The tick-tock of time trips on and here we are again, old friends. Said the Gramophone. Best songs. By now I hope you know the drill. This world needs some kindnesses--it wants more peace, liberation, and music shared between strangers. So here's a pistachio, a ripe pear. Here are my 100 favourite songs of the year 2023; songs I love much more than doomed submarines (or basketball).

Earlier this year, I published by third novel--a book called Do You Remember Being Born? It follows the story of a fictional 75-year-old poet, Marian Ffarmer, who is hired by a Big Tech company to collaborate with their new poetry AI, Charlotte. The New York Times called it "timely and lovely," and there were also nice reviews in The Walrus, the Winnipeg Free Press and the Montreal Review of Books. I hope you'll order it, or take it out of the library; there's lots more information at my author website.

Said the Gramophone is an old blog (20 years!). We publish rarely. But there's still some value, I think, from hanging-in.

What you'll find below is my 19th annual list of the best songs in a given 12-month period. See previously: 2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2019, 2020, 2021 and 2022. I follow just one arbitrary rule: that no primary artist may appear twice.

The best way to browse the proceeding is to click the little arrow beside each song and then to listen as you read. The things you like you can then download by right- or ctrl-clicking with your mouse.

You can also download the complete 100 songs in three parts:

• songs 1-33 (268mb)
• songs 34-66 (206mb)
• songs 67-100 (265mb)
(mirror: part 1 2 3 / 1 2 3 / please share any others)
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This list is my work—me, Sean, and not any of Said the Gramophone's other past contributors. Don't blame them for my evanescing taste.

If this is your first time at Said the Gramophone, please don't hesitate to page through the archives. Papercuts await! You can also follow me on Twitter or read my books.

Among the artists below, roughly 40 are American, 23 are Canadian, 16 are British, and there are three Spanish artists, four Australians, two each from New Zealand, South Africa, Nigeria and Ireland, and one from each of France, South Korea, Mexico, Pakistan and newcomers Togo, Peru and the Netherlands. 35 of the frontpeople/bandleaders are men (the lowest ever), 58 identify as women, and there are 7 mixed duos. This is the way it worked out; it certainly ain't perfect. Here are some charts of this and past lists' demographics.

My favourite songs of the year do not necessarily speak to my favourite albums of the year. Songs and LPs are really different, and this year was a particualrly good year for long-players.

My favourite albums of 2023 were:

• Ben Howard - Is It? (sun-dazed, sea-sick indie pop / buy);
• John Francis Flynn - Look Over the Wall, See the Sky (daring & prismatic Irish folk / buy);
• Asher Gamedze - Turbulence and Pulse (wild and rustling jazz / buy);
• Lankum - False Lankum (more folk from Ireland, heavy as a meteor / buy);
• Philippe Brach - Les gens qu'on aime (a hilarious, audacious Québecois Sgt Pepper / buy);
• La Force - XO Skeleton (supple, hot-blooded indie-R&B / buy); and
• Daniel Villarreal - Lados B (more jazz, animated and warm / buy)

And now, without any more throat-clearing, a downtown car-chase of proudly mixed metaphors. And sentence fragments:

