Best Songs of 2015 (So Far)

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.

Feels like it's been a long-time coming for Ta-ku. The Perth-born producer has been on one for the last few years, blending his love of Dilla into an exquisite electronic suite. He's moved from strength to strength over the last year, and his Fools Gold/Future Classic opus Songs To Make Up To is a thing of beauty. The immediate standout is "Love Again," a gorgeous gem featuring JMSN and Sango. It sounds like the future of this R&B shit. Dripping with soul and hypnotic tones, this is the joint for all of the sadboys standing in the rain.—khal

It seems obvious in retrospect, but Death Grips are obsessed with the notion of death. For one, it's in their name. But the obsession filters into their being: the band is in a continuous cycle of birth and death, destroying themselves a few times over to be where they are.

"On GP" is all about the notion of death, and while to untrained ears it might just be more of the same, it still acts as an exciting rebirth for one of the world's craziest bands. After pretending to break-up, adding guitars into the mix might seem a little underwhelming a change. But alongside Stefan's introspective and bleak lyrics, it becomes their most human song yet.—Joe Price

"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

PC Music provided a bevy of options to include on this list's first cut. Danny L Harle, A. G. Cook, Hannah Diamond, QT, and SOPHIE have cumulatively submitted some staggering opinions on pop music in the last six months. But "Drop FM" was a frontrunner for the finals from the beginning. The hiccuping beat, body glitter synths, and self-assured geekdom are on full display. Hannah Diamond is at her pitch-shifted best, A. G. Cook is smearing the beat with all sorts of distorted electronica, and the straight-faced, unapologetic sincerity of it all shines through.—Graham Corrigan

PC Music's Pop Cube: Where Do They Go From Here?

Bricc Baby Shitro's breakout track brought him fame for a reason. The track spazzes, pulses, and bounces like its implied OD, Shitro's yelping chorus leading the charge. But Shitro maintains throughout the high, though his particular cocktail (gas, juice, molly, 100 proof, Xanax, purp) sounds straight poisonous. Nice work from Sam Tiba, who provides stark Halloween production perfectly suited for Shitro's maniacal screech.—Graham Corrigan

It sucks to admit it, but sometimes artists at their lowest points personally make the best art. Not always, but it's certainly the case with many of the greats who have dealt with depression, drugs, and heartbreak.

For as long as we've known about Pete Doherty—friend of Amy Winehouse, leader of The Libertines, and one of England's most reckless rockstars—we've known him as a loose cannon, heavy into drugs and surrounded by conflict and self-destruction.

Doherty went to rehab in Thailand at the end of last year, and he's been surprisingly quiet. No headlines, no drama, and it sounds like he's in a good place. What will this mean for his music?

"Flags of the Old Regime" was the first song he released post-rehab, and it is a tribute to Amy Winehouse, with all proceeds going to The Amy Winehouse Foundation. It's Doherty in top form, with powerful songwriting, poetic lyricism, and a gorgeous strings section. With Doherty working on bettering himself personally and still making music this good, it's a rare win-win situation for a legendary rock star.—Confusion

When you think of powerful new vocalists with traditional skills, Kwamie Liv doesn't immediately come to mind. But she should. Though soft and raspy, her voice still manages to envelop you in its warmth and transport you to whatever emotional state Liv happens to be inhibiting.

You can hear it best on "Higher," a song as stunning instrumentally as it is lyrically, detailing with relatable depth the idea of unconditional love. Throughout it all though, Liv maintains a delicate nature, proving that sometimes the strongest messages are delivered by the softest voices.—Katie K.

While no one knows when SWISH (or whatever Kanye plans on calling his next album) drops, everyone was in front of a TV or computer screen when Kanye West, a grip of the Boy Better Know affiliates, and Allan Kingdom took over the Brit Awards with a thunderous rendition of "All Day." Combining the swagger of Kanye's finest braggadocious 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

Cross a cup of Chance The Rapper with the strained remains of a druggy Lucki Eck$. Add a pinch of synths from Young Chop and season with Plu2o Nash, and you've made “Stevie Wonder.” The meeting-of-the-minds moment for some of Chicago’s finest transpires where the sun is nowhere to be found, and the occipital lobe is obsolete.

