perfect song for cruising and vibing out, and it's one of my personal most-played songs of the year so I can say with confidence: it doesn't get played out after heavy rotation.—Confusion

Petite Noir turned in one of the dance jams of the year with "MDR." Tropically tinged and bursting with buoyant beats, "MDR" is a raucous, vibey track that grabs you from its opening bars. The title's acroymn stands for “mort de rire,” which means “dying of laughter”—essentially a French "lmao."

Yannick Illunga has been crafting great music for years, but he sounds more at ease on "MDR" than ever before, rattling off sweet nothings with a self-assured nonchalance.—Graham Corrigan

While no one knows when SWISH (or whatever Kanye plans on calling his next album) will drop, everyone was in front of a TV or computer screen when Kanye West, a grip of grime MCs, and Allan Kingdom took over the BRIT Awards with a thunderous rendition of "All Day." Combining the swagger of Kanye's finest braggadocio lines with a post-Yeezus sonic attack, this is a turnt anthem for a future civilization.

Sure, whatever he did to his vocals makes the proceedings sound a bit too left, and the Paul McCartney diversion towards the end of the song is a weird reprieve, but ultimately, if you're in the club (tipsy) and the DJ drops this, you're playing the wall? I thought so.—khal

Tor Miller knows how to write a pop song that isn't too obvious for the indie crowd. He's a charmer who's obviously well-versed in rock history, citing Johnny Cash and his lady love for "Carter & Cash," his catchiest song to date.

“I traveled a lot during the time of my last relationship and we wrote many letters back and forth,” Tor told us back in September. “At the end of each letter we would sign off with ‘you are the Carter to my Cash’ or vice versa. We, like many others, had an admiration for their story and relationship. It always seemed like something so pure and a possessed a depth which wasn’t present in most couples. And I guess thats what everyone wants in the end.”—Graham Corrigan

If you thought Ty Dolla $ign was all ratchet club bangers (and let's be clear: dude makes some of the best ratchet club bangers), one listen to his new album Free TC should make you change your mind.

"Miracle/Wherever" is the sprawling, poignant mid-point—eight minutes long, but engaging all the way through.

TC, Ty Dolla $ign's incarcerated brother, opens the song by singing down the prison phone. He's delivering a message of hope even as he is behind bars, and showing off his great voice too.

Powerful stuff, but just wait until the song switches up for it's second movement. Who is that with the gorgeous falsetto, soaring over the strings like a white dove through a crystal blue sky? That's goddamn Ty Dolla $ign.

He apparently spent over $50,000 of his own money on an orchestra for Free TC and it was money well spent. This song—especially the second half—is 1,000 thread count silk sheet luxury. Enjoy it.—Constant Gardner

To hear Antony Hegarty really challenge herself and move even further outside her comfort zone is simply thrilling. In combining her talents with two of the most inventive producers in electronic music today, Oneohtrix Point Never and Hudson Mohawke, "4 Degrees" became one of the most interesting collaborations of the year. It sounds nothing like her work as part of Antony and the Johnsons, but it retains all of the same brilliance nonetheless.—Joe Price

Since the demise of Darkside, Nicolas Jaar has kept himself busy. The producer gave us a free 20-track album to download, and while we still haven't seen a true follow up to 2011's Space Is Only Noise, he has released a steady stream of EPs.

"Fight," from Nymphs IV, is among one of the best tracks he's put out in that time and shows that Jaar is still a master at designing and layering synths.

He has a knack for keeping listener's engaged and making them work a little bit, switching tempos throughout the track's eight minutes and splicing in a vocal mantra near the end: "You have to fight."—Colton Faull

Officially debuted by Four Tet on BBC Radio 1, “Make It Up” is a signature Tirzah gem.

Combining her soulful yet fleeting vocals with Micachu’s production, she asks a flaky partner, “How you gonna love me if you’re never here?” It’s simultaneously apologetic (“I’ll make it up to you”) and uncompromising (“I wanna hear you say you let me down”), continuing the melancholic yet thoughtful dance pop that Tirzah’s made her own with the acclaimed I’m Not Dancing and No Romance EPs.—Cedar

This has been a pretty dark year—especially for Tate Kobang’s hometown of Baltimore—and while music reflective of the times is essential and important, sometimes you just need something to get your mood up.

Kobang’s remix of his already banging “Bank Rolls” is the remedy. Listen to him rap “I love my city, ask about me and I bet they know me” and watch Kobang and his friends bopping around the city—it’s guaranteed to make you smile.—Lia McGarrigle

Jarryd James' Do You Remember" is a prime example of two of 2015's most prominent pop trends: minimal, low-key hits and Australian excellence. The song was produced by Joel Little, most known for his work with Lorde, and it achieved massive worldwide success with almost 25 million streams on Spotify.

The artist acknowledges the pressure that comes with such a hit: "As much as you want to push it out of your head, it does affect how you’re trying to write, because you’re trying to outdo yourself a little bit sometimes. That can be a little stifling creatively."

The pressure is real, but with one of the best breakout songs of the year, this Aussie talent has opened up doors, proven himself as a songwriter, and earned attention from listeners all over the globe. Not bad for a guy who only has a handful of songs out.—Confusion

Read our interview with Jarryd James here.

One of this year's most exciting newcomers has been Boogie, the L.A. rapper with a bag of beats and a lisping lilt that turned heads to attention with the release of "Oh My."

