50. Porter Robinson — Musician
As Porter Robinson began teasing singles for his second studio album Nurture, electronic music and pop music fans alike were eagerly awaiting to see what direction he went. And of the six singles he released, “Musician” perfectly encapsulates the direction that album went — whimsical and genre-less with a touch of existential yet hopeful dread. Sampling the trio of a vocal sample from Rob Base & DJ E-Z Rock’s “It Takes Two”, a synth fill from Max Coveri’s eurobeat anthem “Running in the 90s”, and an unreleased collaboration Porter has with KKB¹ (making up the vocal chops of the song), “Musician” is a masterpiece of meta commentary on the creative process and what being in the music industry means.
In an interview with Zach Sang, Porter talked about how this song helped him break through the creative block he was in and was actually created in part as a therapeutic attempt out of that rut. There’s a verse in this song that he refers to (“How do you do music? / Well, it’s easy: you just face your fears and you become your heroes / I don’t understand why you’re freaking out”) that specifically helped him remind himself: this shit is hard.² You are _supposed_ to feel challenged, which is where great art comes from. And by faces these challenges, you can create something great. “Oh, it’s calling / I just can’t stop, I’m sorry” Porter sings through a pitch-shifted chorus, rejecting any notion of fear that’s been instilled by himself or outside influences.
The banger of the album, this was unintentionally on purpose: during the release of “Musician”, Porter noted on Twitter that he originally had a “no supersaws, no 808 subs, no classic breakbeats” rule when creating Nurture³ but “Musician” was too much fun that he abandoned that idea when the song clicked. (He does this every project, more notably during Worlds “Sea of Voices” was intended to be a song without any drums — that is, until he wrote the genre-defining buildup and breakdown that song has.) As well, he wanted to “have a fun instrumental for the album, and [he] tried to force it to be an instrumental for sooo long” and “it wasn’t [even] a pop song at all [originally; it] had a million key changes and only one chorus”⁴ in the early versions of the song. From there, it adapted into the incredible song that we hear on the album today and a surefire proof signal that Porter Robinson has yet again changed the electronic music game for years to come. — frogarananaman
1: https://twitter.com/porterrobinson/status/1370086045711101956
2: https://m.youtube.com/watch?v=d1Yd4y45Kto
3: https://twitter.com/porterrobinson/status/1367195170521960450
4: https://twitter.com/porterrobinson/status/1367201857488252929
47. Taylor Swift — Ivy
“I’d live and die for moments that we stole
On begged and borrowed time”
‘Ivy’ is Taylor Swift at her best — a song encompasses a full novel in 4 short minutes. When Taylor released herself from the public narrative that all songs written by Taylor Swift would have to be about Taylor Swift herself, she allowed herself room to write about more morally grey situations, like cheating. The lyrics give you glimpses into the narrative over several seasons and makes you vividly imagine this doomed love affair.
‘Ivy’ describes a woman betrothed to a man, all the while being in love with another person. The song makes it sound tragically beautiful, with the narrator being aware and disregarding the morality of their actions — because they hope their true love will endure. It feels inevitable — they can’t stop their lover from growing roots in their dream land.
This might be the most sapphic song in all of Taylor’s discography, with the only “he”-pronoun mentioned being the narrators husband. This could very well be unintentional on Taylor’s part, but it doesn’t really matter — wlwing swifties love this song. — CarlieScion
46. Silk Sonic — Smokin Out the Window
Leave it to Bruno Mars and Anderson .Paak to somehow make a song about telling a woman she belongs to the streets one of the vibe-iest songs of the year. Like their previous two singles under the Silk Sonic name, ‘Smokin Out the Window’ is a glorious throwback to the R&B and motown era of music with a shiny paint of 2021 production. With a smooth and funky bass riff and the smallest touches of an electric keyboard riff, the instrumental feels both perfectly fresh as well as wonderfully nostalgic. Mars and .Paak take turns singing about their relationship with a gold digging girl playing with their hearts, singing some of the pettiest, while also simultaneously hilarious lyrics of the year (“Look here baby, I hope you find whatever it is that you need / But I also hope that your triflin’ ass is walkin’ ‘round barefoot in these streets”). Combined with glorious harmonies and one of the most instantly catchy and memorable choruses of the year, its a song thats so perfect it almost doesn’t even need an explanation on its greatness. Here’s to hoping that Silk Sonic won’t just be a one off collaborative project and create even more great albums in the future. — TakeOnMeByA-ha
45. Marina — Ancient Dreams in a Modern Land
In some ways, ‘Ancient Dreams in a Modern Land’ conjures memories of an earlier Marina song called ‘Savages’. Released in the distant days of 2015, the track was a moody, misanthropic bop about how for all society’s progress, “underneath it all, we’re just savages”. Or, humans cannot escape our base nature, our ancient selves, and that’s very bad. In ‘Ancient Dreams’, Marina keeps the foreboding production, but instead argues that humans are in fact alienated from their ancient selves, and that’s very bad. Singing “Ancient dreams in a modern land, I’m trying to get back as fast I can, back to a time before I had form, back to a time before I was born”, the message is arguably somewhat nebulous. What allure does the past hold for Marina? How far in the past? Are there dangers to romanticizing it? An ostensible message of the song is to be yourself, but was the ancient world really an individualistic utopia? Or, is she preaching that we should get more in touch with nature, switch off our phones occasionally, go for a long walk in the forest?
