Gary's Top 100 of the 2010s

The most striking music video of the decade.
Will it claim the top spot on the Top 100?

So...it has come to this.

It has been a long six years since one of us hit "Publish" on this Little Blog That Could, but I am here to revive it from the brink, for at least one more post.

As the 2010s (The Tens? Teens? Ugh.) unceremoniously come to its expected Gregorian conclusion, it is apropos to close out the decade with a post on our very blog that was, ahem, thriving at the decade's beginning.

Ten years is an eternity in Music Years, particularly with how music is consumed. The decade started with an iPod like a pirate ship, and concludes with the entirety of music a mere tap away on our smartphones. In the same vein, the music landscape has gone through its share of changes, peaks, valleys, etc., during these past ten years. Ten years ago, EDM was a nascent, niche subgenre, Taylor Swift had yet to become a worldwide crossover pop star, and Kanye West was still making classic, genre-defining music.

At the end of every year, like clockwork, I lament how I missed on so much great music, and that I will compensate the following year. Not sure that has ever happened, but it is a fun little game I continue to play. Regardless, I have tried my damnedest to keep abreast of the pop music landscape this past decade. 

After an unnecessary amount of deliberation, I present my favorite 100 songs of the decade. This exercise was not taken lightly: Many excellent songs were cut, and others just seem too low. Again, ten years is an eternity, and it is impossible to distill it into 100 songs...but, fuck it, let's do this.

Listen along here:

100. Katy Perry - "Firework" (2010)
99. Big Boi (featuring Cutty) - "Shutterbugg" (2010)
98. The Limousines - "Very Busy People" (2010)
97. Future - "Mask Off" (2017)
96. CHVRCHES (featuring Matt Berninger) - "My Enemy" (2018)
95. Foster The People - "Pumped Up Kicks" (2010)
94. A$AP Rocky (featuring Skrillex & Birdy Nam Nam) - "Wild For The Night" (2013)
93. Beyoncé - "Countdown" (2011)
92. Stray From The Path - "Goodnight Alt-Right" (2017)
91. Foals - "What Went Down" (2015)

90. Phantogram - "Black Out Days" (2012)
89. M.I.A. - "Born Free" (2010)
88. The Avalanches (featuring Danny Brown & MF Doom) - "Frankie Sinatra" (2016)
87. The Carters - "APESHIT" (2018)
86. Disclosure (featuring The Weeknd) - "Nocturnal" (2015)
85. The xx - "On Hold" (2016)
84. Travis Scott (featuring Drake) - "SICKO MODE" (2018)
83. The 1975 - "Somebody Else" (2016)
82. Neon Indian - "Slumlord" (2015)
81. Grizzly Bear - "Yet Again" (2012)

80. Chance The Rapper (featuring 2 Chainz & Lil Wayne) - "No Problem" (2016)
79. Calvin Harris (featuring Frank Ocean & Migos) - "Slide" (2017)
78. Nicki Minaj - "Super Bass" (2011)
77. Sleigh Bells - "Rill Rill" (2010)
76. Ariana Grande - "Into You" (2016)
75. The Weeknd - "Secrets" (2016)
74. Migos (featuring Lil Uzi Vert) - "Bad and Boujee" (2017)
73. Gorillaz (featuring Peven Everett) - "Strobelite" (2017)
72. Tyler, The Creator - "Yonkers" (2011)
71. Danny Brown (featuring Kendrick Lamar, Ab-Soul & Earl Sweatshirt) - "Really Doe" (2016)

70. Diplo (featuring Sleepy Tom) - "Be Right There" (2016)
69. Drake (featuring Majid Jordan) - "Hold On, We're Going Home" (2013)
68. Taylor Swift - "Blank Space" (2014)
67. Radiohead - "Lotus Flower" (2011)
66. Future Islands - "Seasons (Waiting On You)" (2014)
65. LCD Soundsystem - "how do you sleep?" (2017)
64. Beyoncé - "Partition" (2014)
63. Cardi B - "Bodak Yellow" (2017)
62. SOPHIE - "BIPP" (2013)
61. Arctic Monkeys - "Do I Wanna Know?" (2013)

60. Beach House - "Lemon Glow" (2018)
59. Blood Orange - "You're Not Good Enough" (2013)
58. FKA twigs - "Cellophane" (2019)
57. DJ Khaled (featuring Drake, Rick Ross & Lil Wayne) - "I'm On One" (2011)
56. Kendrick Lamar - "Bitch, Don't Kill My Vibe" (2012)
55. The Weeknd (featuring Drake) - "The Zone" (2011)
54. Burial - "Street Halo" (2011)
53. King Krule - "Dum Surfer" (2017)
52. Bat For Lashes - "Laura" (2012)
51. Jaime xx - "Gosh" (2015)

50. Sleigh Bells - "Rainmaker" (2017)
49. Bobby Shmurda - "Hot N***a" (2014)
48. Ariel Pink's Haunted Graffiti - "Round And Round" (2010)
47. Kanye West - "Blood On The Leaves" (2013)
46. Lorde - "Royals" (2013)
45. Lil Uzi Vert - "XO Tour Llif3" (2017)
44. Every Time I Die - "Underwater Bimbos From Outer Space" (2012)
43. Billie Eilish - "bad guy" (2019)
42. Arcade Fire - "Sprawl II (Mountains Beyond Mountains)" (2010)
41. Foals - "Spanish Sahara" (2010)

