After humming and hawing over my top songs list, I just want to mention some tracks that I seriously considered for the top 50, but that didn't quite make it...
"TERRA INCOGNITA" - ATLAS SOUND
Beautiful and haunting stripped down number from the Deerhunter frontman.
"GO" - DELILAH
Takes the verses of "Ain't Nobody" by Chaka Khan, and comes up with this dark, sexy, post-dub gem.
"DOING IT WRONG" - DRAKE
Touchingly honest and knowingly insightful ode to breaking up with someone, with a gorgeous, sparse synth-laden backdrop thanks to his producer 40.
"SMALL BUMP" - ED SHEERAN
Not a fanatical fan of the ginger crusader here, but the achingly pretty sentiment of this sad, sad song is impossible to deny.
"SOMEBODY THAT I USED TO KNOW" - GOTYE FEAT. KIMBRA
A delightfully quirky ode to splitting up on bad terms with a killer chorus that Sting couldn't sing better.
"FORTUNE'S FOOL" - HIATUS & SHURA
Delicate vocals, wistful acoustics with the scent of dub lurking in the air, British producer/singer duo produce, under the radar, one of the most fragile and beautiful singles of the year.
"THE VISION (LET ME BREATHE)" - JOKER FEAT. JESSIE WARE
Irresistible commercial dubstep track with a deliciously dramatic vocal performance (just see 1.35 for the best moment).
"BROKEN RECORD" - KATY B
The party girl gets insecure and emotional about a destructive relationship, and the breakbeats and killer melody on the chorus compliment this perfectly.
"MARRY THE NIGHT" - LADY GAGA
The stadium-bothering Hi NRG dance opener of "Born This Way" tells the bittersweet tale of being dumped from her label, but its message is triumphant and uplifting for those who know.
"VIDEO GAMES" - LANA DEL REY
The sexiest song of the year, somehow manages to make you feel dirty every time you hear its sultry 60s orchestral ballad tones.
"PERFECT SKIES" - MAIN ATTRAKIONZ
Lush, stoner hip-hop, that is so laid back in its tempo it threatens to grind to a halt at any moment.
"SOMETIMES" (SHAZAM REMIX) - MIAMI HORROR
A generic indie dance song is given the euphoric funky house treatment, and the catchiest synth lead of the year.
"DON'T FUCK WITH MY MONEY" - PENGUIN PRISON
Reliving punchy 80s pop has never been so much fun, from the tongue-in-cheek lyrics to the OTT scream towards the end.
"IT'S REAL" - REAL ESTATE
An uplifting care-free indie love song that is as sing-along as it is tender.
"FAMILY FRIEND" - THE VACCINES
The one downtempo moment on an upbeat, relentlessly energetic record, and a much needed, and surprisingly touching moment for reflection to close it.
"TOTALLY TRUE" - VIOLENS
Hypnotic guitar hooks and misty vocals and a driving rhythm at an intense new wave pace. Beautiful and mysterious.
"LOOP THE LOOP" - WILD BEASTS
A beautiful cabaret-indie waltz and a yearning ode to the power lust has over love, both common topics for the band, brought together here touchingly.
"IN THE MORNING" - WYNTER GORDON
A chilled out comedown dance anthem that is beautiful and yet biting at the same time, magically produced by Robbie Rivera.
Showing posts with label top 50 of 2011. Show all posts
Showing posts with label top 50 of 2011. Show all posts
Friday, 30 December 2011
Wednesday, 28 December 2011
TOP 50 OF 2011: #40 - #31
Hello again! More amazing taste.
- - - - - - - - - - - - - - -
#40
"Norgaard"
The Vaccines
The Vaccines' record was by far the simplest, most straight up indie rock record of the year, and backed by the carefree, catchy teen-angst of the song writing, there was even something of the punk about it. Clocking in at a mere 1 minute 38 seconds, "Norgaard" sums up everything the band are about. It's short, it's sweet, its energy is mind-numbingly infectious and it's a crowd pleaser. Such is the onslaught of teenage hormones in this track that a second longer and the track would not be. Luckily, the Vaccines know what they're doing. And what they're doing is not much; they know they don't need to.
#39
"Reunion"
M83
M83's "Hurry Up, We're Dreaming" was a whole new kind of 80s collosus, a record that wasn't afraid to be epic, it was afraid not to be, and this track (much like all the others to be frank) holds a strong argument for the most dramatic thing on here. On the life-affirmingly bright "Reunion", guitars clang and echo like U2 and the melody hits the Chesney Hawkes rock anthem nerve like a shot of adrenaline to the heart. Sound awful? Maybe it is, but by god I love it.