While the ideas presented are somewhat esoteric, the gravity with which she sings them is positively hypnotic. With a thundering reverence, Marina tells us “you are not here to conform”. And no one can accuse her of not following her own advice. In over a decade of her career, Marina has continued to put out music that could only be sung by her, with a personal flair as unique and distinct as a fingerprint. With ‘Ancient Dreams’, Marina resumes this tradition. Long may it continue. — stillhavehope99
44. Jessie Ware — Please
What’s Your Pleasure? was a triumph of an album, an astonishingly proficient run of a dozen tracks that surveyed the landscape of disco without falling into old cliches and artifice — so why wouldn’t another track from that same crew be just as great? The only surprise with ‘Please’ is that it’s better(!) than anything on the album it serves as an after-dinner mint to. It’s like you distilled the best elements of that album down into 4 and a half minutes, a series of hypnotic loops and gorgeous rhythm guitars that Ware vamps endlessly over. Where its parent album could sometimes seem almost too well coordinated, ‘Please’ instead has the loose, funky feel of an expert at her craft, so well-practiced that a little slack can come into it. And it’s in that slack that ‘Please’ becomes pop perfection, in its playfulness mingled with its absolute skill. — skaiansightseer
42. The Weeknd — Take My Breath
One of the hardest things to do is follow up a career defining era. How much time do you give it? Do you strike while the iron is hot or enjoy the ride? Do you give the people what they want or swing wildly with a left turn into something more challenging and experimental? In many cases, the album after your big break is what proves your staying power. Of course, calling After Hours a “big break” for Abel Tesfaye is a bit of a misnomer. His previous two albums both netted him #1 singles and commercial success. But After Hours catapulted him into something else entirely, with “Blinding Lights” becoming the longest running song in the history of the Billboard Hot 100, 3 number one singles, half the album reaching the top 40, and the entire era being capped by a headlining performance at the Super Bowl halftime show. After the Super Bowl, The Weeknd began heavily hinting at something new, emphasizing it by changing up his wardrobe from the striking red suits that had defined the After Hours visual aesthetic. One phrase kept popping up: “the dawn is coming.”
That dawn finally came in early August, and despite the fact that “Save Your Tears”, the final single from the After Hours era, was still in the top 10, Abel went ahead and began what would end up becoming the Dawn FM era anyway. “Take My Breath” is a stomper of a nu-disco track. The kick drum hits with a heavy punch from the second the song begins, and is quickly contrasted with layers of shimmering synths and wordless soaring vocals. The single version gets you right into the fun of the song itself, but where the song really shines is the extended versions both on the single and final album that take their time, building up the anticipation and just letting you bask in the incredible production. In typical Weeknd fashion, the song itself contrasts a dancefloor rager disco track with darkly sexual lyrics, as Abel worries about his partner’s love of erotic asphyxiation, warning her not to go too far and end up dead because of it. The toxicity of dating Abel has always been one of the most consistent running themes of his music, but this is a fairly rare example in which he isn’t a negative influence in the relationship, which I’d consider progress. Of course, the lyrics are almost not important, as the sound of the song is such an immaculate recreation of the best parts of late 70s disco and 80s synthpop (with a dash of modern synthwave) that you could pretty much sing about anything over it and it would sound good. There’s a reason you could listen to “Billie Jean” without realizing it’s about a custody dispute or even The Weeknd’s own “In the Night” without realizing it’s about sex trafficking. When a groove is good, it can pretty much supersede anything else and take you away with the music. — ThereIsNoSantaClaus
40. Lana Del Rey — Chemtrails Over The Country Club
The title of this song is a perfect encapsulation of what the public image of Lana Del Rey has become, and she knows it. LDR has always been the master of her artistic image, to the point where she was relentlessly called inauthentic in her early career. From early on, the persona she created revered old men and older money. Today she sings less about her “daddies,” and now the wealth she sings about is of the West coast variety. No more houses on cape cod, now it’s laid back, it’s suburban, it’s trips to the farmers market, wearing turquoise and discussing astrology.