40. Run The Jewels (featuring Zack De La Rocha) - "Close Your Eyes (And Count To Fuck)" (2014)
39. Daft Punk (featuring Pharrell Williams & Nile Rodgers) - "Get Lucky" (2013)
38. Frank Ocean - "Thinkin Bout You" (2012)
37. Caribou - "Can't Do Without You" (2014)
36. Robyn - "Dancing On My Own" (2010)
35. Drake - "Nice For What" (2018)
34. Bon Iver - "Hey, Ma" (2019)
33. Oneohtrix Point Never - "Replica" (2011)
32. Vampire Weekend - "Step" (2013)
31. Diplo (featuring Nicky Da B) - "Express Yourself" (2012)

30. Four Tet - "Love Cry"
29. The Weeknd - "House Of Balloons / Glass Table Girls" (2011)
28. Every Time I Die - "Map Change" (2016)
27. Tame Impala - "Let It Happen" (2015)
26. Deerhunter - "Helicopter" (2010)
25. Radiohead - "True Love Waits" (2016)
24. JAY-Z & Kanye West - "N***as In Paris" (2011)
23. Jaime xx (featuring Young Thug & Popcaan) - "I Know There's Gonna Be (Good Times)" (2015)
22. Jack Ü (Skrillex & Diplo) with Justin Bieber - "Where Are Ü Now" (2015)
21. Bon Iver - "Holocene" (2011)

20. Rihanna & Calvin Harris - "We Found Love" (2011)
19. The Dillinger Escape Plan - "Prancer" (2013)
18. Disclosure (featuring Sam Smith) - "Latch" (2013)
17. Jaime xx (featuring Romy) - "Loud Places" (2015)
16. Kanye West (featuring JAY-Z, Rick Ross, Nicki Minaj & Bon Iver) - "Monster" (2010)
15. Grimes - "Realiti" (2015)
14. Kendrick Lamar - "DNA." (2017)
13. Ariana Grande - "no tears left to cry" (2018)
12. Childish Gambino - "This Is America" (2018) - (Narrator: It did not claim the top spot.)
11. Lorde - "Green Light" (2017)

10. FKA twigs - "Two Weeks" (2014) - There are sexual songs, and then there is "Two Weeks". The entire song exudes sexual confidence, both lyrically and musically. As FKA twigs breathlessly seduces and promises her soon-to-be lover "give me two weeks, you won't recognize her", the rhythm pulsates and builds to its climactic chorus, taking the listener along for the passionate ride. With her vocal range and dynamic, genre-defying sound, FKA twigs has established herself as one of the most exciting acts today, and "Two Weeks" helped rightfully launch her into the public's consciousness.

09. Grimes - "Oblivion" (2012) - A bubbly piece of indie pop at first listen, Claire Boucher creates a chilling disconnect between sound and meaning on "Oblivion". Boucher describes an incident when she was violently assaulted, in an eerie sing-song voice. The unsettling sense of threat permeates the song, with the taunting "la la la la la"s and repetition of "See you on a dark night" as a constant reminder. The music video adds another layer, as it depicts the sharp contrast between a solo Boucher singing and dancing while surrounded by overt masculinity. The visuals are stark, as she appears to be tackling the root of her fears head-on. While the reminders are (and always will be) there, Boucher uses "Oblivion" as a therapeutic outlet, all the while creating a pop masterpiece.

08. Todd Terje - "Inspector Norse" (2012) - The epitome of "earworm", "Inspector Norse" is an impressive example of infectiousness. During the six-and-a-half minute futuristic disco journey, Todd Terje throws every trick at the listener, daring him or her to dance along for its entirety without pause. The synths and buildup are captivating, all the while maintaining the sonic equivalent of a smirk. The payoff is mesmerizing and dazzling, beautifully subtle in comparison to many EDM "drops". 

The end result is an impossibly catchy trip, without a wasted moment. Music serves many roles, and "Inspector Norse" is a masterclass in irresistible. 

07. LCD Soundsystem - "Dance Yrself Clean" (2010) - James Murphy has always seemed hyperaware of time passing one by and getting older, while simultaneously having the ability to twist that feeling into something bigger and "in the moment". The opening track to LCD's (at the time) final album plays on this sense of self-awareness and urgency, setting up a nine-minute, two-part dance party to end all dance parties. The three minute buildup is slow, calculated, and barely audible, making the arrival of the energetic, synth-heavy second half that much sweeter. While Murphy knows it is "the end of an era, it's true", he does everything he can to keep the party going just a little bit longer (like holding a note for fifteen-seconds-going-on-an-eternity). "Dance Yrself Clean" is the grizzled, gray-haired counterpart to "Shake It Off": Despite its impending despair, Murphy convinces the listener that all of one's current preoccupations can be forgotten by dancing oneself clean. 

06. The Dillinger Escape Plan - "Limerent Death" (2016) - The Dillinger Escape Plan have become the gold standard for combining raw aggression and...math. Their atypical song constructions and precision set them apart from their peers, spearheading the subgenre of mathcore for nearly twenty years. Their final act before disbanding, Dissociation, revealed a band that was firing on all cylinders, still well in their prime with a lot more to give. Their albums' opening tracks have long been home to some of their best songs, all unrelenting introductions to the album that follows. With apologies to "Prancer", Dillinger saved their best opener for last in "Limerent Death". The song is an unbelievable showcase for Greg Puciato's impressive vocal range, as he pours his soul into every note. He comes off as an utter madman, who continues his descent into insanity by the song's end, as his words become less and less comprehensible. As always, the technical aspects of the song are impressive, striking all of the right primal chords, leaving the listener both in awe and sympathetic overdrive.

05. Carly Rae Jepsen - "Run Away With Me" (2015) - Never underestimate the power of a sweet saxophone riff. (Seriously, look at this Top 5.) Jepsen's soaring vocals pair with the evocative backing to create the best pure pop song of the decade. As with most great pop songs, the premise is simple enough: Overwhelming infatuation to the point of escape. The relative calm of the verses sets up the beautiful whirlwind of a chorus, where Jepsen convincingly pleads to "take me to the feeling". Fittingly from the album Emotion, "Run Away With Me" is a perfect encapsulation of glee and yearning, a timeless classic in the pantheon of pop.

