Popdar! - 14/01/12 (Part 2)

#43

"Give it All Away"
My Plastic Sun


If you don't know this beautiful, beautiful song by now, it now has a beautiful, beautiful video to accompany it. So there really is no excuse to not fall in love with this effortlessly euphoric Sci-Fi ballad and this wonderful band.

Popdar! - 14/01/12

#42
"Get On It"
Ruby Goe


The first real party anthem of 2012 has arrived. All kinds of wrong and dirty, but hell, that beat makes you want to get on it too, and BAD. Especially if you live and London and have to take the 149 into town. Listen out for Ruby Goe this year.

TOP 50 OF 2011: #20 - #1!!!

After little bite sized chunks of 10 great 2011 tunes at a time, I now present to you in one fell swoop my TOP 20 SONGS OF THE YEAR!

This... is SERUS (not serious) business.

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#20
"I Can't Make You Love Me/Nick of Time"
Bon Iver

Bonnie Raitt's "I Can't Make You Love Me" is one of the most covered songs in pop music history, which is unsurprising as it's also one of the most powerful. But Bon Iver, covering this as a b-side to his "Calgary" single, gives it a surprisingly icy and non-saccharine touch, with a heavily compressed piano and rough vocal that sounds like a single take. Justin Vernon's falsetto is fully fledged, and painfully high, almost uncomfortably so. But this raw, flawed take is all the more emotional because of it, making the song less self-pitying and  more lonely and isolated. It's ambiguous use of lyrics from another Raitt song at this track's close, the song being "Nick of Time", one with a decidedly more uplifting message, suggests an eventual comfort in solitude that no other version of the track would even consider, and it's a move that only Bon Iver would make.



#19
"OK Pal"
M83

On a record with enough "epic" to span over a Fantasy trilogy, "OK Pal", for me, is the track that provides the biggest heart leap every time, out of several contenders for the title. A simple two note hook looping for most of the song, and guitars epically twanging in the guiltiest of 80s pleasures, somehow, this one is the warm, cheese-loving centre of the wonderful "Hurry Up, We're Dreaming".


Download M83 OK Pal

#18
"This" (feat. Thom Yorke)
Modeselektor

This is what Thom wishes his solo material sounded like. "This" is creepy, brilliant and unsettling, with very little actual audible words coming from Thom's feature-spot, his voice mainly being cut and paste over deep, menacing bass-driven electronica. 6 and a half minutes gives the track plenty of time to build and breathe, and we eventually hear Yorke break gloriously out into a reverb laden falsetto with a non-cut and pasted vocal, and even letting moody guitars creep in towards the end, reminiscent of Radiohead's darkest moments. But nothing quite matches that first spinetingling moment, when Yorke's voice is heard on a loop, whispering "This/This/This/This..."



#17
"Over My Dead Body"
Drake

The piano/female vocal chorus alone is spine-tingling enough to warrant a placing in my top 50 songs of the year, but Drake's opener to his remarkably emotional (for a rap record) "Take Care" album, features some of the most honest adjusting-to-fame lyrics heard from a superstar, and not in a self-indulgent, self-pitying Eminem or Tyler manner, but in a fearful way, an emotion that one imagines many stars feel, but very few admit to. "I was drinking at the Palms last night, and ended up losing everything that I came with..." See? They're just like us.



#16
"Codex"
Radiohead

As with "Nude", "Sail to the Moon" and "Pyramid Song", no one does a surreal power ballad like Radiohead. But this time round, we're hearing the message clearer than ever. "Jump off the edge, into a clear lake" Thom peacefully murmers to us, and so enchanting is the shimmering piano that we could well be enticed in ourselves without realising. As with all of Radiohead's thoughtful suicide ballads (or what we assume to be), there is a level of innocence and even optimism that makes it even more beautiful and poignant. Thom rhymes "dragonflies" with "fantasise", and all of a sudden we enter the fantasy world that only Radiohead can open up to us.


And with every record, although it seems we are let further and further into the mindset of Mr Yorke, it's my bet that we will probably never understand quite what these beautiful words mean. But isn't that where the magic lies?