However, despite all the talk of country clubs and “coffee at the elementary schools,” she’s still under chemtrails. This is new Lana. She spouts conspiracy theories, she wears mesh masks, and she has some questions for the culture. But regardless of all her antics, she makes songs that are emotionally resonant even if they aren’t relatable to most. That’s her genius, and something that hasn’t changed as she’s aged.
Sonically, the track beings with Lana singing over a piano, and as the song builds, the atmosphere rises, enveloping the listener. A violin swings in, the vocals layer, a drum beats, and synths swirl. By the end of the song the drum has taken over, the other instruments fade out leaving the last 30 seconds with only drum. It’s lowkey but works as an emotional release after the slow build of the song. This song has my favorite production on the album; its structure pushes boundaries, while retaining a smooth flow. No one else could make a Lana song, though many have tried, and it’s because despite the stereotypes of her music, she’s always reinventing her sound. It’s this sonic innovation and her hopeless sincerity that keeps us listening. — ggal2020
39. Kero Kero Bonito — Well Rested
Kero Kero Bonito had another wonderful year in 2021, coming back with Civilisation II and being faced with acclaim by renowned publications such as Pitchfork and NME, and from popheads themselves.
Kero Kero Bonito’s ‘Well Rested’ is a house song with pop trappings that calls to mind influences such as Depeche Mode, and Bjork. It’s bright, peppy, and bubbly, reflecting the more innocent and positive outlook that defines Civilisation II, despite the dreary subject matter that the album itself deals with. Subjects such as colonisation, refugees, war, and the apocalypse are treated with delicate care, and the lyrics are quick to stress the importance of our own efforts and being a little more compassionate.
‘Well Rested’ itself is about the beauty inherent in humanity, framed as a rebuttal to the ideas and beliefs of doomsayers. It is a call to unity, one that would appear disingenuous or toxically positive if it was coming from anyone else but Sarah Bonito’s lips. The innocence, kindness, and whimsicality present in Kero Kero Bonito’s music mean that the kindness and call to arms in ‘Well Rested’ come off as sincere rather than hollow or as a desperate attempt to curry favour.
Sarah’s preaching, that may call to mind David Byrne’s preaching sermon in ‘Once in a Lifetime’, stresses the importance of caring for the environment and looking after the planet we call home. The lesson in itself is simple — we need to use the love inside of ourselves to care for our environment. It is framed using the mythical figure “Gaia”, who was the mother of the Titans, and the personification of the Earth itself. The idea is that if we show love to Gaia like she showed to her own children, and show that love to yourself, that when we return to Gaia’s bosom then we shall die happy and fulfilled.
At its core, ‘Well Rested’ is future-focused. It believes that things can get better, as long as we learn to love. Pitchfork said of the track, that the character Sarah was portraying is “perhaps not convinced of her own words”. I would argue that it seems more like she’s desperately trying to convince herself of her own words — that you can see the issues present in the world, and see the individuals trying to make a difference, and lift them up. It’s a highly optimistic message, but if anyone is to deliver it — then let it be from a band like Kero Kero Bonito, who have proven time and time again in previous albums, such as 2016’s Bonito Generation, that they can see the beauty in even the most mundane of things. — 2dina3dworld
38. Aly & AJ — Pretty Places
‘a touch of the beat gets you up on your feet gets you out and then into the sun’ was definitely one of my favorite albums in 2021. I always knew Aly & AJ because I was obviously a Disney (gay) kid, but I never really paid attention to them until this long name album was released and let me with my jaw on the floor.
Now, being specific, ‘Pretty Places’ is a beautiful song that takes you somewhere magical. I can’t really specify where, because in the same track, in the most cohesive way possible, you can hear synth-pop, some dance music wedges but also soft rock and a little country, while everything serves as a background for wholesome and emotional lyrics. To sum it up, the production and words lead you to a beautiful but unspecific place.