04. Kanye West (featuring Pusha T) - "Runaway" (2010) - The highlight of a nearly flawless album filled with them, "Runaway" saw Kanye exploring a new emotion: Self-awareness. In typical 'Ye fashion, he fully admits to full-on douchebaggery and other nicknames of that ilk. He stops short of repentance, instead admitting that he cannot change who he is, and encouraging others to run away if his behavior is too much. Despite the self-deprecating, self-realizing lyrics, the three-minute vocoder outro provides the closest thing to catharsis for Kanye. While his voice is masked and manipulated, he still comes off as raw and vulnerable, as the haunting piano plinks and orchestral swoons surround him. The decade has been a veritable rollercoaster for West, but MBDTF and "Runaway" were unquestionably his best work.

03. Kendrick Lamar - "Alright" (2015) - Police brutality and the continued oppression of black Americans unfortunately permeated throughout the decade. The Black Lives Matter movement helped bring these atrocities to the public consciousness, and "Alright" fast became an anthem of resilience, a rallying cry of sorts. Despite all the pain, all the suffering, Kendrick assures "We gon' be alright", providing a beacon of hope in these troubling times. The song is driven by a Pharrell-produced jazz beat and Terrace Martin on saxophone, elevating the feeling of cautious optimism. No artist had as consistently an excellent decade as K. Dot, but To Pimp a Butterfly was his greatest, most thought-provoking work, and "Alright" was its centerpiece.

02. The 1975 - "Love It If We Made It" (2018) - A "We Didn't Start The Fire" for the 2010s, The 1975 create an anthem of the decade by exploring and namedropping many of its headlines and atrocities. As lead singer Matt Healy reels off topics such as the opioid epidemic, the disproportionate incarceration of black Americans, the Syrian refugee crisis, the perpetuation of misinformation, and Trump himself, it is easy to feel that "modernity has failed us". Despite all of this, Healy remains optimistic about the resiliency of the human spirit, hopeful that we can make it through together. Despite the inherent ennui of the times, Healy's best vocal performance to date, surrounded by swirling saxophones, is convincing evidence that we might make it after all.

01. M83 - "Midnight City" (2011) - With one song, M83 were elevated from indie darlings to household name. For good reason: "Midnight City" is a work of art, and their magnum opus in a library littered with magical moments. Heavily steeped in and inspired by the '80s, Anthony Gonzalez pays homage to the decade, while toeing the line between sincere and cheesy. The song is gripping from the get-go, immersing the listener into a synthesized dreamscape of nostalgia. As the title implies, "Midnight City" is an ode to the allure of the city, with its endless possibilities and wonder. It is even therapeutic: "The city is my church", cries Gonzalez, "it wraps me in its blinding twilight", as the synths wrap the listener. The song ends in dramatic fashion, played off with a sultry saxophone that would make "Careless Whisper" blush. The decade has come and gone, but "Midnight City" is the rare example of an evocative, powerful classic that has the ingredients to endure the test of time.

That's all she (I) wrote. I had to pay my respects to the Top 10, but the entire damn list is deserving of a blurb...I just do not have the time or the energy.
We continue this regular scheduled hiatus, already in progress. See y'all in 2029.

Gary's Top 50 Songs of 2013

So, this exists, lest I unceremoniously continue onto the next year without an overly meticulous ordering of the closing year’s tunes that happened to hit my earhole (fairly certain that is the medically accepted term).

Self-deprecation aside, 2013 proved to be a staggering juggernaut in the music realm. From triple-A-listers to unassuming newcomers and the plethora in between, it seemed like everyone dropped at least an EP this year. Personally, I can’t remember such a stacked year in music releases. That might be due to the alcohol abuse, but I digress.

Due to increasing time constraints and all that, it felt overwhelming to attempt to keep pace with all of the releases this year. Alas, music was still enjoyed, dammit, and that admittedly microscopic sample of tunes was the pool of songs run through rigorous testing in order to qualify for this highly prestigious honor.

In my best Casey Kasem impression, let's count 'em down, shall we?

Listen along with this nifty Spotify playlist, too!