1. Feist - "Borrow Trouble" [buy] Pummelling and gorgeous, as if Lou Reed's Street Hassle had been transformed into battle-grade munitions. "Borrow Trouble"'s greatness rests on its 8-bar hook: a hoarse voice, that tambourine, and sawing, sawing, sawing violins. It builds nearly too much, slamming and sawing well after the apex of David Ralicke's sax solo, but nearly every time it ends I slam my spacebar to set it off again, those drums and those fiddles, Leslie Feist casting a net, a wish, to try to catch up some poor souls' woe.
2. Jorja Smith - "Little Things" [buy]
   A high-pace seduction, nearly breathless, except that Jorja Smith knows how to organize her respiration, she knows every trick: how to measure time, how to skip a beat, how to draw strength from dancehall, from jungle. And how to take an exit.
3. Mk.gee and Two Star - "Candy" [website]
   I like to imagine that New Jersey's Michael Todd Gordon grew up in a house where mum & dad played Jai Paul and Unknown Mortal Orchestra on Sunday mornings; that to him this was classic rock, alongside Prince and Peter Gabriel and Tom Petty; that he's not trying to make a future-music but some ode to an untrue past, where Sparks played the Super Bowl and opium got ate at the White House.
4. La Force - "XO Skeleton" [buy]
   "XO Skeleton" is the deeply addicting title track on La Force's second album--a tune about mortality and care that flexes, shimmers, iridescent as a beetle. I found myself returning to it over and over again--for the guitar's dissolving sound, for the plainsung short-story in its lyrics, for the step-by-step surprise of its chorus chords. Like true love, like a life, it never feels long enough. (Full disclosure: Earlier this year, I was paid by Secret City Records to write some promo materials.)
5. English Teacher - "Nearly Daffodils" [buy]
   An ecstatic, electrifying post-punk/spoken-word jam in the tradition of Life Without Buildings or Dry Cleaning. But sweeter than either of those bands, more candid and more sincere: Lily Fontaine's got some Emily Dickinson in her, she's taking her heart out of her pocket while the band around her runs laps, smashes walls, up-ladders and down-ladders with a precision that sounds like abandon. Presque. What a delight.
6. Dream Sitch - "A Loose Dust" [buy]
   Dream Sitch is a two-piece formed by Floating Action's Seth Kauffman plus Michael Nau, whose project Page France was one of my most treasured discoveries of the early Said the Gramophone days. Here, "A Loose Dust" shakes out its glory in a way that feels dusty and cumulative--bare-hand percussion, thin fiddle, a dialogue of guitars. A perfectly belligerent bassline: proof that good stuff something needs some sticking-to-it, some bare persevere.
7. Debby Friday - "Hard to Tell" [buy]
   The pièce de résistance on Debby Friday's Polaris Prize-winning Good Luck--part-alarm, part-consolation, Friday's coo entwined with the tune's noisy swerves. A soft song that stamps, smashes, its army-boots tied tight as prisoners.
8. ANOHNI ft. the Johnsons - "It Must Change" [buy]
   Fifteen years after releasing "Another World," my favourite song of 2008, ANOHNI offers a sequel--or perhaps a kind of retort. Back then, she was willing to make her plea feel restive, nearly peaceful. "I need another world," she sang, "a place where I can go." That song's force lay in its irony: the distance between the serenity of its sound and the sorrow of its meaning. A decade and a half (and 0.61°C) later, ANOHNI carries a different name and applies a different approach: "It Must Change" is about necessity, not hope. Action, not dreaming. Working with producer Jimmy Hogarth (Amy Winehouse, Paolo Nutini), ANOHNI builds her argument on the undeniability of a groove. Guitar, drums, strings; there's no turning your back on any of this, any more than you can resist tapping your toe. We're not getting out of here, a voice admits, and "that's why it's so sad," ANOHNI answers. Everything's always transforming. It's the only thing that could save us.
9. Helena Deland - "Spring Bug" [buy]