It's an ominous setting and a change of pace: these are two rappers who normally finish their work with colorful strokes. Together, they maneuver a world that’s black and grey. Eck$ snarls and croaks out his drug-addled lyrics. Chance is a fox in the night, nimbly rapping his best verse of the past year by bringing us along as he squeezes through claustrophobic crawlspaces. The sum of the song’s parts is unsettling, addictive, and impossible to ignore.—Alex Siber

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 gradually grows more and more enjoyable with time. It’s safe to say that Leisure made a great first impression with this single.—Adrienne Black

If there's one song on this list that that can swing between the poles of tranquility and exhilaration, it's Move Orchestra's "Apex." The debut single from the Arkansas band goes through a complete transformation over the course of the track's seven minutes. In a soundscape that often panders to the public's dwindling attention span, "Apex" is an uncompromising force.—Legend

Heems hasn't been shy about sharing his emotions in the past, but there's something remarkably revelatory about the story he so eloquently paints on "Home."

With assistance from the always reliable Dev Hynes, Heems puts forth a fractured narrative of a fractured relationship, full of forlorn nostalgia and addiction. There are no sly jokes about pop culture or biting social commentary here, just a tale of heartbreak simply and beautifully depicted atop petrichor-soaked production.—Joe Price

Pain isn't always blatant. Softly singing along to harmonious, acoustic guitar strokes, Sufjan Stevens addresses maternal abandonment on “Should Have Known Better.”

The thematic crux of his heart-wrenching album Carrie & Lowell does not scream with the bursting fury and frustration of Kendrick Lamar’s “The Blacker the Berry.” Nor does the track muster up the aggression of Kanye’s “All Day.” But as soon as you tune in to the lyrics, the presence of an internal thunderstorm grows evident beneath the swell—a quiet, steady rain. Here you’ll find nothing less than masterful songwriting from a masterful songwriter, and a strong urge to give your mom a huge hug.—Alex Siber

The majority of Brodinski's Brava finds the French producer flexing his hard techno pedigree with a purple aesthetic (purple drank, not Purple Wow). When he hit, he hit HARD, and "51 Bandz" is the perfect example.

While insane, club-ready flows lace through those speakerbox-breaking basslines with ease, it's Phlo Finister's hazy hook that cuts through the entire track like a hot knife through butter. It's a work of art that heads who drive big body Benzes wouldn't readily turn up on sight, but if you snuck it into the mix, they'd be all trap elbows.—khal

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, only to mask completely disdainful lyrics. That, in addition to the rappers' wonderfully melodic flow and carefree, piano-led production courtesy of Mark Ronson, is Bam Bam and Chance at their best.—Joyce

As of right now, Fetty Wap's "Trap Queen" is the No. 3 song in the country. Understandably, some people are sick of it. But good thing: Fetty Wap is no one-hit wonder.

Following the success of "Trap Queen," we're all discovering that Fetty has a knack for melodic hooks and accessible hits, and he's in high demand for features and collabs, some of which will surely top "Trap Queen" eventually. But when we look back on 2015, we're all going to remember the domination of this song and the emergence of Fetty Wap. If you don't have at least one awesome memory soundtracked by that unforgettable "Trap Queen" melody, you're missing out.—Confusion

The success of Tobias Jesso Jr.'s Goon is, on the surface, a shocking phenomenon. Had we used history as a guide, it would have told us that tender-hearted piano ballads were only successful when accompanied by a bellowing, virtuosic voice. It was a world reserved for Adele, Sam Smith, and Disney soundtracks.

But Jesso's voice only begins to tell the tale: it's part of a larger puzzle that, pieced together, creates Goon. He spins an orchestral cocoon of warm, patient production often centered around the piano and his reedy, purposeful vocals. Nowhere is this more true than "Without You," a deep, epic sigh of a song that recalls Paul McCartney and Dr. Dog in equal measure. Commence the feels.—Graham Corrigan

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 has been on a creative hot streak, and "Planes" keeps it going strong. Some credit here has to go to producer Vinylz, though—this beat is a genius blend of moody and smooth-as-hell.—Confusion

Florence Welch and her powerful voice need no introduction, but "What Kind of Man" is a very effective reminder of exactly why you love Florence & the Machine.

Nevermind her moving vocals; Welch paints a relevant picture for many: frustration over a dead-end relationship that she can't seem to escape. It's a dramatic song, with a bite and fire we've not seen before from the frontwoman. That edge—an assertiveness that Welch seemed to discover in the wake of her break-up—added to the pounding drums and driving guitar riffs makes "What Kind of Man" one of the best songs we've heard from the band yet.—Joyce

Six months in, 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

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 the way Lianne La Havas went communicating that power isn't what you'd expect. Being unstoppable isn't just about feeling powerful; it's about being so happy that nothing can bring her down.