Boogie snaps from the opening bars, and by the time he finally shows off that second level at the 01:00 minute mark by dropping down an octave ("they get to bookin'"), you're eating out of the palm of his hand.—Graham Corrigan

While Mirror Kisses' "Bleed" has been floating around since 2014, it took on it's final form when George Clanton adopted his own name for artistic output on 100% Electronica.

In its new form, "Bleed" is even punchier than it was before, emphasizing just how infectious the energy Clanton brings to the track really is.—Joe Price

Kwabs' Love + War was one of 2015's most slept-on albums. Maybe it was because Kwabs is singing about the kind of fragile truths most people aren't ready to hear in public, but whatever the reason, the Englishman certainly didn't hold back when it came to crafting emotional ballads that would reduce his audience/this writer to a pool of blubbering tears.

"Perfect Ruin" is the album's crown jewel, a song that uses little more than vocals, piano, and some well-placed percussion to relate a tale of heartbroken woe. It's so real that Kwabs had to embed himself in a freezing climate to get that feel right for the video. One watch and you know those aren't fake tears when he wonders, "What dream is this?"—Graham Corrigan

Hinds has had a whirlwind 2015, going on tour and releasing a slew of singles that have seen their followers and fans skyrocket. Their signature brand of jangly garage pop has us hooked, and "San Diego" was the perfect, irresistibly catchy way to end the year. It's a playful track full of bouncy rhythms and fuzzy guitar riffs that get stuck in your head for days.—Colton Faull

“When I see the police get away with murdering unarmed people, I want to smash things and set things on fire, I want to act out. I want to do a lot of things but I value my freedom too much, and I’ve seen both sides of the bars, briefly," Rabit told us. "Sometimes it feels like the only thing I have or the only thing I can do is make little songs on my computer.”

You can hear that rage on "Pandemic,” the first single from his album Communion on Tri Angle Records. PSA: This is best heard in a smoky club on a huge soundsystem.—Constant Gardner

Read our interview with Tri Angle Records here.

Mac Demarco had a busy 2015 (his BBQ soundtrack album is worth repeat listens) in which he continued to prove that he is the lovesick hero of weird indie kids everywhere. "The Way You'd Love Her" epitomizes his off-kilter garage sale aesthetic, but it's ultimately a thoughtful lament about a love that seems closer to fantasy than reality.—Derrick R

“Spiders” is the insanely good debut track from Gundelach, a previously unknown Norwegian artist. Teaming up with Joel Ford on production, who’s also worked with Autre Ne Veut and Oneohtrix Point Never, “Spiders” combines Ford’s influences—most notably the synths and the rolling drum track—with Gundelach’s airy vocals.

The result is a dreamy Norwegian dance that ensures its maker won’t remain obscure for long—Gundelach’s first EP is out in early 2016, and judging from “Spiders,” it’s going to be a good one.—Lia McGarrigle

No matter what your friends may say, the ghosts of past relationships linger. Severing ties is rarely tidy, inflicting pain on the recipient and breaker in equal measure. On “It’s All In Vain,” Wet's lead singer Kelly Zutrau asks a particular phantom to release her from its haunting clutches. It's the best of many honestly crafted songs released by the Brooklyn trio in 2015.—Alex Siber

After building a buzz in 2014 with numerous radio appearances, Novelist confirmed himself as one of grime’s most exciting newcomers at the beginning of 2015 with the 1 Sec EP. This collaboration with forward-thinking producer Mumdance was released via XL Recordings on Novelist’s 18th birthday—it's a one-two punch of spare but punishing production and memorable bars. Novelist is just getting started, and with a self-produced album on the way in 2016, he’s in a good position to take it to the next level.—Constant Gardner

Watch our No Ceilings video with Novelist here.

Some songs take a while before they grow on listeners.“Lots,” by Finding Novyon and Allan Kingdom, is not that song.

The beat, which sounds both menacing and alluring, is the first thing to grab you by the throat. Then the two Minnesotans enter, and the track opens up with an undeniably infectious hook. “Lots” isn’t an in-your-face club banger, and that’s part of what makes it great. It’s a low-key hit.

Both Finding Novyon and Allan Kingdom have their own unique rhythmic styles that work to complement one another. On its own, the bass-heavy production would sound sinister, but Novyon and Allan add just enough lightness to the track, creating a balance that’s a hard to resist. There’s no doubt that this song will get stuck in your head after just one listen, but it deserves that mental energy.—Adrienne Black

Most of the time, becoming a fan of a new artist is a gradual process. It starts off as intrigue, requires extended exposure, and eventually morphs into a more personal attachment. Typically, it begins with a spark. Every now and then, though, an artist appears like a blinding flash of light.

Innanet James made an explosive introduction with “Black.” There is unhinged energy packed into every word he delivers, and his presence on this debut song is commanding.

Innanet is 20 years old and hails from the Maryland/Virginia area. He’s inspired by go-go music, 50 Cent, Cam’ron, Wayne, and Jay Z. His influences may be rooted in earlier times—and that gives “Black” an ageless soul—but his delivery is undeniably youthful. It is agile and elastic, similar to GoldLink’s in its ability to juke through the beat with short-lived bursts of melodies, references, and shifting vocal accentuation.