M-83 Reunion by ProjectX1
#38
"The Greatest Light is The Greatest Shade"
The Joy Formidable
TJF's debut, "The Big Roar" lived deliciously up to its grand title, rocking mid-tempo like it was the 90s, but the real treat lies at the end of the record with "The Greatest Light...". Battering ram guitars and a hypnotic hook give this track a truly euphoric stomp that is the perfect way to round off such a satisfying record.
#37
"Stay Away"
Charli XCX
Somewhat out of the blue, like a female Hurts, Charli XCX quietly flew the flag for romantic goth-pop in 2011, almost single handedly with this haunting track. Industrial beats and emotionally wrought vocals recall The Cure, and an eerie melody that nods towards Kate Bush, this girl has a lot to live up to after this debut single.
#36
"Que Que" (feat. Maluca & Diplo)Dillon Francis
One of the most enjoyable dance music EPs of the year, Dillon Francis' Moombahton EP "Westside" was fresh sounding and irresistible, honing down everything addictive about the genre. Female latin rapper Maluca lays down some sharp verses, and Diplo's presence is heard in the piercing synth sirens that ride a bass-heavy Reggaeton beat. Too quirky to make it mainstream, but this is a crying shame, as it's one of the best dance tracks of the year.
Don't do hallucinogens before watching the video by the way.
#35
"Wildfire" (feat. Yukimi Nagano)
SBTRKT
Unusual and understated, "Wildfire" is the classiest dubstep track of the year, in no small favour to Little Dragon singer Yukimi Nagano, who's shimmering, eerie tones provide this track with it's magic. Though this is not to discredit SBTRKT however, for the simple groove and niggling bass line prove to be slyly addictive.
#34
"Last Friday Night"
Katy Perry
Yes, it was released last year on "Teenage Dream" the album, but Last Friday Night really came into its own when it was released as a single, as it was always meant to be. Leaving it as a secret weapon for 2011 turned out to be a great idea, a moderately entertaining extended video only aiding its success, and reminding us why we loved Katy Perry's music in the first place. It's irresponsible-message pop, but Katy Perry's big doe eyes and sugary country-tinged belt make it all seem like good fun. Even when she vomits in a shoe in the video. But "such an epic fail" - still cringey.
#33
"Heaven"
Emeli Sande
Although it's string-laden drama-hop strongly recalls Massive Attack's "Unfinished Sympathy", Emeli Sande's "Heaven" has an emotional urgency rather than a melancholy, in no small part down to Emeli's aching vocal. Emeli is only 24, but she sounds like a woman in conflict with herself, and she feels every word of phrases such as "Will you recognise me? When I'm lying on my back, something's gone inside me, and I can't get it back", and especially as she yelps "then I'm gone" repeatedly at the close of the song. As a singer, Sande has a maturity beyond her years, and especially beyond the expected abilities of a new talent. The melody is pretty beautiful too, which helps.
#32
"Lion's Share"
Wild Beasts
As opener's go, "Lion's Share" is hardly an attention grabber. But then again, none of "Smother" is. That's the beauty of it. Calming down slightly with every record since their debut, their third record opens with their most haunting song to date. It's dark and seductive as ever, a pulsing synth and romantic piano being the only needed backing for Hayden Thorpe's cabaret croon. His voice is delightfully toned down (comparatively), and the sheer beauty of the spiralling melody for "Boy, what you running from?" is all the more for it.
#31
"Call It What You Want"
Foster the People
Foster the People understood the need for party music in 2011, and although "Pumped Up Kicks" is the perfect teen anthem, there's something even more rebellious about "Call It What You Want". "What's your style and who do you listen to? WHO CARES." goes one lyric, quite possibly one of my favourite of the year. Piano led, funky and thoroughly catchy as always, Foster the People aren't 'cool' in the traditional sense (like floppy haired indie boys making dance music are ever cool, Friendly Fires being the exception) but on "CIWYW" they are telling you, very fleetingly mind, that they don't give a fuck, and they just want to dance. And when they make tracks like this, who can blame them?
- - - - - - - - - - - - - - -
TOMORROW, #30-#21, Arrivederci!