Everything about Lianne La Havas’ lead single from her forthcoming 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 Lianne's level.—Adrienne Black

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.—Confusion

Tinashe's Aquarius single may be near the end of its run, but at its peak, it was all over radio. Her music video inspired plenty of fan-made dance videos—which she always showed love to on social media—and the R&B song solidified her spot in R&B as one of the next to break out. There's no doubt that Tinashe will have another hit in the near future, and "All Hands On Deck" was a great start.—Legend

It’s impossible to count how many songs are about partying and having a great time. Especially around summer, we're flooded with testaments to booze, sun, sweat, and the miracle of friendship. Sure, the summer months bring everybody outside to bump and grind on rooftops and boat decks, but every party has the few friends staring at their phones just waiting for the time to go home.

Those friends rarely get songs written about them—until now. Alessia Cara’s debut single “Here” may be about feeling alone in a sea of extroverts, but the success of her first single has proven quite the opposite. While many people’s idea of a great night may be partying until the sun comes up, some of us would define a great night as being home, ordering pizza and settling down with the one true bae: Netflix.—Adrienne Black

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.

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 making it happen in the present day regardless. The 25-year-old Texas native is poised to make old school cool again with the June release of his debut album, Coming Home. While that project’s title track acted as the main driver of his success thus far, the hastened 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

At 17 years old, Atlanta producer/singer Demo Taped quietly released one of the best EPs of the year. Even through a depression that he speaks openly about, his goal is one fueled by positivity: "“I want to be able to put a smile on someone’s face, or to make someone dance," he explains. "I want to have an audience that I can spread my love to.”

With songs as great as "I Luv U," Demo Taped should have no problem finding that audience.—Confusion

Read more about Demo Taped here.

The success of FKA twigs is due in large part to the control she exercises over her craft. Everything is done with incredible precision, and the result is unique to her very particular vision.

"Glass & Patron," which was released in conjunction with a set of visuals for the Youtube Music Video Awards, encompasses twigs—and particularly her skills as a strong and sensual dancer—perfectly: delicate, soothing vocals paired with industrial and at times jarring production. It's a riveting piece of music, and when set to the most epic vogue battle of all time, "Glass & Patron" becomes all the more mesmerizing.—Joyce

If you ever want to understand the impact Drake has on music today, If You're Reading This It's Too Late should be your textbook.

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 wanted—no, needed—to hear it and form an opinion on it in order to remain culturally relevant.

And if IYRTITL is your textbook, then "Know Yourself" must be its most important chapter. The track, which finds Drake "thinkin' bout money and women like 24/7," is 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." If that isn't influence, then I don't know what is.—Katie K.

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

"Familiar" features verses from Chance The Rapper, Quavo of Migos, and King Louie. 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

Let's assume most of us are more similar than disparate. Let's also assume Pixar's latest film, Inside Out, accurately depicts what occurs within our noggins as we navigate life. Holding both factors constant, we should see a common reaction to Stormzy's sparsely produced, aggressively rapped grime single, "Know Me From": uncontrollable pandemonium in the best way, with those adorable emotional sailor creatures running amuck between our ears. This is angst in its purest musical form.

Along with Skepta and Novelist, Stormzy was among the blessed, black-clothed artists to grace the Brits Awards stage for Kanye's fire-filled performance of "All Day." All he needs is an upward trajectory to ensure an easy answer from fans when he repeatedly asks the question that birthed this song's name.—Alex Siber

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 and disturbing 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 strong.

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. If the rest of the rapper’s approaching debut, Summertime ‘06, even comes close to this track’s quality, the West Coast might have another great on its hands.—Alex Siber

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.

We'll get to "Can't Feel My Face" soon (hint, hint) 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

It feels like M.I.A. always has something up her sleeve. Often out of nowhere, she'll resurface and drop a bomb on fans. "Platforms" is one of those bombs, which, with the same speed that it hit us, it also mysteriously vanished from the Internet. In any case, "Platforms" is M.I.A. at her best—a carefully paced, glitchy production for her politically charged lyrics and simply infectious melody.

M.I.A. called what she shared a demo, and "Platforms" is slightly rough around the edges. But it's a strong single even as a demo, and we hope it doesn't change too much by the time it officially drops.—Joyce

I want to put this song over every iconic movie scene in the history of film. Any time a hero get their ass kicked and is looking hopeless, or Bill Pullman is giving that speech at the end of Independence Day, I want to hear those HudMo horns creeping up in the background. I want to see famous faces slowly, painfully picked up off the ground as that triumphant synth kicks in. It will make every movie the best movie.