Stay tuned—Innanet James’ potential is massive, and it’s hard not to imagine him gaining serious momentum in the near future.—Confusion

Standing out in the ever-more-crowded electronic space is becoming harder and harder, but it means singular talents and artists coming with unique sounds more welcome than ever. Murlo is one of those artists—making music that sounds like no one else, music that is accessible but never simplistic.

Released on Mixpak, the Odyssey EP takes influences that range from dancehall to new age music, from soca to garage, and blasts off into a vivid and vibrant parallel dimension. "Hunter" might be the most ambitious song on the EP—it's packed with ideas and different elements, and as one SoundCloud commenter so accurately says, "truly #CreativeConfidence."—Constant Gardner

Quite possibly the most overplayed and over-remixed song of 2015. Yet Drake's "Hotline Bling" just hasn't soured quite yet. Maybe it's because he pulled it from the right place, but whatever the reason—there's no denying Drizzy has a hit on his hands.—Graham Corrigan

“Nobody Has to Know” dropped in 2013, but it finally started to really catch on in the U.S. in 2015. As the buzz increased, Kranium got a remix from Ty Dolla $ign, and really who else was better suited than the raunchy R&B king to remix a song that opens with a delicately crooned, “You know mi have a fat cock fi yuh?”

The original is fantastic, and the remix is equally so—really, we’re behind anything that brings more dancehall into the American mainstream. Keep this one in rotation spring, summer fall, and winter and good things will come of it.—Constant Gardner

Over two years ago, I was convinced that Fe was going to be the next big thing. She had a string of excellent songs and compelling visuals that showed off her skill and style, but soon after, she disappeared. This year she reemerged with the dramatic "Daffodils of Paris," which premiered on Zane Lowe's Beats 1 radio show and comes with a video that Fe directed and shot herself. The song is lush, dramatic, and timeless. Hopefully this time she'll stick around.—Confusion

"High By The Beach" isn't Lana Dey Rey's usual sound. She makes this very clear, citing trap music as influence when she appeared on Zane Lowe's radio show earlier this year. But in terms of lyrical content and her hushed, seductive vocals, it's exactly what we love about Lana, and paired with the rolling beat, it works.

The monotony of the production amplifies her exasperation with her tumultuous relationship, waving a white flag in the face of frustration and sadness, whereas in the past, she would simply go along with it. It's a refreshing departure from her usual sound, however subtle that difference is.—Joyce

Couple a horror sample with a gifted spitter who raps like the incarnation of darkness and you’ll arrive at “WithTheShit,” L.A. artist Ta’East’s massive introduction to the world.

He skewers the entertainment complex that runs his city—“too many celebs and not enough stars around to brighten the business”—with a direct, steady flow. When you hear the way Ta'East rhymes with such conviction atop the filthy, menacing production from Cairo Mayeson, it’s difficult to bet against him.—Alex Siber

2015 represented a rock renaissance in my personal library. From Hinds to Tame Impala, the guitars came out this year in a big way—but sjowgren's "seventeen" blew them all away with one of the best hooks of the year.

It starts innocently enough, with lower-register vocals humming over piano and bass, but your ears really turn toward the speakers when the chorus comes. It's uplifting, unrelenting, and irresistible.

Another indication that sjowgren was on to something came a few months after the song's release, when Grimes released "Flesh Without Blood," the first single off Art Angels. It's a sonic cousin to "seventeen," proving that this little-track-that-could was well ahead of its time.—Graham Corrigan

"Haunted" is French producer stwo’s first single from his forthcoming DISTANT EP. For this track, stwo paired up with Dutch artist and recent No Ceilings alum Sevdaliza for a more sultry dance take on his usual hip-hop beats.

Sevdaliza’s sensual, raspy voice does the trick, whispering moody lyrics over underwater production. It’s sexy, relaxing and danceable all at the same time. If that’s not enough to sell it, “Haunted” premiered on Jaden Smith’s Beats 1 radio show, where he dubbed the track “beautifulicious.” So there’s that.—Lia McGarrigle

Mabel has music in her blood, but that doesn't make "Know Me Better" any less impressive an opening statement. The young London singer is the daughter of Neneh Cherry and Massive Attack producer Cameron McVey, and her debut track is a poignant love song, an unpretentious view of a blossoming romance in all its excitement ("Let's talk all night until the sunlight turns up") and intimacy ("Doesn't matter what you wear now that I've seen you like this").

Mabel is just getting started, and she's got us transfixed.—Constant Gardner

Where do you know Stormzy from? Is if from his multi-million-play freestyles, his raucous live shows, or his appearance alongside Kanye West during the BRITs performance of "All Day"?

However you became familiar with the grime MC, much of his 2015 momentum was kicked off by "Know Me From," a boast-filled, angsty heavy hitter over ZDot's simple but very effective beat.—Constant Gardner

"Call Me Maybe" dominated 2012—not just the summer, the entire year. Musically, Carly Rae Jepsen has matured since then. "All That" was written and produced with help from Dev Hynes and Ariel Rechtshaid, and while it's a little less bubbly, upbeat, and obvious than what Jepsen is known for, it's just as catchy.

With a slowed down, retro vibe and an unforgettable chorus, "All That" isn't the next "Call Me Maybe," but that's not a bad thing. Jepsen is evolving before our eyes, collaborating with innovators and exploring the peripheries of pop music.—Confusion

“Thames Water” was released as part of “A New Place 2 Drown,” a "multidisciplinary body of work" that included an album, a book and a film that Archy Marshall a.k.a. King Krule put together with his brother Jack.