   As you will be in the process of learning, 2023 was, for me, a year in which I overenjoyed the fretless bass, and it's with the introduction of that instrument into this song--at 1:52--that "Spring Bug" raises itself up, like a teenager getting out of the pool, from harmless ditty to something with more portent. Deland's wise to it: the Montreal songwriter hasn't just written a song about love's first bite, but one that acknowledges the thing's poison, and the 4/4 march of time. Death awaits the swooners, too.
10. Sufjan Stevens - "Will Anybody Ever Love Me?" [buy]
    I have an old, deep reverence for a certain kind of Sufjan Stevens song, and here it is through most of "Will Anybody Ever Love Me?": guitar, voice, and a piano far too gentle for this world. The bombast stuff I can take or leave--I don't crave the choir, the Sunday-disco crescendo--but "Will Anybody Ever Love Me?"'s power rests in the noble, painful directness of its ask. "Will anybody ever love me?" he pleads, letting the question sound as thin, as desperate, as it is. Sufjan's done something amazing with the melody's overreach ("cast / me / out," "see / a / cloud," "anybody ever / love / me"); he can barely sing these lines, they strain just beyond his voice. The want of them (the prayer)--I recognize it. It's enough to break a stranger's heart.
11. Ben Howard - "Days of Lantana" [buy]
    Ask me what I like in a song and I'll answer in any number of ways. Some of those answers I don't know quite how to explain. Why is it that I so adore first words of this track? What makes them so fine? "Agatha and I / go..." That's it, sung all in one breath--a phrase that simply feels beautiful, like an opening incantation. Later, stay tuned for the line to return. Stay tuned also for 2023's best oboe solo. But "Days of Lantana"'s more than its oboe, its Agathas: like Kate Bush's "Hello Earth" or Mary Margaret O'Hara's "When You Know Why You're Happy," Ben Howard's song feels as sensitive as the palm of your hand. He's telling the story of a perfect day, telling it in tones of magic and mirror-world. Lantana's a place in Texas; it's a place in Florida; it's a flowering plant. It's all and possibly none of those things--and Howard's "Days..." sees the English musician flickering in and out of phase, superhuman. The production, by Bullion, feels 80s-tinged and, I don't know, solar? Light & warmth & a prismatic spectrum, qualities that bathe the gorgeous songwriting on Is It? and make it probably my favourite album of the year.
12. Noah Kahan and Kacey Musgraves - "She Calls Me Back" [buy]
    OK, I'm on board. Kahan's rootsy rocket-ship has lifted him from the woods of Vermont to the international stage (including Osheaga 2024!), but not without reason. He has a fine ear for melody, and the guy can sing--there's a rakish appetite to the way he gobbles up a chorus. He sings with a Cary Elwes smile. "She Calls Me Back" is frankly delightful, and I could listen all day to the way Kahan approaches the numerals "82-299-3167." I'm not alone, either: for this version fo the single, he enlisted satin-y country-pop star Kacey Musgraves. And she sings that number with just as much pleasure, as caught up as me in the thrill of the meter.
13. Lankum - "Lord Abore and Mary Flynn" [buy]
    Lankum's astonishing new album has made them one of the most important acts in contemporary folk music. It's a vision of Irish folk-song that's restless and alive, awake to real stakes--affiliated with old-fashioned harmony, noisy punk rock, and even a strain of doomy metal (for an example of the latter, check out False Lankum's outstanding opening track; await the howling banshee drop at ~4:00). "Lord Abore and Mary Flynn" is on the pretty end of that spectrum, painted in tones of green and golden harmony. But don't let looks deceive you: this is an old, grim murder ballad, with tragedy thrumming at its core.
14. Westerman - "CSI: Petralona" [buy]
    William Westerman never really explains the who, what, why, how of whatever crime(s) went down this day, but we know the where: Petralona, in Athens, where the singer had "a close shave," either literal or figurative, which left him reeling. "CSI: Petralona"'s dressed in acoustic guitar, sunshine, pattering drums courtesy of Big Thief's James Krivchenia. It smells of orange zest, sea salt. It dodges close scrutiny and some days I put it on like a shrug, walk around town with its partial reassurance.
