It’s July 1, so that means it’s time for my list of my favorite songs of the year as we hit the midway point. It’s been a great year so far, and whittling this list down to 10 was very difficult. But these 10 are the ones that caught my attention the most. Here they are in alphabetical order by artist. Enjoy.
BEST COAST – “FEELING OK”
The leadoff track from Best Coast’s fourth album California Nights, “Feeling Ok” is an early entrant into the Song of the Summer sweepstakes for me, although I’m sure I’m in the minority. Maybe in another universe where surf rock-influenced indie pop is listened to by the greater populace, I would have a case. But alas, “Feeling Ok” is just here for those of us lucky enough to find it. Bethany Cosentino and Bobb Bruno kicked off their latest album with a real shot of life, a perfect opener with an arpeggio melody running throughout over power chords born from the beaches of their native Golden State. Despite the sunny music, Cosentino seems broken in her lyrics, but there’s hope here too: “I know someday I’ll find it / Where I least expect it.” For now, roll down the windows, turn it up and you’ll feel ok, too.
KENDRICK LAMAR (FEAT. BILAL, ANNA WISE & THUNDERCAT) – “THESE WALLS”
It doesn’t feel right to pull just one song from Kendrick Lamar’s outstanding To Pimp a Butterfly for this list. Unlike just about all the other songs on this list, “These Walls” fits into the bigger narrative of an album so beautifully and to assess it outside that context seems cruel to the artist’s intent. But, “These Walls” deserves to be singled out thanks to its melodic guitar licks, easy flow, soulful construction and Kendrick’s verses about…well…just listen. It should be pretty clear. The overall feel is reminiscent of many of Kendrick’s breakout songs from his first two albums. “These Walls” takes an interesting turn late where he references a gang shooting that was a major subject in Kendrick’s opus good kid, m.A.A.d. city. No question, “These Walls” is a complicated song, from a complicated album by a complicated but hugely talented artist. All that informs its greatness.
MADEON (FEAT. PASSION PIT) – “PAY NO MIND”
French house and electropop producer Hugo Pierre Leclercq, aka Madeon, is just 21 years of age, but his debut behemoth of an album, Adventure, was made with the precision of someone with twice his experience. He amassed an impressive roster of collaborators for Adventure including Foster the People’s Mark Foster and Bastille’s Dan Smith, but his best collaboration is with Michael Angelakos of Passion Pit. The resulting “Pay No Mind” is a wickedly energetic pop ditty with huge choruses, bigger guitars (from Two Door Cinema Club’s Sam Halliday) and even more enormous synths. It’s my favorite song of the year so far, because it simply brings a smile to my face every time it comes on. It mixes Passion Pit’s sweetness with a killer dance beat not often heard on Angelakos’ own work. Thanks to songs like “Pay No Mind,” Madeon will follow in Disclosure’s footsteps as the next huge electropop star.
PASSION PIT – “WHERE THE SKY HANGS”
Speaking of Passion Pit, they’re back. I use the term “they” loosely: thanks to numerous lineup changes, it’s obvious Passion Pit is just Angelakos’ solo project these days. Despite that, Passion Pit still churns out excellent electronic pop songs his Angelakos’ signature angelic vocals. Kindred is likely Passion Pit’s weakest effort to date on the whole, but it has many high points, including the R&B groove of centerpiece “Where the Sky Hangs.” From that opening bass run to ending melody fade-out, “Where the Sky Hangs” slinks along unlike any Passion Pit song to date. The out-and-out electronic smashes of the first two albums don’t appear here, but that’s fine. I wish there’d been more songs like this on Kindred, but we can be thankful for “Where the Sky Hangs.” “I’ll take all that I can get / Just don’t make me go,” Angelakos sings in this one’s great chorus.
SLEATER-KINNEY – “A NEW WAVE”
After a decade on hiatus, Sleater-Kinney reunited this year to reclaim the riot grrrl throne they had a major hand in building in the ‘90s and early-’00s. Corin Tucker, Carrie Brownstein and Janet Weiss released No Cities to Love in January with more polish than any of their older releases, clearly drawing influence from contemporary rock like Arctic Monkeys in addition to their own gloried, gritty punk rock past. Of the songs to first appear in 2015, I like “A New Wave” the best, with its fuzzy guitar lines and Weiss’ phenomenal crashing drums. Brownstein’s voice darts out of the speakers and socks you in the face with its primal intensity. When Tucker and Brownstein shout “No outline will ever hold us” in the chorus, it feels breathtakingly true. The new wave in some ways feels like the old wave from Sleater-Kinney, but it’s great to have them back.