This is how the iconic sisters open this marvelous record giving us a hint: this is a roller-coaster, this will have a lot of different moods and genres, but in the end, this album and this song will definitely take you to some pretty places. —thegolding
36. Lil Nas X — THATS WHAT I WANT
From the moment I first learned of Lil Nas X , my attitude has been very much one of ‘You know what, i support him.’ Invoking the Issa Rae clause of ‘rooting for everyone black’ I absolutely had to. It just happened to be that much more of a bonus that i’ve enjoyed practically everything he’s put out since ‘Old town Road’. So when it when it was announced that he was going to be releasing his debut album in 2021 I sat patiently anticipating and wondering how it would hold up to everything else. The moment this song started on my first listen through of the album I knew it was something special, its a very bright sounding song that makes you want to jump up on your bed and scream it into a hairbrush and it manages to keep up that energy for the entirety of the song. Its just so fun. However on the flip side of it, theres also something about Lil Nas’ voice on this that perfectly rides the line of playful and desperate. Theres a desperation in how he sings the song that almost turns it into a yearning plea that absolutely comes across if you’re listening to this in a heartbreak mood, its 2 half steps and a bass guitar away from being a pop punk song. That blend of emotions combined with the absolute relatability that comes from identifying with LNX’s Queer Black background made this one of my favorite songs of 2021. — Roxie
35. Lana Del Rey — Dealer
‘Dealer’ is a stark step away from the largely piano directed Blue Banisters. A minimal percussive beat starts off the song as guest vocalist Miles Kane croons over a soft, nostalgic keyboard and a bass line reminiscent of a smoke-filled jazz lounge. Lana’s voice takes a step back from the verses while Miles pleads to be left alone through the people in his life that have already abandoned him. It’s a learned helplessness — he’s stuck in a cycle of being lost and not wanting to be found. Lana comes back in as a whisper, briefly duetting with Miles in a rising intensity of desperation until she yells with all she’s got: “I don’t wanna live.” She pushes her voice to its fullest capacity here. It’s strained, it’s hopeless, it’s anger, it’s mercy, it’s a release of all the shit she’s been carrying finally being set free. Moments like these feel like an intimacy between performer and listener, as we are taking in the breadth of her rage and her defeat as she pushes her voice to its limit. It’s a chorus both beautiful and crushing. Who knows what else we would have gotten from the scrapped collaborative album between Lana and Miles’ band The Last Shadow Puppets, but at least we can be thankful that ‘Dealer’ made the light of day. — HoudiniShuffle
33. pinkpantheress — just for me
Reading this will take longer than it takes to listen to the song.
Jokes aside, PinkPantheress is an English songwriter and producer who broke through the scene in 2021 thanks to Tiktok. Her breakthrough single, ‘Just for me’, was the song that put her on the map and made her known as a figure that’s here to stay. Months before release, PinkPantheress posted a snippet of the single’s chorus on Tiktok and it instantly became a viral hit. Being used for damn near everything on the app, this viral hit was able to land her a record deal with Parlophone Records and in August the single got officially released.
Getting production assistance from fellow English dance producer Mura Masa, ‘Just for me’ is an infectious and sombre breakbeat anthem about an unhealthy and obsessive crush that she has. “I’m obsessed with you in a way I can’t believe,” she sings, “When you wipe your tears, do you wipe them just for me?” Just as quick as the song comes, the song finishes up; yet, while short, it feels more than complete. And still, it leaves you coming back ready for more and more and more.
stalker tiktok hit anthem queen skinny legend versace boots the house down slay queen hunty mama and oop daddy work pinkpantheress snatch my wig — frogarananaman
31. Lana Del Rey — White Dress
Coming off her most acclaimed album to date, (as well as some self-imposed PR blunders) all eyes were on Lana to see what her musical output would be. While many would expect a big return for her, ‘White Dress’ feels almost completely unlike anything she has done before. While most of her previous work was filled with lush production and various Americana references, this feels like an almost stream of consciousness about her past. Jack Antonoff stated it was practically recorded in one take and “[Lana] was improving a lot of it”. Lana also strays away from her signature low sultry voice, into her upper range to give the song a nostalgic yet heartbreaking tone to it. As the first track on Chemtrails over the Country Club, it helps set the tone for the rest of the album, and the new era. Its lyrics and production are intimate and have Lana taking influence from more Middle America such as Heartland Rock and Country, compared to her earlier influence of the Hollywood Hills, California Beaches, and New York City clubs. — jman457
30. Charli XCX — New Shapes (feat. Christine and the Queens and Caroline Polachek)
Charli XCX has always been one to take cues from hip hop, and not in the way that most pop singers do. Sure, every pop princess has tried to incorporate some trap snares or Quavo into their bubbly sound, but Charli is more about the structure of the genre. When she began facing label intervention that prevented her from releasing more albums, she went around them and began putting out mixtapes. It gave her the freedom to take her sound in a less commercial direction, which coincided with the beginning of her now long history of collaborations with the PC Music collective. Songs like “Vroom Vroom” borrowed the braggadocio of hip hop and mixed it with the avant-garde, off kilter production of Sophie, A.G. Cook, and Danny L Harle, among others.