15. Beatings Are In The Body - "Blurry" [buy]
    Last year, my friend Erika Angell (of Thus Owls) formed this band with two west-coasters, Peggy Lee and Róisín Adams: the thing I find rarest about their collaboration is the way this pretty music remains unsettled, unresolved, a thrown stone that is forever falling. Erika's voice searches & searches, and as responsive as Lee's cello is, it never actually offers an answer. It is merely a companion, a fellow searcher, in a landscape raised and lowered, like sheets, by Adams' cool piano.
16. Chris Staples - "Nasty Habit" [buy]
    A driving song, a swing-set song--just drums and guitar, Staples' dry mumble, and a little spritz of strings. Oh, and a mournful synth solo, like a plant that's learned to talk. Take a Springsteen track and reduce it, simmer it til it's thick.
17. Braids - "Evolution" [buy]
    I love the sounds of this tune, the layering of textures. Cloudy, clear, mournful, ripe; concise and also awash. A bouncing, climbing synth-pop tribute to love in its opening seasons. Do you really think it'll fall off? No way, no way, no way.
18. John Roseboro and Mei Semones - "Waters of March" [buy]
    You've got to be careful when evaluating a cover like this, of one of the greatest songs of all time. But the richness of Roseboro and Semones's "Waters of March" isn't just their careful, creative arrangement--with flutters of flute, the tiniest thread of dissonance--but the alert presence of their vocal performance. Roseboro, who is Haitian-American, and Semones, who is Japanese-American, offer (i think?) a best-ever version of Antônio Carlos Jobim's own translated lyrics, allowing his lovely rhymes to still feel offhand, instant, inventions arrived at together by two co-conspirators.
19. The Japanese House - "Boyhood" [buy]
    Months ago, I was struck by something Amber Bain said in the press release that accompanied this song: "I never had a boyhood," she said. "I often wonder how different it would have been if I did." It's a startling, thought-provoking question--especially for those, like me, who might have never asked anything like it. But then I also admire the grace with which Bain examines her answer: making it a song full of beauty, possibility, not some heavy, old-fashioned vision of masculinity. Produced by The 1975's George Daniel, it's a tune full of tiny handsome details, like the things a child discovers in the garden: ants, snapdragons, slugs.
20. Jamila Woods ft. Duendita - "Tiny Garden" [buy]
    A song about the heart: throbbing, gasping, bloody, life-keeping, living. Growing older every day. Jamila Wood has a way of casting heat--generating it, making warmth and temperature suddenly appear. She sings about butterflies and flowers without making the whole thing feel paper-thin or ephemeral: it's got playfulness and invention, glee and even a little loving mischief.
21. V/Z - "Suono Assente" [buy]
    The white sun above Bologna. The concrete patio beside a swimming-pool. The feeling of your skin after soaking in a salt bath: cool, dry, smooth as a piece of clay. V/Z make music like LCD Soundsystem in a kiln, their edges starting to brown.
22. Alex Banin - "Doc Whiler" [video]
    A singer singing midnight from inside a giant's belly, where she's been swallowed up. Dreaming & remembering; imagining a wish that could move through time like a fire through a book.
23. John Francis Flynn - "Mole in the Ground" [buy]
    Flynn takes on one of the most ridiculous tunes in the American folk songbook--"I wish I was a lizard in the spring / I wish I was a lizard in the spring," he intones, "If was a lizard in the spring I'd hear my darling sing." The Irishman shows no emotion, allowing the music around the voices to do all the work. Swooning cello, shattering electric squiggles, the drift of fingerpicked acoustic--the tumult feeling a little like Arthur Russell down a rabbit-hole, swinging at heirlooms. Look Over the Wall, See the Sky is among my very favourite albums of 2023, but I'm not sure if "Mole..." is representative--except as an example of Flynn's wild imagination, the variety of the secrets in his almanac.
    