I want "Scud Books" to be my wake-up alarm forever. It's one of the best tracks off Lantern, an album that proves Hudson Mohawke is capable of just about anything.—Graham Corrigan

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 Cali synth, 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

This might not be the nation's song of the summer, but this Jamie xx/Thugger/Popcaan collaboration is an amazing example of summer bliss. With an instrumental that borrows some marching band snares and applies them to the most laid back dancehall track we've heard in a bit, the three artists have created something wholly unique.

The combination of that throwback vocal sample, Young Thug's perfect melodies, and Popcaan's crooning could have turned into a ugly, busy mess of a song. But thanks to Jamie's deft touch, all of the pieces fit together perfectly on this record. "I Know There's Gonna Be (Good Times)" is a song that will change your entire mood; if you weren't feeling good before, hit play... you'll be fine soon enough.—khal

On their new album Another Eternity, Purity Ring didn't stray far from the path they started on a few years ago. Megan James' saccharine vocals and Corin Roddick's forward-thinking electronic production are still the two main ingredients.

It feels a little less game-changing than on their 2012 debut, but the standouts on this album showcase Purity Ring as more than a niche indie electronic pop act. These days, they're a professional duo able to balance inventive style with a broader appeal. "bodyache" may not be a Top 40 hit, but it's more polished than anything the group has done, and that chorus is pop perfection. Don't be surprised if you see a Purity Ring chart-topper in 2018.—Confusion

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 snapped heads with the release of "Oh My." He demands your attention from the opening bars, and when Boogie 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.

Boogie's debut album is coming this summer, and if his second single is any indication, he'll be around for a while yet.—Graham Corrigan

If you're in NYC, catch Boogie at No Ceilings. Tickets here.

Part of Young Thug’s brilliance lies in his ability to command any track he’s on. This is due in part to his natural cadence, spastic and unusual. It’s 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 (i.e. “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.

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 strips down their sound and creates a modern funk ballad for the ages.

Lead singer Kevin Parker's voice is clearer than ever, a perfect match for the song's hazy, 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's been a lot of grumbles around the fact that The Weeknd sounds like Michael Jackson on this record.

I, however, couldn't think of a higher compliment. MJ is one of history's great pop stars, and if you're mad that his legacy is enduring, then that's a (deeply troubling) personal problem. Because 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 some 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

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 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

After the Isley Brothers-flipping "i," many weren't sure what to expect from Kendrick Lamar's To Pimp A Butterfly, especially fans who looked at K-Dot for that "real hip-hop shit."

With the unrest in many African-American communities in America boiling to a fever pitch, "The Blacker The Berry" reintroduced us to that aggressive Kendrick, pairing his militant, furious styles over some noisy, sharp drums. It's almost as if "The Blacker The Berry" had to happen for people to come to terms with "i."

That pain and frustration of being in life-threatening situations whenever you walk out of your block is channeled into a conscious, scathing look at society's ills. K-Dot hears you, can channel that, then show you a better way to be.—khal

Grime overlord Skepta all but finalized his parting of the Atlantic with "Shutdown," a rowdy, electric record that's bounced around in the minds and lexicons of listeners since its release. No word left my mouth more than this track's title in 2015—accented tone and all—and I don't see another usurping it. If "woes" didn't do it, what could?

The street-ready anthem, due to its foreign inflections and flow, is the kind to reappear in a decade and become the rallying cry of scattered high school crews across the western world. While the track's political aspects tend to pass below the radar of most listeners, the UK rapper's ability to conflate Fashion Week-inspired boasts with religious undertones puts him above most. Don't even get us started on Drake's comical, albeit beloved appearance. Without question, Skepta won with "Shutdown." Truss me, daddy!—Alex Siber

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 his system.

The album unfurls over the course of its tracklist: Jamie showcases the various skills he's acquired on his journeys (we visit the club, empty caves, a "Sleep Sound"), but In Colour peaks with its eighth track, "Loud Places."

Romy provides the breathy best of her two features, delivering a performance that transforms 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 (i.e. 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.” By the eighth track, the scope of his vivid canvas reveals itself in full.

—Graham Corrigan

Read about the making of In Colour here.

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.

But that's all beside the point. When I started thinking about what the best song of the year so far is, I thought about Kendrick's message, or Jamie xx's execution, or Rocky's new direction. When it came down to it, "White Iverson" is my most played song of 2015, and it's one that sinks in a little deeper with each listen. Post may not have had some master plan or perfectionist's vision with the made-in-two-days "White Iverson," but with a few basketball references, an elusive bittersweet vibe, and some fantastic, euphorically sedated production from FKi, he made my favorite song of 2015, so far.—Confusion