TAME IMPALA – “LET IT HAPPEN”
Tame Impala is ready to conquer the world with the soon-to-be-released Currents. Kevin Parker took his band to awesome heights on 2012’s Lonerism, but anchored by the psychedelic wonder of “Let It Happen,” don’t be surprised to hear Tame Impala mentioned in the same breath as the most popular rock acts out there soon. With “Let It Happen,” Parker and his mates go on a wild eight-minute journey, complete with every synth sound you can imagine, voice effects, distinct movements, a heavy guitar line that shows up late and Parker’s typical Lennonish vocals. This song is insane, and I love every second of it. You won’t hear anything quite like this from anyone else this year. “Something’s trying to get out,” Parker croons during one of the breakdowns, “And it’s never been closer.” Yes, Tame Impala is close to something huge, and “Let It Happen” is an incredible realization of their potential.
TOBIAS JESSO JR. – “WITHOUT YOU”
Are singer-songwriters making a comeback? If so, I’d expect the lanky Canadian Tobias Jesso Jr. to lead the charge. With his outstanding debut album Goon in tow, Jesso has drawn comparisons to ‘70s stars like Randy Newman and Harry Nilsson. I hear Nilsson most when Jesso sings, and hell, they both have signature songs called “Without You.” Jesso’s “Without You” is a gorgeous, tender piano ballad with sparse instrumentation that can bring even the hardest of souls to their knees. With his pal Danielle Haim tapping at the drums, Jesso loses himself singing about a love he can’t bear to lose. “I can hardly breathe without you / There is no future I want to see without you.” It’s so simple but says so much. And after you listen to “Without You,” be amazed by this: Jesso learned how to play piano only two years ago. I know, right
TORO Y MOI – “EMPTY NESTERS”
People who’ve read me here know I always appreciate when artists try new things. In the case of Chaz Bundick and What For?, his fourth album as Toro y Moi, this is an instance of an artist trying something old that sounds new for them. Here, Bundick eschews much of the electronic/chillwave music that established him as an indie star this decade for a very straight-forward rock album that harkens back to ‘70s-era classic rock. While it seems some critics dismissed this turn, I love it, and the change sounds no better than on “Empty Nesters.” The guitars are so full of life, the synth runs so fun, the higher-register vocals of Bundick so earnest rhapsodizing about growing up and moving on. “Covered and smothered by my high schools dreams / Call Mom and Daddy ‘cuz the nest is empty.” Bundick doesn’t just try something new on “Empty Nesters,” he dives in head first to outstanding results.
VIET CONG – “SILHOUETTES”
If you can get past the controversy about their name, Viet Cong is one of the best up-and-coming guitar-rock bands out there at the moment. These Calgary guys released their self-titled debut LP in January, overpopulated with dramatic guitar lines recalling Joy Division/New Order and Paul Banksian vocals from bassist Matt Flegel. That sense of building drama through awesome, ‘80s-tinged guitar rock comes through brilliantly on penultimate track “Silhouettes.” In several spots during “Silhouettes,” it feels like the band is about to burst at the seams. The shifting time signatures alone make it feel like a roller coaster ride. Drummer Mike Wallace does a great job keeping it all together with a sprawling drum performance that never lets up. “Relay, reply, react and respond / The simple task of turning it on / Only receiving electrical shocks.” Somewhere Ian Curtis is listening to this song cranked up as loud as he can.
WAXAHATCHEE – “UNDER A ROCK”
Katie Crutchfield doesn’t sound particularly pleased with the subject of “Under a Rock,” the best song on Ivy Tripp, the third full-length album from her indie rock project Waxahatchee (so named after a creek in Crutchfield’s native Alabama). “Maybe I let on that I was interested / In your brand of lonely,” she sings over the smashing cymbals and crunchy alternative-era guitars from her backing players. Amidst the rancour she directs at a probably soon-to-be-former lover is quite a bit of fun. “Under a Rock” a quick rocker reminiscent of Pavement and their ‘90s contemporaries both in sound and somewhat quirky wordplay. There’s something unique about a song this simple-sounding that sports a metaphorical lyrical riff about breaking into “a brick house you’ve built around your cranium.” Ivy Tripp goes in several different directions as an album (including several with very few instruments), but Crutchfield is at her best with the full-bodied rock of “Under a Rock.”