24. Courtney Barnett - "Different Now" [buy]
    A beautiful, hearfelt cover of a tune by Chastity Belt, with the original's sour sorrow diffused into something warmer and happier, surer of its happy ending. Australia's Barnett offers a lucky kind of wisdom--the sweet kind, the kind you don't need to convince yourself to believe.
25. Being Dead - "Last Living Buffalo" [buy]
    As if Montreal's late, great Unicorns were a product of the American West: yahoo and riff-raff and canter-gallop to the edge of a cliff; stop dead. This is Roadrunner-Coyote music, family-friendly escapade music, as if John Wayne sipped a vial of Alice's magic liquor, felt himself being dragged down to the land of Rick Moranis.
26. Cleo Sol - "Old Friends" [buy]
    A gem from the first of two albums Cleo Sol released in 2023. (After releasing six records in 2022, Sol's band, Sault, uncharacteristically took some time off.) "Old Friends" is so simple, plain as a polaroid. Voice, piano, some vocal overdubs--that's it. A whole friendship, a love even, put to bed in two minutes and fifty-eight seconds. She has much to lament about the way this friendship led and leaned, but there's a deep kindness to the dignity Sol grants it--all the way down to the way the track ends, not abruptly but with a fade out.
27. Bb Trickz - "Missionsuicida" [video]
    Bb Trickz is a Spanish rapper named Belize Kazi; "Missionsuicida" is 88 seconds of bass pads, Catalan whispers and Law & Order samples. What I adore is the tangle of the thing, the way each bar drags the other one after it, like a three-legged race. You can't listen to one verse without listening to the next, you can't play it once before reaching for the keyboard to hear it go again.
28. The Clientele - "Blue Over Blue" [buy]
    Even after all these years, The Clientele are still finding new tricks in their gauzey, gold-threaded carpet-bag. There's more than the usual amount of Lennon-McCartney in "Blue Over Blue"--the juxtaposition of guitars, brass, and upright bass (plus Mellotron!), yes, but also the ambivalent relations in its heart. The "Norwegian Wood"-ness, in a sense. No one else in music makes melancholy feel so gleeful, something you'd clutch to your chest and run with, along the heath.
29. Doja Cat - "Fuck the Girls (FTG)" [buy]
    I'm too soft to fully appreciate Doja Cat's heel turn, but I love it when a pop-star confounds expectations--and whereas many of Scarlet's experiments feel like a valedictorian acting out, "FTG" sets its provocations against a straightforwardly sensational low end, a bassline as magnetic as a vein of neodymium.
30. Amaarae - "Co-Star" [buy]
    I like Amaarae's curr on this, the weight of her whispers, but the heart of its zodiac is the production (by Amaarae herself, with Kyu Steed, Kztheproducer and Cadenza). Harp, yes. A bunch of twinkles. But especially the intricate drum and synth programming, a core of afrobeats that lend gravity to what would otherwise have merely floated. For all its star-signs, "Co-Star" most succeeds most when it's dusty and earthbound, caught up in my feet.
31. Lana Del Rey - "A&W" [buy]
    Even by the standards of Lana Del Rey, "A&W" feels like an unusually accomplished artifact of Americana: a song of sex, TV and motels, explicit and also self-concealing, indebted to doo-wop and hip-hop and also Frank Sinatra. I find her work difficult to live with--too graphic, modeling the kind of femininity I don't know how to look in the eye--but with a song like "A&W" the likes of me can live beside, watching the mirror-ball's relections onto the wood vaneer.
32. Tara Clerkin Trio - "The Turning Ground" [buy]
    A song that feels as much like a doing as an undoing--one of England's best experimental rock bands making something that recalls Broadcast and The Stone Roses but also and Still House Plants and Rhythm & Sound. "The Turning Ground" is an endless outpouring, a guitar-line that empties out the world, oblivious to all the drums, synths, voices and bass around it.
33. Alice Phoebe Lou - "Lose My Head" [buy]
    Some garagey guitar-pop, kittenish and loose.
34. King Krule - "From the Swamp" [buy]
    Spotify says that--on that one narrow platform--King Krule's Space Heavy was my most-listened-to album of 2023. In a year like this I don't know if that's an endorsement. For me, Archy Marshall great talent is how he looks like a London hipster by feels like a Swamp Thing--and his music is accordingly half-art, half-marsh. Space Heavy carried me even when I didn't feel buoyant; it was a lake too thick to sink in. "From the Swamp" is perhaps the kindest of its tracks, a tune that will propel you out of the muck and into the real world, annointed and refreshed, with mud on your cheek like a kiss.
35. Baque Luar - "Brilha" [buy]
    Baque Luar are "a collective of female and non-binary vocalists and percussionists hailing from diverse backgrounds," based in London and devoted to Brazilian and Afro-Brazilian roots music. "Brilha" is their signature song, written by the group's Tuca Milan, and described as a tribute to Serra do Cipó. That's the background. And in the foreground: a rich, adoring hymn; a choir's voices united in paddle-swing; a rattling percussion that sends satisfaction scampering up and thumping straight down, planted like flower-seeds in the ground.
36. Dijon - "Coogie" [video]