#15
"Life is Life"
Noah and the Whale

After the clinically depressed "First Days of Spring" let frontman Fink wallow in his post-break-up self-pity, it was a true delight to hear this track open the band's third record. Burbling synths and an amateur drum machine burst into a triumphant life-affirming anthem, that would seem hollow if it were not for the knowledge of where Fink has been mentally, and that the writer of hopeless odes to heartbreak "Stranger" and "I Have Nothing" is now singing "it feels like his new life can start". The use of third person is telling, and it's a common feature on "Last Night on Earth"; Fink has come to peace with himself, and is now taking inspiration from outside of himself, something a lot of songwriters are too proud to do. Although probably the least folk-sounding track the band has ever produced, lyrically, this tale of triumphing over depression, of changing one's life, proves Fink to be as adept a folk songwriter as any of his peers.



#14
"Shuffle"
Bombay Bicycle Club

After the lazy summer afternoon soundtrack that was "Flaws", it was refreshing to see Bombay Bicycle Club take an big risk in airing yet another a sunny new sound on "A Different Kind of Fix". But it all started with the most experimental track of all, the indie dance anthem "Shuffle". From the moment that stuttering honky tonk piano kicks in, til the final jumping vocal sample bows out abruptly, it's a plethora of hooks, yet Jack Steadman's heartbreaking cotton-candy voice and the band's wonderful songwriting still manages to shine through, better than ever in fact. "Shuffle" doesn't so much shuffle as bounce, and it was a new spring in the step of a band who, three very different records down the line, have yet to disappoint.

Funny youtube comment: "I asked Siri to play this song, but it just shuffled my iPod!"



#13
"Blue Cassette"
Friendly Fires

It's hard to think of another chorus this year that takes your breath away quite like "Blue Cassette" does the first time you hear it. Although it doesn't have the stargazing message of "Paris", "Blue Cassette" could well be the bands' biggest anthem to date. Once the tribal drums crash through the sonisphere, those orchestra hits smack you once, twice, THRICE in the face, and Ed Macfarlane yells "As I hear your voice, it sets my heart on fire!", it ceases to matter that the song is essentially about a grubby tape cassette found buried in the back garden, like some sort of glorified time capsule. But any band that can take THAT, and make a song like THIS, I'd wager that Friendly Fires could take anything and turn it into a blissful summer anthem. Glorious.



#12
"U&I"
Lady Gaga

Lady Gaga's "Born This Way" record is predominately about self-acceptance and self-expression, so it's quite ironic that its most affecting track is a big country rock ballad about true All American love. There's no mistaking that this is one of Lady Gaga's most powerful melodies, and one of her most straight forward, memorable songs. However, by performing a country ballad, Lady Gaga instantly crushes the stigma of country and closed-mindedness, and it's a bold move, one only she could make. When Gaga cries out "You and I!" repeatedly at the track's emotional climax, it becomes apparent that the Nebraska thing is a façade, sang with tongue firmly in cheek. This is a love song to every one of her fans, and it indeed makes one proud to be amongst them.



#11
"Green Aisles"
Real Estate

Amongst an album full of heartbreaking songs, "Green Aisles" is the one that just about has the edge of them all. The daydream tapestry of guitar is a perfect background to the wonderfully simple vocal. "And if you just sit tight, I'll be there soon" is delivered as the most touching lyric of the record, closely followed by "The phone lines, the street lights, led me to you". This ain't nothing but a suburban love song, and few other songs this year have expressed love in such an honest way. It doesn't do much to draw attention to itself, but when it comes to songwriting and emotion, "Green Aisles" is pure perfection.



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Now, THE TOP TEN TRACKS OF 2011. Ok, here we go...

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#10
"Watch the World Go By" (feat. Le Prix & Lake Heartbeat)
Johan Agebjorn

A lot of dance music from Europe follows these trancey disco rules, but nothing this year even approaches the emotional power and heart of this track. Swedish producer Agebjorn brings the shimmering walls of synth, and plenty of sweeps and swooshes, but it is the typically hushed vocal performance of featured Le Prix, in an undecorated and gentle take, that really delivers the uplifting rush of a melody honestly and perfectly. Lyrically, she sings of a typical fantasy of running away with a loved one, and the lyrics, on page, come across a tad saccharine, but when the chorus explodes into "I never wanted to be special, I just wanted someone who was special to be mine", all cynicism is irrelevant. These sentiments have been heard before, especially in dance music, but never before have they been expressed so sincerely and beautifully.