“New Shapes” is Charli’s version of a different hip hop trope: the posse cut. A few rappers get together and everyone gets a verse one by one, a chance to brag and show your comradery. It’s not often a song structure you see in pop music, which favors the duet (or in modern days, the rap verse) for collaborations between artists. While there aren’t the six different artists or a ridiculously long runtime that can happen with posse cuts on “New Shapes”, Charli, Christine & the Queens, and Caroline Polachek do team up with a similar structure. Both Christine and Caroline have gained positive attention in previous years by working with Charli; Caroline featuring on Pop 2 fan-favorite “Tears” and Christine on the critically acclaimed single “Gone” from Charli’s self-titled third album. “New Shapes” is probably more simplistic than either of those songs, mixing some glorious pop synths that feel more “DJ Got Us Fallin’ in Love” than the 80s revival they’re going for with lyrics about conflicting feelings of love and lament, but simplicity works for the song. It doesn’t want to reinvent the wheel, much like many posse cuts the goal here is to work off the personality and charisma of the featured artists, and that’s what the song does. It’s a song where you shout the chorus along with Charli and then longingly stare out a car window as Caroline sings her verse. It’s a chance for three of the most interesting pop acts of the current era to link up and have fun together. — ThereIsNoSantaClaus
“Charli XCX — New Shapes (feat. Christine and the Queens and Caroline Polachek)”
29. Marina — Venus Fly Trap
Ever since ‘Venus Fly Trap’ was teased via Marina’s social media accounts fans were hooked on it. The choreo, the energy, the attitude, it was all there! The second track on Marina’s Ancient Dreams In A Modern Land went beyond the expectations that were set for it. “Why be a wallflower when you could be a Venus Fly Trap?” The song that essentially stands as the thesis statement on Marina’s fifth album allows the Welsh singer to question the modern world and prioritize herself amidst a gut-wrenching breakup.
‘Venus Fly Trap’ set the record straight: Marina doesn’t buy into the false Hollywood gleam anymore, she got what she came for and more. On a deeper look, the song is a response to all the negativity that surrounded Marina’s fourth album. She also invites the listener to join her in taking a critical look at the facade of the modern world. Marina did so with the help of her well known vintage-inspired aesthetics in the video. From that short snippet to the mesmerizing visual, ‘Venus Fly Trap’ ultimately became a standout in Marina’s discography. And for the record, she’s a millionairess! — AHSWeeknd
27. Little Simz — Introvert
The opener to the acclaimed Sometimes I Might Be Introvert is a grand-sounding statement, coupled with lyrical introspection. As Inflo’s stunning production soars and choirs ascend in unison, forming a truly majestic backdrop, Little Simz ponders current injustices and her own insecurities. She completes this exploration of vulnerability with an empowering message: “I’m a black woman and a proud one”. The result is one of those rare songs that manage to sound simultaneously epic and relatable, while capturing the essence of our times’ hurdles — both inwards and outwards. — rubbie
26. Halsey — I Am Not a Woman, I’m a God
Halsey has been officially releasing music since 2014, yet in many ways, 2021 felt like something of a reset for Halsey, as they had a series of firsts. For one, she released her first makeup line, about-face, she starred in her first length feature film, and most notably, Halsey became a mother, their firstborn Ender arriving on July 14th. All of these components interwove with one another to lay the foundation for Halsey’s most complete and definitive music project to date; their fourth studio album, entitled If I Can’t Have Love, I Want Power, which was released to rave reviews amongst fans and music publications alike.
The lengthily-titled album’s pièce de resistance is this equally long-titled track, and for good reason, as it’s not only the lead single, but it’s also somehow one of the most accessible, catchy, and angst-filled songs on the album, all working in harmony to create a song which represents a completely authentic example of Halsey’s artistic vision to date: left-of-centre pop which can captivate audiences whilst still allowing herself to let loose with the vocals when necessary.
Lyrically, it describes Halsey coming to terms with their own gender identity, as she explained that pregnancy shifted her perspective on her own gender identity, encouraging her to present with “she/they” pronouns, outing herself as non-binary. “not a woman” sees Halsey proudly revelling in their enby identity, showing absolutely no restraint in her declaration by song’s end, especially on the final chorus.
That’s to say nothing of the fantastic production from Nine Inch Nails’ Trent Reznor and Atticus Ross, using their decades’ experience to deliver great production throughout the entire album, but especially on this track, as it feels like the perfect blend of both NIN’s industrial rock and Halsey’s dark pop aesthetics. Here’s hoping Halsey gets featured on a new Nails song because just one project between these two artists isn’t enough. —twat_brained
Intro & Honorable Mentions | 101–76 | 75–51 | 50–26 | 25–1 | Full List