- - - - - - - - - - - - - - -
#40
"Norgaard"
The Vaccines
The Vaccines' record was by far the simplest, most straight up indie rock record of the year, and backed by the carefree, catchy teen-angst of the song writing, there was even something of the punk about it. Clocking in at a mere 1 minute 38 seconds, "Norgaard" sums up everything the band are about. It's short, it's sweet, its energy is mind-numbingly infectious and it's a crowd pleaser. Such is the onslaught of teenage hormones in this track that a second longer and the track would not be. Luckily, the Vaccines know what they're doing. And what they're doing is not much; they know they don't need to.
#39
"Reunion"
M83
M83's "Hurry Up, We're Dreaming" was a whole new kind of 80s collosus, a record that wasn't afraid to be epic, it was afraid not to be, and this track (much like all the others to be frank) holds a strong argument for the most dramatic thing on here. On the life-affirmingly bright "Reunion", guitars clang and echo like U2 and the melody hits the Chesney Hawkes rock anthem nerve like a shot of adrenaline to the heart. Sound awful? Maybe it is, but by god I love it.
M-83 Reunion by ProjectX1
#38
"The Greatest Light is The Greatest Shade"
The Joy Formidable
TJF's debut, "The Big Roar" lived deliciously up to its grand title, rocking mid-tempo like it was the 90s, but the real treat lies at the end of the record with "The Greatest Light...". Battering ram guitars and a hypnotic hook give this track a truly euphoric stomp that is the perfect way to round off such a satisfying record.
#37
"Stay Away"
Charli XCX
Somewhat out of the blue, like a female Hurts, Charli XCX quietly flew the flag for romantic goth-pop in 2011, almost single handedly with this haunting track. Industrial beats and emotionally wrought vocals recall The Cure, and an eerie melody that nods towards Kate Bush, this girl has a lot to live up to after this debut single.
#36
"Que Que" (feat. Maluca & Diplo)Dillon Francis
One of the most enjoyable dance music EPs of the year, Dillon Francis' Moombahton EP "Westside" was fresh sounding and irresistible, honing down everything addictive about the genre. Female latin rapper Maluca lays down some sharp verses, and Diplo's presence is heard in the piercing synth sirens that ride a bass-heavy Reggaeton beat. Too quirky to make it mainstream, but this is a crying shame, as it's one of the best dance tracks of the year.
Don't do hallucinogens before watching the video by the way.
#35
"Wildfire" (feat. Yukimi Nagano)
SBTRKT
Unusual and understated, "Wildfire" is the classiest dubstep track of the year, in no small favour to Little Dragon singer Yukimi Nagano, who's shimmering, eerie tones provide this track with it's magic. Though this is not to discredit SBTRKT however, for the simple groove and niggling bass line prove to be slyly addictive.
#34
"Last Friday Night"
Katy Perry
Yes, it was released last year on "Teenage Dream" the album, but Last Friday Night really came into its own when it was released as a single, as it was always meant to be. Leaving it as a secret weapon for 2011 turned out to be a great idea, a moderately entertaining extended video only aiding its success, and reminding us why we loved Katy Perry's music in the first place. It's irresponsible-message pop, but Katy Perry's big doe eyes and sugary country-tinged belt make it all seem like good fun. Even when she vomits in a shoe in the video. But "such an epic fail" - still cringey.
#33
"Heaven"
Emeli Sande
Although it's string-laden drama-hop strongly recalls Massive Attack's "Unfinished Sympathy", Emeli Sande's "Heaven" has an emotional urgency rather than a melancholy, in no small part down to Emeli's aching vocal. Emeli is only 24, but she sounds like a woman in conflict with herself, and she feels every word of phrases such as "Will you recognise me? When I'm lying on my back, something's gone inside me, and I can't get it back", and especially as she yelps "then I'm gone" repeatedly at the close of the song. As a singer, Sande has a maturity beyond her years, and especially beyond the expected abilities of a new talent. The melody is pretty beautiful too, which helps.
#32
"Lion's Share"
Wild Beasts
As opener's go, "Lion's Share" is hardly an attention grabber. But then again, none of "Smother" is. That's the beauty of it. Calming down slightly with every record since their debut, their third record opens with their most haunting song to date. It's dark and seductive as ever, a pulsing synth and romantic piano being the only needed backing for Hayden Thorpe's cabaret croon. His voice is delightfully toned down (comparatively), and the sheer beauty of the spiralling melody for "Boy, what you running from?" is all the more for it.