#9
"LYF"
WU LYF

WU LYF's music exhudes rebellion and youth at every turn, with every vocal racket (an acquired taste for certain), every reverb heavy guitar line and every restless drum beat. But what makes it so impressive is the sheer passion with which each song is performed, each one sounding like a single live take (which they probably were, recorded in a chapel of all places, which explains the vast echo). "L Y F" opens the record, and soars to #9 in my list because in 4 minutes it seems to bare the soul of the band, and what an introduction. A simple organ motif opens the song peacefully, and the track shuffles and fidgets through its verse before bursting into its heavenly, vast chorus. The scream of "I love you forever", as a majestic guitar line weaves its way tearfully, sticks with you for the rest of the album, and in that one simple phrase, the band's heart couldn't be worn more on their sleeve.

#8

"Boys of Paradise"
Unicorn Kid

Unicorn Kid may not be the most famous bedroom synth-meister, but he's been doing this since he was 15 years old. Listening to his early material, hyperactive glitchy 8 bit Game Boy music, he may have polished and commercialised his sound over time (he's 19 now), but the love and celebration of the music he makes still shines through. His stunningly fresh sounding "Tidal Rave" EP takes startling euro-synth lines, mixes them with the melodies of early PlayStation games (not literally, metaphorically) and throws them over a mix of early 90s rave beats and glowing, balearic pads. "Boys of Paradise" has the happiest of happy melodies, and bounces along like a 5 year old on Haribo, and it's utterly, utterly joyous.

#7
"Beth/Rest"
Bon Iver

Bon Iver's Justin Vernon never had any qualms with a sickly sweet balladic melody, but the aching beauty of his falsetto always let him get away with anything. Yet for many, the 80s keyboards and power ballad mantra of Bon Iver's second record's closing number "Beth/Rest" were a step too far into Phil Collins territory. But this is the reason it is in fact, an utterly perfect way to end a perfect record. On a record that carries you to every beautiful corner of its far away fantasy world, "Beth/Rest" continues the fantasy by using sounds so retro and unexpected that you can't help feel like you're dreaming. But given all that, regardless of the medium Bon Iver has used to communicate "Beth/Rest", it is undeniably heart stoppingly wonderful. 2.29: "I ain't living in the dark no more, it's not a promise, I'm just gonna call it". The rest of the lyrics might be nigh on gibberish, but, as with most Bon Iver tracks, that one line says all that needs to be said. The music says the rest.

#6
"Marvin's Room"
Drake

"I'm just sayin' you can do better". At first, "Marvin's Room" seems to be his ode to love and fame, and how the two suit each other. But for all the lines about groupies and spending all his money drinking, you realise this is just a regular old drunk dial to an ex. "Fuck that n*gga that you love so much" he drawls drunkenly, and the woozy trip hop backing courtesy of producer 40 suits the mood perfectly. What's so affecting however is the line "the girl I would try, is happy with a good guy, but I'mma call her anyway". It's a surprisingly touching, and very self-aware lyric, one that shows his vulnerability, and also admits his lack of morality. Hip Hop so rarely admits its weaknesses and addresses its stereotypes in this way. Only someone as talented and honest as Drake could've really expressed hitting rock bottom like this.

#5
"Someone Like You"
Adele

For many normal people, not necessarily music fans, this will be the song they most associate with 2011. It was widely acclaimed on the release of "21", but then Adelemania began when she performed the song on the BRIT awards. Ordinary people who wouldn't normally buy CDs, went out and bought hard copies of "21" as if Adele was a charity for heartbroken women everywhere. 

Now, this doesn't happen for just any artist, or for just any song. "21" is a great album, great songs, big, back to basics arrangements, hints of soul, and Adele's voice has matured aeons since her debut, BUT... "Someone Like You" is on a different level. There are no gospel choirs, no big thumping drums, no heartfelt string arrangements... just Adele and a piano. 