50. "Purple Yellow Red and Blue" by Portugal. The Man

49. "Bitter Rivals" by Sleigh Bells

48. "Rap God" by Eminem

47. "A Tooth for an Eye" by The Knife

46. "Say That" by Toro y Moi

45. "Tom Ford" by Jay Z

44. "Ya Hey" by Vampire Weekend

43. "By and Down" by A Perfect Circle

42. "Love Sick" by Sleigh Bells

41. "Sacrilege" by Yeah Yeah Yeahs

40. "Proper Spirit" by Small Black

39. "Right Action" by Franz Ferdinand

38. "Pumpin' Blood" by NONONO

37. "The Walker" by Fitz and The Tantrums

36. "Tennis Court" by Lorde

35. "Came Back Haunted" by Nine Inch Nails

34. "One of Us is the Killer" by The Dillinger Escape Plan

33. "24 Hours" by Sky Ferreira

32. "Howl" by Beware of Darkness

31. "Pompeii" by Bastille

30. "The Mother We Share" by CHVRCHES

29. "IFHY" by Tyler, the Creator ft. Pharrell

28. "You're Not Good Enough" by Blood Orange

27. "Safe and Sound" by Capital Cities

26. "Hurricane" by MS MR

25. "Biggie Bounce" by Diplo ft. Angger Dimas & Travis Porter

24. "Bound 2" by Kanye West

23. "Do I Wanna Know?" by Arctic Monkeys

22. "If You Got It At Five, You Got It At Fifty" by Norma Jean

21. "Doin' It Right" by Daft Punk ft. Panda Bear

20. "Trying To Be Cool" by Phoenix

19. "Tunnel Vision" by Justin Timberlake

18. "Blurred Vision" by Robin Thicke ft. T.I. & Pharrell

17. "Black Skinhead" by Kanye West

16. "Wild For The Night" by A$AP Rocky ft. Skrillex & Birdy Nam Nam

15. "Bubble Butt" by Major Lazer ft. Bruno Mars, Tyga & Mystic

14. "Black Out Days" by Phantogram

13. "Inhaler" by Foals

12. "Alive" by Empire of the Sun

11. "Stranger" by The Limousines

10. "Hold On, We're Going Home" by Drake ft. Majid Jordan

Two years ago, Drake released a stellar, minimalistic R&B single about a drunk dial. This year, Drake released a stellar, minimalistic R&B single about a good girl who could be The One. It is a rather simple love song littered with mushy lines like “I want your hot love and emotion endlessly”, but when contrasted with The Weeknd-aping backbeat, “Hold On” delivers as a pro-commitment ballad, which is almost shocking in today’s musical and real-world landscape, but certainly so for the seducing singer himself. Love songs are a dime a dozen; Drake’s love song effortlessly separates from the pack as a standout this year.

09. "Sex" by The 1975

“And this is how it starts”, frontman Matthew Healy sighs at the beginning of “Sex”, before detailing the carnal desires and foreplay of two would-be lovers fuckers. It is an undoubtedly and predictably sexy song, but there is one problem: “She’s got a boyfriend, anyway.” The listener is able to feel the palpable tension as it plays out over the evocative ‘80s pop backdrop. On paper, it teeters on cheesy, but the song always overcomes this with its sense of genuineness and emotion. Plus, who can’t relate to a song about fucking?

08. "Blood On The Leaves" by Kanye West

How does a narcissistic creative genius top a release that many lauded as near-perfection three years ago? With Yeezus, of course, which is nearly perfect in its own right despite being entirely distinct from MBDTF. ‘Ye is no stranger to unorthodoxy, and Yeezus oozes it, pushing the boundaries of what hip-hop sounds like yet again. It is an album so good that one’s favorite track can change on the daily (truth be told, I had a difficult time ranking the three that cracked the Top 50, as well as limiting it to just three entries). “Blood on the Leaves” masterfully works in a Nina Simone sample and some 808s­-y Autotune verses before the bombast hits, all the while simultaneously evoking lyrics about a breakup and racial injustice. All told, “Blood” and Yeezus are incredible and powerful accomplishments, yet seemingly par for the course for West.

07. "Royals" by Lorde

Unexpected ubiquity should not detract from the impressiveness of Lorde’s year. She released an unusually catchy single destined for endless replay that ended up topping the Hot 100 for weeks and earning her countless live performances and multiple Grammy nominations. Oh yeah, and she was sixteen, making her the youngest artist to top the Hot 100 in over a quarter-century. “Royals” is immediately etched into the listener’s mind once the chorus rolls around, with its singsong-y name-dropping that even your grandmother could rattle off by now. The laughably minimal finger-snap beat works to great success, and shifts the focus to Lorde’s lyrics deriding the “opulence” and “bullshit” of today’s mainstream music. Needless to say, “Royals” was a refreshing standout amidst the rest of the radio schlock this year and established Lorde as one of the year’s most exciting new artists.

06. "Latch" by Disclosure ft. Sam Smith

It’s pretty telling when a song I first heard this month can have enough of impact to land this high on a year-end retrospective. There is no overcompensation or short-term memory effect at play, either: Disclosure put out an outstanding debut this year, and “Latch” is the perfect entry point for any newcomer. The British duo do everything right by laying down a retro-tinged electropop beat that submerses the listener, and guest vocalist Sam Smith nails it with a dichotomous combination of a sexy, crooning verse and a dynamic, evocative (and falsetto-as-fuck) chorus. Throw in some words about digging someone so much that you want to latch onto them and never let them go, and it becomes easy to see why the song stands out as one of the year’s best. The one thing I wish about this song is that I discovered it sooner.

05. "Step" by Vampire Weekend

Despite two excellent records to their name, Vampire Weekend somehow out did themselves on Modern Vampires of the City, a more subdued, exceptionally written, and generally beautiful work when compared to its predecessors. “Step”, the B-side to the upbeat and more textbook single “Diane Young”, exemplifies such praise, with a brilliantly executed less-is-more approach. The end result is four-plus minutes of gorgeously minimalistic instrumentation, placing emphasis on the lovelorn lyrics of a lost lover and admission that “I can’t do it alone”.

04. "I Appear Missing" by Queens of the Stone Age

At this point, I am clueless as to what Queens of the Stone Age have to do to get the recognition that they deserve. To be fair, they are playing massive arenas and were just nominated for three Grammys, and perhaps I’m biased and overselling them (nah). But, dammit, …Like Clockwork may end up being the band’s best and most complete album. In an album filled with legitimate highlights, “I Appear Missing” stands above the rest as a six-minute opus that transforms into an all-out, immersive rock epic in its latter half. If you still think QOTSA is a “stoner rock” band for some reason, you’re selling them considerably short of where their true talent lies.