#31
"Call It What You Want"
Foster the People
Foster the People understood the need for party music in 2011, and although "Pumped Up Kicks" is the perfect teen anthem, there's something even more rebellious about "Call It What You Want". "What's your style and who do you listen to? WHO CARES." goes one lyric, quite possibly one of my favourite of the year. Piano led, funky and thoroughly catchy as always, Foster the People aren't 'cool' in the traditional sense (like floppy haired indie boys making dance music are ever cool, Friendly Fires being the exception) but on "CIWYW" they are telling you, very fleetingly mind, that they don't give a fuck, and they just want to dance. And when they make tracks like this, who can blame them?
- - - - - - - - - - - - - - -
TOMORROW, #30-#21, Arrivederci!
Tuesday, 27 December 2011
TOP 50 OF 2011: #50 - #41
2011 on the whole felt distinctly good rather than great. For me, the UK dance music scene was the only really interesting musical movement, with Dubstep taking off in a spectacular way, making its way defiantly into the charts. Easy to forget now, but the emergence of Katy B had an early role to play in this, her incredible 2010 single "Katy On A Mission" paving the way for underground artists to have a pop at the mainstream in 2011. Even Britney Spears had a faux-dubstep interlude in her track, and manufactured groups like The Wanted, Sugababes and The Saturdays had a go at it. Although hardly a musical tour de force, it was refreshing to hear harder sounds become more popular in pop. Although taking a look at the UK top 10 at any point this year, and all you'd see is Eurodance trash, so its influence wasn't entirely successful yet. The line between Urban and Europop is now so blurred now that the term "Chart" is all that is needed.
I'd like to see Moombahton, a fusion of Electro House and Reggaeton, really take off in 2012, but when dubstep DJ Skrillex is nominated for the BBC's Sound of 2012 poll, maybe we're in for another year of the same sounds. Saying that, a lot of Urban acts are nominated this year, such as the recently skyrocketed-to-notoriety 19 year old NYC rapper Azealia Banks and the edgy soul'n'B Frank Ocean, so maybe it's the year of MOBO? I personally wouldn't have a problem with that.
A lot of my favourite songs of this year are from the dance music scene. As always, anything 80s or 90s tinged has tickled my music taste buds, and the summer was quite good for indie bands going all out party-party, Friendly Fires and Foster The People to name but two. Lo-fi Chillwave is still happening and is still a wonderful genre, though much less prominent this year, despite our sweltering extended summer practically craving this kind of music. Thanks to rise of the sensitive black male artist, like The Weeknd and Drake, Rap become a much more melancholic place, and these artists have provided us with some surprisingly beautiful music also.
But as always, no matter what the charts dictate as the nation's "taste" and no matter what genres come and go, the best songs of any year are always those that bear no relation to any scene, and couldn't care less, because it's simply about the song-writing. A certain big boned, big hearted and big mouthed London girl made this apparent this year, and it's no surprise she is this year's runaway star. More about her later.
But as always, no matter what the charts dictate as the nation's "taste" and no matter what genres come and go, the best songs of any year are always those that bear no relation to any scene, and couldn't care less, because it's simply about the song-writing. A certain big boned, big hearted and big mouthed London girl made this apparent this year, and it's no surprise she is this year's runaway star. More about her later.
So on with this list... let's do 10 at a time shall we?
#50
"Original Don" (feat. The Partysquad)
Major Lazer
#50
"Original Don" (feat. The Partysquad)
Major Lazer
A fine example of what is so great about underground dance music: no boundaries. Quirk-loving DJ duo Diplo and Switch's Major Lazer project has always been a weird and wonderful one, taking bits and bobs from Dancehall, Hip Hop, Dubstep, Eurodance and, as of this skullcrushing single, Hard House. It's clear that Major Lazer has no intention of following any dance blueprint at all here, not that they ever did, and "Original Don" hints that it will break into dubstep for its first 60 seconds before a cry of "Run the track!", when a thunderous Hardcore kick takes over, and a bizarre yet hypnotic medley of synths follow.
#49
"Halogen (I Could Be A Shadow)"
Neon Indian
Anyone familiar to synthpop artist Neon Indian's first EP will have been blown away by the x10 approach taken on their debut full-length "Era Extrana", especially album highlight "Halogen", which could not sound bigger if it tried. The whole onslaught of choir synths, massive beats and that eerie lead synth sounds and feels like being beamed up by a UFO. And it's so damn catchy and euphoric.