All this has been written a thousand times before about the song, but it cannot be said enough just how perfectly expressed the lyrics of "Someone Like You" really are. Tapping into the subconscious of every vulnerable, insecure person who has held on to a memory of a past love for too long, she sings "I had hoped you'd see my face, and that you'd be reminded that for me it isn't over". The song is painfully accurate in soundtracking the horrible moment of realisation that a love is well and truly over. The chorus begins, now famously, "never mind, I'll find someone like you". Such a throwaway phrase, one that feigns hope, but really resembles deep fear of being alone. The song itself is light and simple, but the meaning alone makes it dark. And this darkness can be related to by the millions of people who have watched the video on YouTube, plus the hundreds of millions who heard it on "21" and still listen to it religiously. 

It may not be the most groundbreaking 'song' of 2011, but it is one song, above all others from this year, that is undoubtedly a modern classic.

#4
"True Love Fantasy"
Unicorn Kid

Technically "True Love Fantasy", playlisted on Radio 1 this year (a big step for the unsigned Unicorn Kid), has 'sell-out' written all over it. But actually, although the track takes the generic eurosynth chord procession that we've heard a million times this year in the pitiful charts, it files every soft edge to a hazardous point, as rebellious youths shout out rallies and chants (courtesy of U.K.'s previous split EP pals Talk to Animals) and the track builds to a glorious early 90s rave bliss. So I say, if Unicorn Kid can take chart-friendly sounds, and inject them with his infectious, hyperactive rave vibes, we could be in for a treat in 2012. Fingers crossed he sold out enough, eh?

#3
"Holocene"

Bon Iver

Once you watch the heart-stoppingly gorgeous video for the equally heart-stoppingly gorgeous "Holocene", it suggests that the track is about being humbled by the earth's natural beauty, as does the line "and at once I knew, I was not magnificent". As a picked acoustic guitar line gently washes in and out like the tide, brass burbles like a brook in the background, and percussion shuffles like the wind, Justin Vernon sings contently "I could see for miles, miles, miles...". For nearly six minutes, you escape your current time and place when you listen to "Holocene", and those six minutes drift along like hours, hours, hours...

#2
"212"
Azealia Banks

"212" became infamous for constantly being removed from youtube, because of its frequent use of a certain 'c' word. But the great thing about Ms Banks' breakthrough (and a half) single, is that the NYC-based 20 year old rapper/singer Azealia Banks has a way of sounding controversial before you even know she's caused controversy. Cut said word out of the track and its still incredible and deliciously threatening, a loose, dancehall-tinged house beat and clubby synth hook providing the infectious groove for what is a riviting performance by Banks. She starts off MCing conversationally, taunting at first with lines such as "you know what's up, or don't you?", before chucking in that phrase "I'mma ruin you c*nt", and eventually by the end of the track she's distorting the mic because she's shouting so loudly. It has to be heard. It HAS TO BE. To understand how exciting this track is.

#1
"Calgary"
Bon Iver

"Calgary" has been my song of the year ever since I heard it, but it is very difficult to explain why. I could have written twice as much about how Adele's "Someone Like You" has touched listeners world wide, or how Azealia Bank's "212" is a quiet revolution for hip hop, but "Calgary"... the sound of the opening three chords is all I need to confirm that this is a song that will stay with me for a long time.

Saying this, the said three opening chords are, as one youtube viewer puts it, "written in blood from Peter Gabriel's heart". And they have a point. The track is another instance where the band have taken a clear prog rock influence, and are shamelessly tugging at the heartstrings of the listener with no restraint in a very Gabriel (dare I mention Genesis...) manner. It's by no means as blatant as the aforementioned "Beth/Rest", but maybe it's the right ratio of "cheese" to sincerity that makes "Calgary" so perfectly pitched.

Starting with just pads and voice, the track exhudes the trademark "Bon Iver" peace. Vernon's multitracked and reverb-heavy vocal still manages to give the track a campfire feel, despite the instrumentation, and it is one that it returns to at the close of the track, which features just Vernon and a strummed guitar. But between these two points, the tracks builds to a glorious out of body experience, spanning what seems like every calling card that Bon Iver has. 

Dreamy and ethereal to begin with, the track soon kicks in with thunderous drums and a wall of guitar, as the vocals get louder and more celebratory, including a delightful falsetto hook towards the climax, before all is stripped away to, as I mentioned, guitar and vocal. The track resembles falling into a deep sleep, and being whisked away into an intense dream world before suddenly waking up, and wondering where on earth you've just been.