“Thames Water” is the album’s closer and also one of its longer tracks, coming in at just over seven minutes. The production style changes over the course of the song, from slow, almost screwed beginnings to a danceable middle section, but Marshall’s deep voice and dark lyrics tie it all together seamlessly.

Marshall’s drawling voice over the murky beats, singing “This inner city life treats me like shit, girl,” is probably the most moving thing I’ve heard all year. Pure gold.—Lia McGarrigle

Tiggs Da Author wants to do things differently. The London (by way of Tanzania) artist doesn’t sound like anyone out there right now; from his diverse influences—a mixture of jazz, soul, pop, and hip-hop—to his unique enunciation. His sound is retro but not a throwback, classic yet still fresh.

“Georgia” is one of the catchiest songs I’ve heard in awhile. One listen and you won’t be able to get it out of your head, but it’s so good you won’t care. It’s insane that this wasn’t a bigger hit—"Georgia" deserved to be everywhere this year.—Lia McGarrigle

A cursory listen to “Ojuelegba,” with it’s jaunty beat and chorus of, “Are you feeling good tonight? This thing got me thanking God for life,” might have you mistakenly thinking this is a party song, plain and simple.

Don’t be fooled: this song carries a powerful message of hope in the face of adversity, providing the light at the end of the struggle. “My people suffer,” Nigeria’s Wizkid sings, while Skepta preaches a powerful message of self-love and goes deep with lyrics like, “I had to tell my story ‘cos they’d rather show you black kids with flies on their faces on the television.”

Although the Drake cosign and the premiere on his OVO Sound Radio show happily brought this song to a wider audience, in truth he is the weak link here. There’s nothing terrible about his verse, it just lacks the passion and heart of Wizkid and Skepta, more concerned with screenshots than real life.

Regardless, this is a special song, the kind of international link up that benefits all parties.—Constant Gardner

Cousin Stizz's Suffolk County was one of the best rap releases of the year. The Boston artist is as consistent as anyone in the game right now, with every song on the project delivering hypnotic flows, clean production, and addictive hooks.

While so many artists go for an in-your-face immediacy, Stizz sits back in the cut, and it pays off. It's almost impossible to pick a clear standout from this rising talent, so we just went with the song that's most firmly embedded in our heads right now.—Confusion

A song's title can shape listener perception before the music even starts. A title like “Unstoppable” raises assumptions of a big, strong song filled with confidence. Which it is—but Lianne La Havas has her own understanding of the word.

Being unstoppable isn't just about feeling powerful; it's about being so happy that nothing can bring you down. Everything about Lianne's lead single from her album Blood feels like a much-needed breath of fresh air. If great dreams had a specific soundtrack, I’m sure it would sound something like “Unstoppable"—the instrumentation is as light, airy, and effortless as Lianne’s own voice. It’s nearly impossible to not join in with her euphoria while listening to this song. It’s an instant pick-me-up that deserves to be replayed until you get on her level.—Adrienne Black

London singer Jones emerged as something of a mystery with "Deep." It was one of those times when you're forced to think, "Alright, this is awesome, but is this going to be the best thing this new artist ever does?"

With Jones, the answer is a resounding "no." About a year later, after several other strong releases, she dropped her best song ever, "Hoops." This is graceful pop music with a soulful touch and immaculate songwriting. Jones has a special sense of melody and structure, and if she keeps outdoing herself like she did with this song, she'll be a star in no time.—Confusion

Read our interview with Jones here.

Days before his scheduled December 18 album drop, Pusha T released "Crutches, Crosses, Caskets" complete with a new video of him skulking about on a carousel with nuns. The song, featuring production by Puff Daddy and Hitman, is as dark as the title’s alliteration suggests.

The vintage-sounding beat makes this song stand out from a sea of trap, and Pusha's ominous flow and dark lyrics are an impressive nod to the album's broader themes. The rapper was recently named president of G.O.O.D Music and with this track, it feels like 2016 will be the year he reigns.—Lia McGarrigle

Collaborative albums are tricky when you have two artists who are independently as huge as Drake and Future. More often than not, one artist usually sounds like the leader while the other sounds like the support.

At various points throughout What A Time To Be Alive, the project falls victim to this, with either Future or Drake merely relegated to throwing the alley-oop while the other slam dunks. “Jumpman,” however, is an exception. Here, the two effortlessly play off each other and accentuate their respective strengths: Future’s syrupy flow handles the verses while Drake provides the almost annoyingly catchy hook. It’s the perfect display of balance when you have two hip-hop giants as big as these two, and the result of their teamwork is one hell of a banger.—Katie K.

2015 is the year of the young collective, and few are doing it better than Brockhampton, a group of young artists with a fuck-the-rules type of energy and the creative ambition to make it work. Rebellion works best when it offers a constructive alternative to the norm, and with their genre-bending, forward-thinking music, Brockhampton is doing just that.

"Bet I" is case in point, a raucous, brutal posse cut with a undeniable hook and vicious raps. It's six minutes long, but it's hard not to want more after the full-fledged verbal assault.—Confusion

Lindsey French has put her Negative Gemini namesake through its paces this year. Before "You Never Knew," her output consisted of mechanical, but promising outsider pop that leaned heavier on the outsider portion of that descriptor.