03. "Reflektor" by Arcade Fire

Arcade Fire have yet to make a bad record. A potentially controversial statement for most bands, Arcade Fire’s track record has been so superb that it would be controversial to say otherwise. Reflektor keeps their winning streak alive and well, and the lead single and title track exemplifies what they do best: ­­­Larger-than-life, arena-filling anthems. Believe it or not, the song is seven minutes long, but its persistent vitality and urgency has listeners suddenly yearning for a replay. The song distinguishes itself from their past works while still remaining very representative. And to think, all of this musical greatness was because of a trip to Haiti.

02. "Prancer" by The Dillinger Escape Plan

Six seconds. That’s all of a warning shot you get before Greg & Co. bludgeon you over the head for the remaining 3:45 of The Dillinger Escape Plan’s lead single off of One of Us Is The Killer, the mathcore forefathers’ fifth full-length. “Prancer” is a contradictory combination of refreshing yet strangely familiar. One might consider it a “greatest hits” song, as it compiles all of the motifs, ploys, and elements of many of their prior works. Mathcore neophytes might be intimidated, even frightened, by such an intense song. Their unrelenting intensity is a staple, famously at their live shows, but somehow it faithfully translates to record. The song is a trip of near-constant brutality, off-the-wall time signatures and composition, and just enough of time in the middle for repose. No song this year could top the adrenaline rush that “Prancer” so effortlessly provided.

01. "Get Lucky" by Daft Punk ft. Pharrell

It was that rare love at first sound, really. When Nile Rodgers strums away on that simple-yet-elegant guitar intro of Daft Punk’s first legitimately new single in seven years, it was justified thinking to believe that they were onto something glorious. Countless plays and a summer’s worth of inundation later, and the song still holds as strong as that unforgettable first spin. EDM has become steeped in household ubiquity lately, and until “Get Lucky”, Daft Punk had essentially been on the sidelines watching DJs and artists popularize a genre that they had so carefully crafted and mastered over the past decade-plus. Rather than one-up their contemporaries, they did a 180 and decided to make an entire album as homage to the music that influenced and shaped their distinct sound. Although, as far as homages go, they one-upped everyone else by actually getting the dude in the band for whom they had such reverence.
And then there’s Pharrell, who single-handedly takes the song from “catchy” to “catchy-as-fuck” with his textbook sing-along lyrics about trying to get laid and, erm, phoenixes. The end result was a genre-blurring classic with mass appeal that dominated the summer (and this countdown) for good reason.

I suppose you couldn't get a much more striking contrast between those Top 2 songs, which I had flipped back-and-forth almost daily before settling on the final 1-2.

Some last minute entries (Sky Ferreira, Disclosure) sneaked onto the countdown, but a bunch did not. I vow to give Deafheaven and Jon Hopkins some early 2014 lovin'.

That's about it. Here's to hoping 2014 provides as bountiful a selection of quality tunes as this year.

Gary's Top 50 Songs of 2011

 Yet another calendar year is imminently concluding, and as always, the perfect sendoff is a meticulously crafted, seemingly arbitrary list of songs from said calendar year!  This may have been the most difficult year-end song list I’ve compiled, as I had to eliminate some very worthy songs.  Also, certain songs just seemed like they were better than their ranking.  Alas, the list is final.  No refunds.

For the first time, with the wonders of “technology”, I am able to pass along this countdown as an almost-full-fledged playlist. Click here and enjoy 45 of the 50 songs fo’ free, courtesy of Spotify, which will soon replace whatever shitty music player you currently utilize.  The five songs not available via Spotify have YouTube videos linked next to them (Danny Brown, Mr. Muthafuckin' eXquire, the two The Weeknd songs and Coldplay).  Because God forbid you didn’t hear Mr. Muthafuckin’ eXquire, et al.

50. “Mr. Saxobeat” by Alexandra Stan
49. “Amor Fati” by Washed Out

48. “I Will” by Danny Brown (vide0)
47. “L Y F” by WU LYF
46. “Helena Beat” by Foster the People
45. “Countdown” by Beyoncé
44. “Will Do” by TV on the Radio
43. “Civilization” by Justice
42. “Holdin On To Black Metal” by My Morning Jacket
41. “The Last Huzzah” by Mr. Muthafuckin’ eXquire featuring Despot, Das Racist, Danny Brown and El-P (video)

40. “Curl of the Burl” by Mastodon
39. “Die” by Girls
38. “Make Some Noise” by Beastie Boys
37. “Sail” by AWOLNATION
36. “Don’t Sit Down ‘Cause I’ve Moved Your Chair” by Arctic Monkeys
35. “Jack Sparrow” by The Lonely Island featuring Michael Bolton
34. “Tokyo (Vampires & Wolves)” by The Wombats
33. “Lonely Star” by The Weeknd (video)
32. “Polymers Are Forever” by Future of the Left
31. “Michael Jackson” by Das Racist

30. “Take Care” by Drake featuring Rihanna
29. “Trembling Hands” by Explosions in the Sky
28. “6 Foot 7 Foot” by Lil Wayne featuring Cory Gunz
27. “Super Bass” by Nicki Minaj
26. “Go Outside” by Cults
25. “Paradise” by Coldplay (video)
24. “Otis” by Jay-Z & Kanye West
23. “Replica” by Oneohtrix Point Never
22. “Bizness” by tUnE-yArDs
21. “We Found Love” by Rihanna featuring Calvin Harris

20. “Adult Goth” by Gang Gang Dance
19. “Polish Girl” by Neon Indian
18. “Lonely Boy” by The Black Keys
17. “Slow Motion” by Panda Bear
16. “Perth” by Bon Iver
15. “Don’t Move” by Phantogram
14. “Vomit” by Girls
13. “Need You Now” by Cut Copy
12. “Ice Cream” by Battles featuring Matias Aguayo
11. “Chinatown” by Destroyer

10. “High For This” by The Weeknd (video)

09. “Marvins Room” by Drake

08. “Holocene” by Bon Iver

07. “Street Halo” by Burial

06. “Yonkers” by Tyler, The Creator


05. “N***as In Paris” by Jay-Z & Kanye West


04. “Lotus Flower” by Radiohead


03. “Calgary” by Bon Iver

02. “Intro” by M83 featuring Zola Jesus

01. “Midnight City” by M83

Yes, M83 at #2 and #1, which comprise the best nine-plus consecutive minutes in music this year.  Thanks for showing up everybody else, but it really was not close.  Nothing quite matched the grandiosity and evocative nature of those two songs back-to-back, although Bon Iver certainly was close, logging three entries in the Top 20.
Fear not: The year would not be complete without my laborious rundown of my favorite albums, which will be posted before year’s end.  Until then, rock the shit out of that Spotify playlist.