Where you've been is "Calgary", and you've just been "Bon Iver'd", as I'll clumsily put it, which is to say you've been given an out of body experience by their music. And "Calgary", with all its sweet and sour musical stops along the way, is now their triumphant benchmark. Let's see if they can top this. Because sure as hell no one else even came close in 2011.

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Well, that's it folks! 2011 still had great music if you went and looked for it, let's hope 2012 will make it easier for us, hmm...??

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Here's a summary of my entire Top 50:

50. Major Lazer feat. The Partysquad - Original Don
49. Neon Indian - Halogen (I Could Be A Shadow)
48. Will Young - Jealousy
47. Lady Gaga - Heavy Metal Lover
46. Toddla T - How Beautiful It Could Be
45. Korallreven feat. Victoria Bergsman - Honey Mine
44. Chad Valley - Shell Suite
43. Beyonce - Love On Top
42. Friendly Fires - Hurting
41. The Weeknd - What You Need

(Click here to read more about #50-41)

40. The Vaccines - Norgaard
39. M83 - Reunion
38. The Joy Formidable - The Greatest Light is The Greatest Shade
37. Charli XCX - Stay Away
36. Dillon Francis feat. Diplo & Maluca - Que Que
35. SBTRKT feat. Yukimi Nagano - Wildfire
34. Katy Perry - Last Friday Night
33. Emeli Sandi - Heaven
32. Wild Beasts - Lion's Share
31. Foster The People - Call It What You Want

(Click here to read more about #40-31)

30. Friendly Fires - Live Those Days Tonight
29. Classixx - Into The Valley (Julio Bashmore Mix)
28. Chad Valley - Fast Challenges
27. Noah And The Whale - Give It All Back
26. Wynter Gordon - Til Death (Denzal Park Mix)
25. James Blake - The Wilhelm Scream
24. Radiohead - Give Up The Ghost
23. Cut Copy - Need You Now
22. M83 - Midnight City
21. Cut Copy - Take Me Over

Click here to read more about #30-21

20. Bon Iver - I Can't Make You Love Me/Nick of Time
19. M83 - OK Pal
18. Modeselektor feat. Thom Yorke - This
17. Drake - Over My Dead Body
16. Radiohead - Codex
15. Noah And The Whale - Life Is Life
14. Bombay Bicycle Club - Shuffle
13. Friendly Fires - Blue Cassette
12. Lady Gaga - U&I
11. Real Estate - Green Aisles

10. Johann Agebjorn feat. Le Prix & Lake Heartbeat - Watch The World Go By
9. WU LYF - L Y F
8. Unicorn Kid - Boys Of Paradise
7. Bon Iver - Beth/Rest
6. Drake - Marvin's Room
5. Adele - Someone Like You
4. Unicorn Kid - True Love Fantasy
3. Bon Iver - Holocene
2. Azealia Banks - 212
1. BON IVER - CALGARY
(Click here to see what runner-up tracks were only just cut from the Top 50)

HAVE A GREAT NEW YEARS!!!

TOP 50 OF 2011: Honourable Mentions

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.

TOP 50 OF 2011: #30 - #21

We continue to scale the heights of 2011's musical talent...


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#30
"Live Those Days Tonight"
Friendly Fires


The first single from the mindblowing "Pala" most definately showcased Friendly Fires 2.0: clubbier, more epic and 10x BIGGER than their debut. Scaling the heights of "Jump in the Pool" but whilst the band partied during the verses and took a breather during the chorus of that song, Ed Macfarlane and crew go from hook to hook in "Live...", huge tribal drumming and a 90s rave vibe ensuring that this was Friendly Fires as you had never heard them before.



#29
"Into the Valley" (feat. Karl Dixon) (Julio Bashmore Mix)
Classixx

First remix of the list, and continuing with the rave mood, this is a simple but stunningly effective mix that drags Classixx's 80s pastiche "Into the Valley" into the 90s, simply with a funky 3 chord piano motif, and that's all it needs. Euphoric and quite beautiful.



#28
"Fast Challenges"
Chad Valley

The first track we heard off Chad Valley's second EP was definately still chillwave, but it's clear that mastermind Hugo wants to be taken seriously on the dancefloor, and when that beat kicks in at 1.15, and not to mention when the chords hit at 1.32, it's impossible not to be drawn in. The weird beauty of his self-titled EP is still very much alive, but this is by any standards a huge track, and Hugo's voice soars above it. Hell it needs to, the house chords just get bigger and bigger as the track goes on, melodies flying around at all angles. If this is Chad Valley's direction from now on, bring on his full length in 2012.