Now, she's unapologetically going for the pop half of her aesthetic, keeping enough of the weird intact while pursuing her inevitable indie stardom. Putting herself in an amazing position for 2016, “You Never Knew” is Lindsey embracing that other half in her own unique way.

Imagine if Kylie Minogue was commissioned to soundtrack a movie that falls somewhere between ’90s teen romance and a grindhouse movie—with its murky tone but addictive chorus, “You Never Knew” is the hacker-goth-pop anthem 2015 truly deserves.—Joe Price

A menacing, slow motion beat, layers of impenetrable slang, a slick rap crew tag team performance, and a hook that sticks after one listen even if you have no idea what is being said—these are the constituent parts of Section Boyz's "Lock Arff."

The six-man collective from the UK broke into the Top 40 with their self-released Don't Panic. Their sly street raps are not the usual chart fodder, but propelled by a dedicated fanbase and the mesmerizing "Lock Arff," they made it happen

Yes, Section Boyz are talking trap houses, girls, money, and locking down the streets, but each MC brings their own flavor and style, and the unique descriptions ("Run through green light, grasshopper.") and amusing details ("My white friend said that it's pukka") elevate this track.

The entire Don't Panic project is incredible, so if you want to get into some UK rap that isn't grime, get on that ASAP.—Constant Gardner

Of all the collaborations on Travi$ Scott's long-awaited Rodeo, it's the least likely that works the best. The trio of Scott, Young Thug, and Justin Bieber is one of hell of a weird roster. It shouldn't flow anywhere near as well as it does, but the three come together to make a drunken odyssey of a track that encapsulates everything that's enjoyable about Scott's major label debut.

Young Thug handles the hook despite the fact that they could have asked the biggest pop star in the world to sing, and Bieber's appearance is surprisingly unassuming. It speaks volumes about all three artists involved, specifically in regards to Bieber's rapid maturation, Scott's increasingly impressive directorial talents, and Thug's knack for some of the best hooks in rap. "Maria I'm Drunk" is a tour de force that only 2015 could provide.—Joe Price

Everyone knows that first impressions are very important, especially in music. In this internet age, where music can fade away as quickly as it came about, it’s crucial to put out music that is not only intriguing but also has a lasting effect.

New Zealand’s Leisure nailed it with their debut single “Got It Bad.” At first listen, it may not seem ready to be a top hit on pop radio, but there’s a charm about it that makes it replay-worthy.

“Got It Bad” has a very simple melody, so simple that it’ll certainly get stuck in the head of anyone that listens. Paired with a subtle, smooth bass line, it’s the sort of song that grows more and more enjoyable with time.—Adrienne Black

J. Cole's "dick so big it's like a foot up in your mouth" line almost spoils this song, but everything else about it is too perfect.

Who would've thought that the dude who made that "Birthday Sex" song would be one of the more progressive R&B artists of 2015? Jeremih's Late Nights album was strong from front to back, but "Planes" was a cut above. Some credit here has to go to producer Vinylz, though—this beat is a genius blend of moody and smooth-as-hell.—Confusion

2015 wouldn't have been what it was without a phone-themed mixtape from Erykah Badu—inspired by "Hotline Bling," no less. As a whole, But You Caint Use My Phone probably isn't what Badu fans were hoping for, having waited for a studio album since 2010's New Ameryka Part Two.

But with songs like The Isley Brothers-sampling, André 3000-featuring "Hello," the mixtape is more than meets the eye. Sultry, soulful, and downright sexy, "Hello" is Three Stacks at his smoothest, sharing hypnotic verses and melodic majesty.

The song also has some added depth when you consider the two artists' shared past (the outro's repeated "squirrel" is their nickname for one another). It was certainly a late addition to this list, but we're happy Erkyah Badu made it in time.—Joyce

Romy and Jamie xx made their name by taking their time, releasing two albums as The xx in 2009 and 2012. Three years later and right on schedule, Jamie has released his solo debut, and In Colour is a third testament to the system.

The album unfurls over the course of its tracklist: Jamie showcases the various skills he's acquired (we visit the club on "Gosh," a cavernous dreamscape on "Sleep Sound"), but In Colour crystallizes with its eighth track, "Loud Places." Romy provides the breathy best of her two features, delivering vocals that transform from vulnerable to defiantly confident as the ephemeral chorus kicks in.

That's also the moment these two longtime collaborators leave The xx behind and ascend to something more: this is church, complete with a choir and hand claps. Structurally, it's one of the album's more straightforward songs. But there's a warmth that spreads from that familiar feeling. Every note is in its place, and the subtle, simple adds (see: the heart-expanding guitar line at the second chorus) radiate as a result.

When asked to decode his album's title, Jamie xx said "everyone thinks The xx is very dark, because we all wear black, and we’re very melancholy. But actually, this is quite a colorful record.” With "Loud Places," the scope of his vivid canvas reveals itself in full.—Graham Corrigan

12 months on, it's hard to believe I was blind to grime at the start of 2015. Thanks to our beloved Constant Gardner, however, artists like Skepta, JME, Giggs, and Stormzy have become part of my steady rotation.