Special: Gary's Top 25 Albums of 2010

Not a minute too soon (quite literally), my infinitely-hyped, overly-wordy and precisely-ordered rundown of the year’s best albums is finally here. (Hold the applause.)

From my personal perspective, it seemed as though 2010 had a lot of very solid releases, making it one of the better years in recent memory. The list is varied with doe-eyed newbies and grizzled veterans, dreamy lullaby-pop and ear-shattering mathcore, heady lyricism and stoners “just havin’ fun.” It isn’t perfect, it isn’t comprehensive, it isn’t good, but fuck it, it’s my twenty-five favorite albums of 2010. Drink it up:

25. Big Boi – Sir Lucious Left Foot: The Son of Chico Dusty – Although close to being deemed hip-hop’s Chinese Democracy (that dubious honor still belongs to Dre’s Detox), Big Boi’s debut has been long-awaited, to say the least. Luckily, it is finally here, and unlike Chinese Democracy, it is brilliant and transcends time and genre. With unlikely earworm hooks and Big Boi’s spot-on flow and lyrical craftsmanship, Sir Lucious Left Foot should pay dividends even for those with a cursory interest in hip-hop.
Key Tracks: “Shutterbugg”, “Tangerine”, “Shine Blockas”

24. No Age – Everything In Between – California indie punk duo No Age has taken their distinct, multilayered and noisy sound and refined it to a more nuanced, more expansive level on Everything In Between. While 2008’s superb Nouns had plenty of energetic highs and hazy lows, Everything In Between is just that: A blissful middle ground of more-than-superficial punk- and garage rock.
Key Tracks: “Glitter”, “Fever Dreaming”, “Shed and Transcend”

23. Beach House – Teen Dream – No, not Teenage Dream, but rather Teen Dream, Baltimore duo Beach House’s third LP of shockingly simple dream pop. With an intoxicating, atmospheric aesthetic mixed with gentle vocals, Teen Dream truly emits the dream vibe, as each song is colorful, vibrant and beautiful as they effortlessly wash over the listener.
Key Tracks: “Norway”, “Walk in the Park”, “Used To Be”

22. Holy Fuck – Latin – The Canadian (!) instrumental outfit creates typical electronic-sounding music atypically, by using drums, bass, toy keyboards and other unusual instruments and by avoiding laptops and the like. Latin follows true to this vow, with nine smooth and groovy tracks constantly propelled by well-paced percussion. Battles fans itching for a follow-up to the magnificent Mirrored should be satiated in the interim with Latin.
Key Tracks: “Silva & Grimes”, “SHT MTN”, “P.I.G.S.”

21. Wavves – King of the Beach – An impressive comeback from last year’s Wavvves and all of Nathan Williams’ personal drama, King of the Beach is a much more refined album of hooky surf/stoner rock that is consistently contagious. With all of the surf- and garage-rock in 2010, King of the Beach stands alone as the most addicting and the most fun.
Key Tracks: “Post Acid”, “Idiot”, “Baby Say Goodbye”

20. Daughters – Daughters – Relentlessly propulsive and brutal for nearly twenty-eight minutes, Daughters is jampacked with frenetic fretwork, dizzying drums and schizoid time signatures. Somewhat reminiscent of Torche’s Meanderthal without the sludge and with more of a technical, mathcore sense, Daughters is a speedy set of noisy-yet-calculated wonderment.
Key Tracks: “The Theatre Goer”, “The Virgin”, “The Hit”

19. Glasser – Ring – Melodic and hypnotic, Cameron Mesirow dazzles on her debut, both with her mesmerizing voice and soaring, synthy soundscapes. Anyone familiar with Bat for Lashes will instantly get hooked to Ring for the very same qualities that Natasha Khan exudes so effortlessly.
Key Tracks: “Apply”, “Clamour”, “Plane Temp”


18. The Dillinger Escape Plan – Option Paralysis – Perhaps the most exciting, energetic live band out there and unquestioned masters of mathcore, The Dillinger Escape Plan continue to impress on their fourth full-length. With unbelievably precise execution on every instrument at all times and Greg Puciato’s signature screaming, Option Paralysis will heighten all senses as it bludgeons and consumes the listener. Toss in some unapologetic experimentation, like the piano-laden “Widower” and the Nine Inch Nails-aping closer “Parasitic Twins”, and the end product is an exciting entry into the DEP canon.
Key Tracks: “Good Neighbor”, “Parasitic Twins”, “Room Full of Eyes”

17. Caribou – Swim – As paradoxical as it seems, Dan Snaith has made the perfect introspective dance record to be heard through headphones. Adopting more of an electronic sound, Swim abides by its name and flows fluidly from song to song, dazzling the senses with a myriad of evocative elements that coalesce precisely to overcome the listener.
Key Tracks: “Odessa”, “Kaili”, “Bowls”