#48
"Jealousy"
Will Young
Despite a disappointing record, first single "Jealousy" is Will Young's "Dancing on My Own", and the softly pulsing eurodance and honest, stripped down lyrical delivery, with knowing homosexual undertones (mainly thanks to the video), suits him down to a tee. No drama, no pretense, just pure, simple emotion that sounds very personal.
#47
"Heavy Metal Lover"
Lady Gaga
On an album full of huge heavy metal sized dance tunes, it's surprising that the one track that mentions the genre specifically is actually one the most stripped down tracks on the record. It's also a refreshingly low key, hypnotic and perversely beautiful addition to the absurdly overblown affair that is "Born This Way" the album. Featuring hands down the catchiest vocal hook on the album also helps. Alongside "So Happy I Could Die" from "Fame Monster", "Heavy Metal Lover" shows the real dark, 3 dimensional side to Gaga's music.
#46
"How Beautiful It Could Be"
Toddla T
A skinny white boy doing a genre as black-oriented as Dancehall was always going to be eventful, but Toddla T proves to be adept at making the genre sound fresh and interesting with every track on his brilliant debut. "How Beautiful It Could Be" is just life-affirmingly good, feeling like a track truly bringing the world's music fans together, with 90s house chords providing a warm, fuzzy backing for his thunderous Caribbean beats and the joyous dancehall vocals.
LISTEN HERE.
#45
"Honey Mine" (feat. Victoria Bergsman)
Korallreven
Featuring the keyboardist from my beloved Radio Dept., Daniel Tjader, the lazy dub rhythms of "Honey Mine" by Korallreven usher in the same ethereal dancing melodies and distant guitar licks of The Radio Dept. themselves, but with the soft murmers of Taken by Trees vocalist Victoria Bergsman to serenade us. Essentially a balearic outtake from "Clinging to a Scheme", that would've stood out as one of that record's best tracks had it been included. "Shine on... shine on..." sings Bergsman in a rare moment of letting her voice soar, and if we close our eyes, the sun is still shining, and this is the soundtrack.
#44
"Shell Suite"
Chad Valley
Showing how timeless the genre of Chillwave truly is, Chad Valley's "Equatorial Ultravox" was so much more than a sun-washed guilty 80s pleasure. Full of heartbreakingly beautiful emotional climaxes, humongous atmospheric dance beats and wonderfully ethereal vocal tapestries, "Shell Suite" is simply the emotional climax of the record. Seemingly structureless, this song brings to mind walking aimlessly into the distance, and could happily go on for hours, so uplifting is its refrain.
#43
"Love On Top"
Beyonce
Guilty pleasure alert. "4" isn't an astounding album, but with Beyonce, the astonishment comes when she pulls out of the bag a handful of classic singles from each record. "Girls", "End of Time" and "Countdown" are all standard Beyonce single-material; bossy, camp R&B stompers; and "1+1", although damp on record, is breathtaking live. But "Love On Top", with its 80s urban vibes, camp as Christmas chorus hook, ridiculous multiple key changes, pompous beat and sugary sweet lyrics is all so, so wrong, yet, as one wishes it didn't have to said, so, so right.
#42
"Hurting"
Friendly Fires
From one guilty pleasure to another, Friendly Fires were never exactly cheese averse, but "Hurting" is all out Stilton onslaught. Once again, 80s funk tinged, nay, drenched (seeing a pattern here?), and featuring quite simply Friendly Fires' campest chorus ever, it never ceases to bring a goofy grin to the face, and an uncontrollable urge to the feet. "Can't keep feeling the pain of your touch, your touch keeps on hurting"... how do they get away with a lyric like that? They're Friendly Fires, they just do.
#41
"What You Need"
The Weeknd
The Weeknd brings The-Dream's lush, silky, porny R&B sound to a whole new level, putting said producer to shame with his dark, eerie, breathless come-ons and woozy, drunken beats. "What You Need" is just one of many perfect tracks, but the simplicity of the phrase "He's what you want, I'm what you need" sums up what The Weeknd's music is all about: seduction. And quite frankly, it's the sexiest song of 2012. Have sex to it. Now.
- - - - - - - - - - - - - - -
TOMORROW, #40-#31, see you then.
#49
"Halogen (I Could Be A Shadow)"
Neon Indian
Anyone familiar to synthpop artist Neon Indian's first EP will have been blown away by the x10 approach taken on their debut full-length "Era Extrana", especially album highlight "Halogen", which could not sound bigger if it tried. The whole onslaught of choir synths, massive beats and that eerie lead synth sounds and feels like being beamed up by a UFO. And it's so damn catchy and euphoric.