"Man Don't Care" is part of the reason: a hard-as-nails beat, sneering, vicious flows from JME and Giggs, and a barebones music video that still manages to be incredibly creative. Consider me a convert.—Graham Corrigan

The best song on one of the most flat-out fun albums of the year came from a strange mixture of tastes and sounds. But of course, nothing on Surf really follows convention.

Besides the given feature from Chance The Rapper, "Familiar" also features verses from Quavo and King Louie of Migos. Each rapper takes the song in a different direction, but it all lives in such a funkadelic frame that the three styles come together like a theatrical performance: three acts, three flows, three wins.

If that feels like a corny simile, then I suggest you spend more time with Surf. The album, like "Familiar," takes cornballing all the way back around to cool.

Acting as the song's closer, Quavo steals the show with a set of melodic bars Auto-Tuned to perfection. If you don't walk away from this one smiling, seek help.—Graham Corrigan

Grimes' Art Angels album is full of eclectic style, splashes of color, and music that sounds like absolutely nothing else out right now. She combines her influences in a fearless manner, seemingly unconcerned whether or not these combinations make sense to anyone else int he world. The album is an unpredictable trip, and "Belly of the Beat" is a mood-altering high.

It's the kind of song that immediately shifts your state of mind. With upbeat production and a euphoric sense of invincibility, Grimes reminds us why music is so great.—Confusion

And you'll never get sad and you'll never get sick

And you'll never get weak

We're deep

In the belly of the beat, yeah!

Scandinavia for the win, once again. Danish trio CHINAH are more R&B leaning than a lot of the pop music from their country, but on "Minds" they haven't sacrificed any of the punch of more upbeat songs. Despite spacious production, ethereal synths, and airy vocals, "Minds" still manages to be one of the catchiest songs of the year.—Confusion

Part of Young Thug’s brilliance lies in his ability to command any track he’s on. This is due in part to his unusual cadence, which gives an immediate jolt of electricity on any song.

But it also comes from the fact that Thug is a character. He knows what to say, how to say it, and when to say it in a way that will make people pay attention. This has been the Thug we know and have come to love (or love to hate) for the last few years.

But then you get a track like “Constantly Hating.” Here, Thug chooses to, ironically, deliver one of his strongest messages (in this case, “fuck the haters, I don’t like you either”) in one of his most calm and subtle deliveries. Everything, from the beat to his tone, is relaxed and soothing, as he vents about being disliked. It’s a total switch-up, showcasing once again that just when you think you’ve figured Thug out, he surprises you.—Katie K.

A filtered choir, art school falsetto, and a tightrope of arpeggios, airy synths, and snaps. The first verse of “You’re Good” is a weird, theatrical lure, because the chorus is what served, for Kill J, a star turn in a crowded 2015 field. The swinging, lasting “but I’m better” of a chorus is an about-face from the airy, gentle verses that reveals them for what they are: a trap. It’s also what kept this song careening around our heads for a year.—Brendan Klinkenberg

Read our interview with Kill J here.

One of the best newcomers of 2015, Nao has successfully combined her syrupy sweet vocals with effervescent production across two EPs. She's worked with producers like A.K. Paul, abhi//dijon, and Loxe, but on "Zillionaire," Royce Wood Jr. handles business, bringing jagged synths and a wonderfully funky bassline to this heartfelt love song.

The premise is simple—"I promise we'd be richer than a millionaire, a zillionaire"—and Nao delivers the message effortlessly, especially on the hook, one of the year's most joyful and memorable musical moments.—Constant Gardner

While most of the lead-in to A$AP Rocky's At. Long. Last. A$AP dealt with how different this album would be, album-cut "LPFJ2" was a great reintroduction to the non-NYC influences that permeate Rocky's material.

Over an unforgettable synth line, Rocky brags, boasts, and turns up in the classic A$AP style. Instead of trying to save the world and explore higher states of consciousness, this is gutter "good ol' days" material. If your party playlist doesn't have this cut on it, your party might not be worth a damn.—khal

If Leon Bridges had been born decades earlier, the suavely dressed soul singer could have climbed the industry ladder to stardom with ease.

But he's still making it happen in the present day. The 25-year-old Texas native made old school cool again with the June release of his debut album, Coming Home. While that project’s title track is a classic in its own right, the faster pace and comparably upbeat progression give "Better Man" undeniable charm.

Fit for carhop diners, family gatherings, and sitting beside bae on a dock at sunset, it’s easy to overlook the mistakes Bridges promises his lost love he’ll atone for. We’re happy to forgive him so long as songs this good keep coming.—Alex Siber

Demo Taped’s debut EP was a promising look into the songwriting and production abilities of the 17-year-old Atlanta artist, but his follow-up song “Not Enough” was proof that this kid is a star in the making.

In the world of electronic music, it’s normally about creating textures, designing soundscapes, and setting a mood. But Demo Taped is a true hybrid, and on the melodic “Not Enough” he blends the electronic mindset with that of a pop songwriter. He’s still in the early stages of his career, but it’s becoming increasingly clear that Demo Taped is a game-changing artist, capable of shifting the direction of electronically created music in a way that only a teenager could pull off.—Confusion

When you listen to "Baby Blue," it's hard not to wonder why Action Bronson and Chance The Rapper haven't collaborated since 2013's "NaNa." "Baby Blue" sounds deceptively soulful and sweet, but the production is just a mask for some completely and riotously disdainful lyrics. With that being said, it's all overwhelmed by both rappers' wonderfully melodic flow and the carefree, piano-led production that came courtesy of Mark Ronson. This is Bam Bam and Chance at their best.—Joyce

FKA twigs released her debut album last year, but still managed to hold our attention throughout 2016 with a series of fantastic videos, the powerful "Congregata" live shows, and the lean and focused five-track M3LL155X EP.