16. Delorean – Subiza – Spanish synth-poppers Delorean have crafted an exquisite set of expansive songs that will entrance one to dance. Showcasing shades of bands like Air France, Phoenix and vocals eerily like Noah Lennox of Animal Collective, these catchy and at-times atmospheric beats and dreamy vocals combine to make an irresistible summertime album.
Key Tracks: “Stay Close”, “Simple Graces”, “Infinite Desert”


15. The Dead Weather – Sea of Cowards – After a forgettable debut, the blues-rock supergroup (including the likes of Jack White, Alison Mosshart of The Kills and Dean Fertita of Queens of the Stone Age) came roaring back on their second attempt, and have solidified their sound as a bluesy classic rock outfit teeming with swagger. Grungy guitars, distinctive drumwork and slithering synth and organ abound on Sea of Cowards, all capped off by Mosshart’s trademark howls and yelps. Simply put, Sea of Cowards is an addicting shot of pure, unadulterated rock ‘n’ roll.
Key Tracks: “Die By The Drop”, “I’m Mad”, “Blue Blood Blues”

14. Liars – Sisterworld – More than anything, experimental rockers Liars’ fifth LP plays like a horror movie. The songs seethe with creepiness and an uncertain forebodingness, and occasionally burst into an auditory attack. Whether it’s the orchestral elements, the whispered backing vocals, the seemingly lifeless repetition of a guitar riff, or simply the lyrics (“Life possession could be fun / Counting victims one by one”), Sisterworld succeeds in leaving an unsettling feeling and constant paranoia in the listener. Who knew bloodthirsty, borderline insanity could be so catchy and fun?
Key Tracks: “Scarecrows on a Killer Slant”, “The Overachievers”, “Here Comes All The People”

13. Foals – Total Life Forever – On just their second album, British band Foals has made significant strides forward from their debut without losing their math-y backbone and tablature. Still a Foalsian record at heart, the band can be seen exploring in a multitude of directions on Total Life Forever, perhaps none more striking than standout “Spanish Sahara”, a breathtaking seven minute journey with one of the most epic crescendos and satisfying peaks in a song this year. Although some tracks are more poppy and immediate (“This Orient”, “Miami”), the album as a whole is a grower that rewards upon subsequent listens.
Key Tracks: “Spanish Sahara”, “This Orient”, “What Remains”

12. Yeasayer – Odd Blood – With Animal Collective’s mammoth 2009, some band had to step in and fill their shoes in 2010, and fellow Brooklynites Yeasayer probably came the closest to matching AC’s quirky experimentalism and aesthetic. Merriweather Post Pavilion this ain’t, Odd Blood is still packed with sonically soothing pop melodies and atypical psych- and freak-folk fun: Opener “The Children” does its best Fever Ray impression, “Rome” channels the catchiest Arabian beat, and “Madder Red” is a toned-down, down-on-one’s luck touching ballad that takes off during its chorus. At a lean ten tracks, Odd Blood is a well-crafted endeavor into the burgeoning genre of experimental pop music.
Key Tracks: “Madder Red”, “Ambling Alp”, “O.N.E.”

11. How To Dress Well – Love Remains – Tom Krell has made one thing clear: Low fidelity is not just for punk music. Love Remains incorporates an at-times chilling ambience and a soulful delivery to create a truly emotional experience. The fidelity makes the lyrics incomprehensible at times, but it still works to dramatic effect rather than frustration. It is as if the songs are distant, foggy recollections of a past love, but like all memories, the details are scattershot. HTDW has made a strangely beautiful collection of lo-fi R&B and ambient music that becomes truly immersive.
Key Tracks: “You Won’t Need Me Where I’m Goin’”, “My Body”, “Decisions”

10. Flying Lotus – Cosmogramma – Steven Ellison is a beast. The multitalented producer responsible for a majority of the bumper music on Adult Swim has also made a fantastic, highly diverse album bordering on unclassifiable (in a good way). There exists a large chasm between an album with lots of influences and one that fuses said influences simultaneously, the latter case better describing Cosmogramma. FlyLo seamlessly integrates jazz, orchestra, electronica, and a plethora of other subgenres and sound effects to create a truly unique entity that stands alone as the most original album of the year.
Key Tracks: “Do The Astral Plane”, “Dance of the Pseudo Nymph”, “Zodiac Shit”

09. Gorillaz – Plastic Beach – Many adjectives encapsulate Plastic Beach, surprisingly only the third full-length from the entertaining animated group. If anything, it is quite the collaborative, multi-genre effort, as mastermind Damon Albarn calls on an eclectic cast of characters to assist, including Snoop Dogg, De La Soul, Lou Reed and soul legend Bobby Womack. Plastic Beach turns out to be the Gorillaz’s most complete album, filled with varying emotion, from the silliness of “Superfast Jellyfish” to the pop euphoria of “On Melancholy Hill” to the slow and somber “Empire Ants.” All of this from a quartet of cartoon characters...if only more real bands made such sprawling, ambitious albums….
Key Tracks: “Empire Ants”, “Stylo”, “On Melancholy Hill”

08. Sleigh Bells – Treats – If a band ever exemplified the sic-worthy descriptor “rawk”, it might be Sleigh Bells. Crudely put, they do cracked-out cheerleader chants. Mere seconds into the album, with the machine gun intro of “Tell ‘Em”, the listener is roped into their stomp-and-handclap, speaker-blowing world, and it is damn difficult to escape. There are moments of repose: standout “Rill Rill” is the sheer definition of the summertime classic, with its sun-drenched sound and sing-along sensibilities. Overall though, with song after song of pummeling guitar, bass and backbeat, Treats will damage your hearing and have you begging for more. One of the most refreshing debuts in recent memory.
Key Tracks: “Rill Rill”, “Tell ‘Em”, “Infinity Guitars”