#27
"Give it All Back"
Noah and the Whale

"Give it All Back" is Charlie Fink's frank and touching account of (we assume) the band's youthful beginnings. Someone described this as a mix of "Summer of '69" and LCD Soundsystem's "All My Friends". This is a freakishly accurate depiction, with it's youthful charm and shamelessly uplifting and anthemic melody, it's the nostalgia anthem of 2012.



#26
"Til Death" (Denzal Park Mix)
Wynter Gordon

The original "Til Death" was a pretty tepid affair, which makes this remix all the more surprising. A stoic verse suddenly breaks into what has to be the biggest pop chorus of the year, complete with lightning strike walls of synth. When Wynter cries "TAKE MY LIFE!" it's as exhilarating on the 100th listen as the first. And I would know, it's at the top of my iTunes most played list.



#25
"The Wilhelm Scream"
James Blake

The only other track on James Blake's self-titled debut that even slightly resembles the sense of commercial melody of Feist cover (cover!) of "Limit to Your Love", "The Wilhelm Scream" was the obvious choice for a second single. However, radio-friendly tactics aside, the track is the nearest thing on the record that shows us a human side to Mr Blake, and there is an air of desperation in his voice as he (comparatively to the rest of the record) cries "I don't know about my love anymore, all I know is I'm falling, might as well fall in". You can tell that his computer can tell that James is close to breaking out of his robotic façade as the track progresses, when the fader is gradually pushed up until ominous cloud-synth chords have swallowed the track, and Blake's voice, whole. An intriguing, and actually quite emotional, listen.



#24
"Give Up The Ghost"
Radiohead

One listen to the introspective and fragile "King of Limbs" and you can feel yourself growing old with Radiohead. On "Give Up The Ghost", a gathering of background Thoms weakly emplore "don't hurt me" on a loop throughout, and his falsetto has rarely sounded more fearful. But there's no sign of angsty, panicky tenor here, ala "Wolf at the Door", this is resigned fear and gentle pleading, and quite honestly, Radiohead has never sounded more beautiful.



#23
"Need You Now"
Cut Copy

On the opener to Cut Copy's fairly epic 3rd record "Zonoscope", singer Dan Whitford begins with a mumble and ends with a desperate cry of "I know we're going crazy, but I need you now". The track does something similar. Opening with the quiet burble of electronics and pads, the track builds and builds and builds upon a hypnotic groove, until a euphoric climax that will dazzle stargazers everywhere. If Cut Copy were once known for providing hook upon hook, its clear they've learnt a better trick. Sometimes a track's payoff can be good enough to warrant a bit of a build up, and what a, WHAT a build up.



#22
"Midnight City"
M83

The first single from M83's "Hurry Up, We're Dreaming" took the 80s movie soundtrack feel from "Saturdays = Youth" to a whole new level. Vangelis pads abound as usual, but this time, the drums pounded out a dance beat Madonna would have favoured and the track features one of the most distinctive vocal hooks of the year, one that won't leave your head for days, nay months. And that saxophone solo at the end is just a stroke of genius.



#21
"Take Me Over"
Cut Copy

On their last record, "In Ghost Colours", cuts like "Hearts on Fire" and "Lights and Music" were indie rave classics that pummelled you with enough gorgeous hooks to last you until their next record, but this time round, the band wants you to LISTEN a bit more, and appreciate the sheer songcraft and love expressed in their music. "Take Me Over" is given the space to breathe and its carefree, wonderful chorus, with all its little vocal adlibs, is virtually sing-song, caressed by a million spiralling synths and a laid back beat that encourages but doesn't force you to dance. Quite simply, it knows it doesn't need to.




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TOMORROW WE ENTER THE TOP 20. Such fun.

TOP 50 OF 2011: #40 - #31

Hello again! More amazing taste.


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#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?




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TOMORROW, #30-#21, Arrivederci!

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.

So on with this list... let's do 10 at a time shall we?

#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.

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.



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TOMORROW, #40-#31, see you then.