The EP was born out of a few days of creative release with BOOTS in New York, and of course the intricate, experimental production is still in full force.

But twigs' vocals are clearer and more central to her songs than ever before, maybe a sign of her rightly growing artistic confidence. The result? "In Time" stands out as one of the twigs' strongest, boldest statements to date.—Constant Gardner

"In Time" starts at around seven minutes in the video below.

Not content with merely dubbing himself king of the fall, The Weeknd took measures to run the summer with a pair of excellent songs that hit the web within ten days of each other.

"Can't Feel My Face" was (debatably) the bigger hit, but its evil brother “The Hills” feels like a gift to longtime fans; faded, dazed, and distorted, Tesfaye makes his intentions about staying under the influence clear. Massive, throbbing production from Mano and Illangelo take you right into the haze with him. It's a gloomy, distorted song that proves The Weeknd can still mood out with the best of them.—Alex Siber

Only 2015 could have given us Post Malone. He got into playing music through Guitar Hero, wrote "White Iverson" two days before he recorded it, and his delivery is the kind that makes people question whether to call him a rapper or a singer. Without artists like Future and The Weeknd before him and the power of the internet to (attempt to) put all the pieces together, Post Malone wouldn't make any sense.

To be completely honest, Post Malone still doesn't make a lot of sense. Old footage of him covering Bob Dylan and dreams of being a country singer hint at a depth that his first few songs don't explore, and that's part of what makes the enigmatic new artist so interesting to follow.—Confusion

Grime overlord Skepta all but finalized his parting of the Atlantic with "Shutdown," a rowdy, electric record that's bounced around in the minds of listeners since its release. No word left my mouth more than this track's title in 2015—accented tone and all.

While the track's political aspects tend to get lost in the turn-up, the UK rapper's ability to combine fashion week-inspired boasts with religious undertones puts him above most. Needless to say, Ragz Originale killed the beat too. Skepta won with "Shutdown." Trussss me, daddy!—Alex Siber

Shura: this may come as strange advice, but I want you to wallow in your self-consciousness. There's a palpable humanity to your music, devoid of ego, and it's doing wonderful things for the world of introverts.

Do not be afraid to be afraid: the beauty of songs like "2Shy" don't come from overexposure, they come from crippling self-doubt. This is a pop diamond you've created here, Shura, the rare gift of smart, sensitive pop. But the world is catching on, and soon the spotlights will come knocking, and you'll be asked to smile for the camera. My suggestion? Don't. The music does that for you, and "2Shy's" soaring chorus is proof that you don't need to act like a star to be one.—Graham Corrigan

If you ever want to understand the impact Drake has on music today, look no further than If You're Reading This It's Too Late.

Though the mixtape (album? EP?) dropped unannounced and seemingly out of nowhere, it didn't take long before social media was flooded with lyrics, thoughts, and reviews of the project. It seemed as if everyone needed to hear it and form an opinion on it in order to remain culturally relevant.

"Know Yourself" finds Drake "thinkin' bout money and women like 24/7," and without being overly aggressive, loud, or hype, it's 2015's ultimate soundtrack to the turn-up. It gave us the beat to mob to, the hook to shout in the club, and an entirely new definition of "woes."—Katie K.

Related: The Timing Is Right: How Drake is Capitalizing on Our Diminishing Attention Spans

A tatted mass of muscle with the face of a mercenary leads an ever-diminishing flock of followers from one end of a neighborhood to another in the unnerving visuals for Vince Staples’ “Senorita.”

The video is powerful enough on its own—due to the dozens of dropping bodies and its chilling, satirical conclusion that could inspire a Twilight Zone reboot—but the song itself is equally potent. The reworked Future sample brings a naked urgency to the hook, lifeless piano loops set a haunting tone throughout, and Staples' action-packed verses illustrate the very real bleakness of his neighborhood’s day-to-day.—Alex Siber

On his 2013 album Anxiety, Autre Ne Veut found himself artistically. His singular approach to avant-pop was fine-tuned, and now, with Age of Transparency, he's perfected it. The operatic centerpiece of the album isn't the most obvious highlight on the album, but it's the most rewarding.

Bringing together all of the elements that make his music so appealing and running wild with it over six glorious minutes, the album's title track finds Autre Ne Veut pushing himself to create something that speaks to human emotions. Incorporating a remarkably wide breadth of disparate influences into a whole entirely his own, "Age of Transparency" proves just how adept Autre Ne Veut is at crafting a pop song willing to take risks.—Joe Price

Brooklyn-based Norweigan artist OKAY KAYA linked with producer Rodaidh McDonald (King Krule, The xx, Sampha) for "Damn, Gravity," and the result is one of the most delicately cinematic songs of the year so far.