07. Vampire Weekend – Contra – Vampire Weekend’s phenomenal debut made them indie household names. Contra thrust them into all of the other households. Like their debut, their sophomore effort is laden with meticulously-refined power- and chamber-pop, but with a bit more experimentation. Even so, Contra plays like an album that anyone in the world could dig, with infinitely hummable melodies and irresistibly warm structures. Simultaneously infectious and enduring, Vampire Weekend have cemented themselves among the more exciting bands in recent memory.
Key Tracks: “Horchata”, “White Sky”, “Giving Up The Gun”

06. Crystal Castles – Crystal Castles II – Sophomore jinx be damned, the duo’s eponymous follow-up to their excellent, also self-titled debut improves on the original by tweaking their sporadic spasticity (“Doe Deer” excepted) and in turn cranking out some impressive, more mature songs. Words are hard to come by on II, but this is unabashedly a more melancholy and even sinister album, and the music paints this quite vividly with a plentiful palette of entrancing electronica. Also, lush landscapes abound at times, in which it is difficult not to get lost. II is a consistently solid album front-to-back and deserving to be among the year’s best.
Key Tracks: “Celestica”, “Baptism”, “Not In Love”

05. The Limousines – Get Sharp – The best album this year that no one heard. Former Strata lead singer Eric Victorino and multi-instrumentalist Giovanni Giusti have joined forces to make one hell of a debut: Take catchy, electro-pop and mix it with an intoxicating falsetto, and get Passion Pit or at-times MGMT. The equalizer here is the fantastic lyrics on each track, whether it is the humorous contemplations of a one night stand on “Flaskaboozendancingshoes” or the all-too-real coming-of-age musings of “Very Busy People.” This powerful combination makes Get Sharp that rare record that will have you dancing and listening to the words.
Key Tracks: “Very Busy People”, “Triangle Circle Square”, “Internet Killed The Video Star”

04. Deerhunter – Halcyon Digest – Atlanta quartet Deerhunter have followed up their excellent Microcastle with another fantastic album. Halcyon Digest plays so seamlessly: It is never too far-reaching, but it is a delight with focused attention. Frontman Brandon Cox tends towards the inclusive, but there are shining moments of radiance, like the “Nothing Ever Happens”-esque jam ending of “Desire Lines” or the slow-motion beauty of “Helicopter.” At times hazy and navel-gazing, at other times poignant punk-pop, the end result is a gradually addicting product that will abruptly end and demand another listen.
Key Tracks: “Helicopter”, “Desire Lines”, “He Would Have Laughed”

03. Arcade Fire – The Suburbs – Not many bands could make a concept album about suburbia this interesting. Yet the adored indie vets do what they do best and thrust it to unheard-of grandiosity. This is tailor-made stadium rock, plain and simple, with the band always clicking together and producing instrumentally, lyrically and thematically satisfying music. The Suburbs is an hour-plus sprawling epic, propelled by striking immediacy and emotion and jam-packed with heavy themes of growing up and nostalgia, and the result is unavoidably engrossing.
Key Tracks: “Sprawl II (Mountains Beyond Mountains)”, “Ready To Start”, “Suburban War”

02. Kanye West – My Beautiful Dark Twisted Fantasy – Yes, it’s that good. Forget every negative thing you’ve ever heard or thought about ‘Ye. Forget it all, listen to this album with unbiased ears, and realize why it is being universally praised. Every song is meticulously produced, with a stunningly refreshing sound defying the laws of hip-hop (including length: eight songs are five minutes or longer), all the while Yeezy’s flow and swagger never ceases. Nicki Minaj’s rap on “Monster” might very well be the best fucking minute-plus in music this year, but the album is literally littered with standout moments that it is simpler to call the whole thing brilliant. The man might be twisted (and a douchebag, asshole, etc.), but he recognizes it and takes the listener on a journey through his subconscious, which is at times dark, but mostly beautiful.
Key Tracks: “Runaway”, “Monster”, “Dark Fantasy”

01. LCD Soundsystem – This Is Happening – If this is truly LCD’s last album, at least James Murphy and Co. are leaving on a high note. Every song here delivers in its own way, as Murphy uses all of his noticeable influences (punk, dance, electronica, new wave) to near-perfection. Whether it is the slow-build dance jam opener “Dance Yrself Clean”, the heartfelt yearning backed by melancholic synth on “I Can Change”, or the retro barnburner classic of “All I Want”, the album does not disappoint for a moment. Effortless interchange of genres, clever and meaningful lyrics and spot-on delivery: This Is Happening is the rare complete album.
Key Tracks: “All I Want”, “I Can Change”, “One Touch”


If you made it this far, congratulations! Here are some closing footnotes before I recede back into the darkness:

> As with every year, there are always those albums that I catch just in the nick of time. Perhaps with a bit more time, Das Racist’s Sit Down, Man and Ariel Pink’s Haunted Graffiti’s Before Today would have cracked the prestigious list somewhere. They are both very solid and different albums deserving of recognition and repeated listens.

> Apparently one of the most divisive albums of 2010, M.I.A.’s /\/\ /\ Y /\ was definitely not a bad record by any means. It was definitely no Kala, though. Ditto for Eminem’s Recovery: Better than Relapse, however, nowhere close to his first three albums.

> Is it just me or am I the only one who can never see the Teen Dream artwork?

> The Tron: Legacy soundtrack is not a Daft Punk album. What a fucking cocktease.

> God, Ke$ha sucks.

That’s it for me in 2010. Not a shitty way to kickoff the decade, for sure. Here’s to the release of that goddamned Avalanches album in 2011. Well…that’s my mama.