#48
"Jealousy"
Will Young
Despite a disappointing record, first single "Jealousy" is Will Young's "Dancing on My Own", and the softly pulsing eurodance and honest, stripped down lyrical delivery, with knowing homosexual undertones (mainly thanks to the video), suits him down to a tee. No drama, no pretense, just pure, simple emotion that sounds very personal.
#47
"Heavy Metal Lover"
Lady Gaga
On an album full of huge heavy metal sized dance tunes, it's surprising that the one track that mentions the genre specifically is actually one the most stripped down tracks on the record. It's also a refreshingly low key, hypnotic and perversely beautiful addition to the absurdly overblown affair that is "Born This Way" the album. Featuring hands down the catchiest vocal hook on the album also helps. Alongside "So Happy I Could Die" from "Fame Monster", "Heavy Metal Lover" shows the real dark, 3 dimensional side to Gaga's music.
#46
"How Beautiful It Could Be"
Toddla T
A skinny white boy doing a genre as black-oriented as Dancehall was always going to be eventful, but Toddla T proves to be adept at making the genre sound fresh and interesting with every track on his brilliant debut. "How Beautiful It Could Be" is just life-affirmingly good, feeling like a track truly bringing the world's music fans together, with 90s house chords providing a warm, fuzzy backing for his thunderous Caribbean beats and the joyous dancehall vocals.
LISTEN HERE.
#45
"Honey Mine" (feat. Victoria Bergsman)
Korallreven
Featuring the keyboardist from my beloved Radio Dept., Daniel Tjader, the lazy dub rhythms of "Honey Mine" by Korallreven usher in the same ethereal dancing melodies and distant guitar licks of The Radio Dept. themselves, but with the soft murmers of Taken by Trees vocalist Victoria Bergsman to serenade us. Essentially a balearic outtake from "Clinging to a Scheme", that would've stood out as one of that record's best tracks had it been included. "Shine on... shine on..." sings Bergsman in a rare moment of letting her voice soar, and if we close our eyes, the sun is still shining, and this is the soundtrack.
#44
"Shell Suite"
Chad Valley
Showing how timeless the genre of Chillwave truly is, Chad Valley's "Equatorial Ultravox" was so much more than a sun-washed guilty 80s pleasure. Full of heartbreakingly beautiful emotional climaxes, humongous atmospheric dance beats and wonderfully ethereal vocal tapestries, "Shell Suite" is simply the emotional climax of the record. Seemingly structureless, this song brings to mind walking aimlessly into the distance, and could happily go on for hours, so uplifting is its refrain.
#43
"Love On Top"
Beyonce
Guilty pleasure alert. "4" isn't an astounding album, but with Beyonce, the astonishment comes when she pulls out of the bag a handful of classic singles from each record. "Girls", "End of Time" and "Countdown" are all standard Beyonce single-material; bossy, camp R&B stompers; and "1+1", although damp on record, is breathtaking live. But "Love On Top", with its 80s urban vibes, camp as Christmas chorus hook, ridiculous multiple key changes, pompous beat and sugary sweet lyrics is all so, so wrong, yet, as one wishes it didn't have to said, so, so right.
#42
"Hurting"
Friendly Fires
From one guilty pleasure to another, Friendly Fires were never exactly cheese averse, but "Hurting" is all out Stilton onslaught. Once again, 80s funk tinged, nay, drenched (seeing a pattern here?), and featuring quite simply Friendly Fires' campest chorus ever, it never ceases to bring a goofy grin to the face, and an uncontrollable urge to the feet. "Can't keep feeling the pain of your touch, your touch keeps on hurting"... how do they get away with a lyric like that? They're Friendly Fires, they just do.
And the video is just so gloriously silly, you have to watch it.
#41
"What You Need"
The Weeknd
The Weeknd brings The-Dream's lush, silky, porny R&B sound to a whole new level, putting said producer to shame with his dark, eerie, breathless come-ons and woozy, drunken beats. "What You Need" is just one of many perfect tracks, but the simplicity of the phrase "He's what you want, I'm what you need" sums up what The Weeknd's music is all about: seduction. And quite frankly, it's the sexiest song of 2012. Have sex to it. Now.
- - - - - - - - - - - - - - -
TOMORROW, #40-#31, see you then.
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