"I started writing music when I moved to New York in 2009 without knowing anyone there," OKAY KAYA told us earlier this year. "I just bought a guitar and would go home and try to find chords to match the melodies in my head." We are glad you found those chords, OKAY KAYA.—Confusion

"'Cause I'm A Man" features a cleaner aesthetic than what we've heard from Tame Impala in the past. Instead of a smokescreen of swirling psychedelia, the Australian quintet stripped down their sound and created a modern funk ballad for the ages.

Lead singer Kevin Parker's voice is clearer than ever, a perfect match for the song's sensual, patient production. Synths, restrained guitar, and faint "ah"s at the end of the chorus come together with Parker's hushed falsetto; you know almost immediately after hitting play that this song is something special. One thing that Tame Impala has always been good at is creating this warm feeling that lingers, and on "'Cause I'm A Man," it feels damn good.—Joyce

There have been grumbles concerning the fact that The Weeknd sounds like Michael Jackson on this record. But really, can you think of a higher compliment? MJ is history's greatest pop star, and if you're mad that his legacy is enduring, then that's a (deeply troubling) personal problem.

At the end of the day, "Can't Feel My Face" is one this year's most danceable, melodically addictive tracks. It's one of those songs that oozes cool, from the snarling, nihilistic delivery ("And I know she'll be the death of me, at least we'll both be numb") to the soaring backup harmonies.

More than that, however, it's The Weeknd showing his versatility: he can do more than make booming odes to drug highs and empty late-night sex romps—I mean, yes, this song is still about drugs, and the lyrics still verge on depressing, but that's balanced by truly top-class composition.—Graham Corrigan

Future releases a lot of music—too much, some may argue. But instead of chasing radio hits or sticking to a formula, Future keeps contorting his wandering delivery for variations on pain-ridden melodies and turn-up anthems.

His evolution is slow but consistent—a new trick on the hook here, a twist on the vocals there—and every now and then, like on "Just Like Bruddas," you hear the that evolution take on a new, fully-formed shape. Future's Auto-Tuned vocals weave in and out, over and under Zaytoven's keys for an effect that feels like a song that's constantly trying to find its stride. In the moments where it does, it's a satisfying, blissful moment in Future's nomadic path in music.—Confusion

Much was said about the new and improved Grimes this year. The cleaned up, colorful pop album from what’s shaping up to be one of our generation’s true musical polymaths, “California” was a particularly bright spot on the vivid Art Angels.

A “Pon De Replay”-sampling, Dolly Parton-indebted song with a beat that sounds like it was constructed, in part, with an actual kitchen sink, it’s a tough sell on the page that “California” is one of 2015’s best, most accessible moments.

But that’s what Grimes does: weird, complicated music with influences so disparate that wearing them on the sleeve seems like a dare, and when it all comes together it makes such perfect sense that it’s a marvel no one else thought of it. Of course, that’s the point—no one else could.—Brendan Klinkenberg

Memory distorts “Alright.” It’s come to mean so much, too much for a lesser song—or artist—to hold up to. In a year where Black Lives Matter rocked the country from coast to coast, slowly, painfully budging us towards something resembling a reckoning, this is the song that’s become the movement’s anthem. The thing is, it’s not a protest song. Not entirely, anyway. "Alright" is one of the exceedingly rare instances in which the weight and importance of the song exceeds that of the music itself.

"We gon' be alright" has come to represent a host of feelings; pain, anger, defiance, perseverance, happiness, hope. Kendrick has made a career out of taking what people—his family, his community, his country—feel, and making it intensely personal. Universality is what powers "Alright."

Writing about music feels, at times, like a exercise in futility. Too often, we describe music as "important," when what we really mean is it's new, or cool, or a different perspective. Which is important, but not in a way that touches the real world. What "Alright" did was make an overwhelming case for what music itself is capable of. It can give voice to feelings too complicated to express without music. It can have impact. It can change things. That's what Kendrick gave us in 2015, and it won't be forgotten any time soon.—Brendan Klinkenberg

For all the cohesiveness and thoughtful sequencing of Jamie xx’s In Colour, one song stands out. That an unlikely collaboration between a reserved British beatmaker, polarizing rap rule-breaker Young Thug, and Jamaican dancehall star Popcaan could be one of the year’s most popular songs speaks not just to a (hopefully) more open-minded listening public, but to Jamie’s ability to create pop gems out of disparate elements.

Combining a sample from ‘70s a capella band The Persuasions with steel drums for a sun-kissed riddim, Jamie xx inspired one of Young Thug’s most fun, quotable-filled performances in a year that was full of them. “I'ma ride in that pussy like a stroller,” Young Thug squawks at perhaps the song’s finest moment. “And she gon' squish it like squish, then go fast, she Speed Racin’,” he croons with a mischievous joie de vivre in the next verse.

“I decided on Young Thug because he’s the best,” Jamie told us, and he isn’t wrong. “I was in New York when I made the track and I was living in Brooklyn, driving to Manhattan every day listening to Hot 97. It was the perfect soundtrack and I wanted my own track to be a sort of summer tune.”

2015 was a year when music’s power—to bring people together, to give hope, to challenge authority—was as clear as ever. Kendrick Lamar’s “Alright,” for example, became a rallying cry for those protesting discrimination and injustice, but “Good Times” is as pure and unfettered a musical expression of the joy of being alive as we heard this year. It didn’t get old, it didn’t get tired, and it never failed to put a smile on our faces. We needed a song like this, and Jamie xx delivered.—Constant Gardner