    R&B that creaks. Kindling, smoke, and flare-ups of sheer feeling, bright enough to illuminate a room. As if D'Angelo had been hauled up from the dirt and was now in the process of self-reinvention, turning all that old wood to porcelain.
37. Lewsberg - "An Ear To The Chest" [buy]
    Rotterdam's Lewsberg play a dry, shiny indie-rock that feels like a diamond or a rhinestone, something that reflects the light right into your eyes.
38. Slow Pulp - "Slugs" [buy]
    That good old fuzzy bluzzy buzzy gruzzy rock'n'roll, red-cheeked from a kiss or maybe a knock to the face. With tiny flutters of digital distortion, shimmers to remind you Slow Pulp are Madison, WI in 2023, not East Kilbride ca. 1985. (Thank you, Vinny.)
39. Mac DeMarco - "20200817 Proud True Toyota" [buy]
    Perhaps you resisted listening to Mac DeMarco's 199-track-long One Wayne G. Well, I did it for you. This is the highlight,. A purring little number that's as smooth as a Toyota across new tarmac; the traffic-lights going red only long after you've gone.
40. Sun June - "John Prine" [buy]
    Austin's Sun June tell a scene in slow motion: driving, listening to music, drowsiness, endings. Laura Colwell's pace allows for each image to be drawn in disappearing ink; it has time to take shape, stand there, and ineluctably disappear. (Thank you, Adam.)
41. Melenas - "Bang" [buy]
    My favourite Spanish kraut-band return: "Bang" is a fantastic whirring Rube Goldberg machine, full of clever mechanisms and subtle astonishments, a chorus like Athena banging on the inside of Zeus's skull
42. Tyla ft. Ayra Starr - "Girl Next Door" [video]
    "Water" was 2023's big coming-out for the South African singer Tyla; I prefer her collaboration with the Nigerian pop-star Ayra Starr. For years now, South Africa has been nourishing one of the most sonically interesting sounds in the world: amapiano. It's a form of house music that doesn't necessarily have any piano; listen instead of deep, percussive bass-lines and fluttering, jazzy top-textures that bring to mind the motions of a mother-of-pearl comb. "Girl Next Door" inhabits a stratum of the atmosphere where I didn't realize humans could survive, let alone dwell, build a life inside.
43. Flagboy Giz - "Walking With A Gun" [buy]
    Flagboy Giz is a rapper from New Orleans, linked to the traditions of Mardi Gras Indians and to the Wild Tchoupitoulas Black Masking Indians in particular. "Walking With A Gun" is a bouncing, bucking pleasure, a song that stacks blocks of sax & drums over a seasick gospel choir. I like its tiny, DIY details--the recurring bell and barking dogs--but especially the lurching stride of Flagboy's voice, reminiscent of Busta Rhymes or even ODB.
44. Charlotte Cornfield - "Walking With Rachael" [buy]
    Songs about friendships are a special category of song, just as novels about friendships are a special category of novel, and Charlotte Cornfield's contribution to the canon is generous and slow, suffused with gratitude. There's no sweeter thing than the sound of a happy loved-one's happiness, and "Walking With Rachael" makes one love Charlotte a little, or at least care for her; it makes one long to know her, to be able to roam beside her and share in her fortune. (Full disclosure: Earlier this year, I was paid by Polyvinyl Records to write some promo materials.)
45. Lola Young - "Don't Hate Me" [video]
    A glorious tune that tramps around atop a cinderblock beat, as Lola Young spits all the insults she's heard from her guy and that she wishes she'd flung right back. It's a kiss-off that isn't--Young still sounds tangled-up, hopeful as well as furious. Listen for the moment when her voice breaks.
46. Philippe Brach - "Un peu de magie" [buy]
    "Un peu de magie," from Philippe Brach's extraordinary, psychedelic Les gens qu'on aime begins as a soppy campfire strummer but soon guzzles a bottle of brake-cleaner, finds electric guitars in the woods. The rest of the tune lives in the play between those two extremes--the crooner and the maniac, the pussycat and the raccoon. It's a song for lighting eyebrows on fire, for grinning despite (to spite?) the blaze.
47. Bory - "We Both Won" [buy]
    Baby-blue power-pop that feels like a picnic by a birdbath, or else someone pouring chamomile tea down the stairs. Marvelous.
48. Unknown Mortal Orchestra - "That Life" [buy]
    Dear old Unknown Mortal Orchestra--he's singing about something or other, part-Prince and part-"Penny Lane," but whenever I listen to this song the part I sing along to is the glittering, greasy guitar's. An onomatopoeia of delight, ringing and playful.
49. Justine Skye - "Whip It Up" [video]
    Justine Skye presents herself as a dessert, help yourself. The stuttering, ringtone synth feels like a time-machine, flashing you to the back of the R&B chorus, the beginning of the meal. Take another morsel, it's a bottomless plate.
50. Elisapie - "Taimangalimaaq" [buy]
    There's something expansive, maybe even transformative, about Elisapie's album of Inuktitut pop-song covers. Answering the colonizer in your own tongue; integrating Indigenous language into a pop-music canon; maybe just representing the broader reality of a Canadian present. Beyond all that, her re-interpretation of Cyndi Lauper's "Time After Time" is particularly special: a slower, softer acknowledgment of time's fleeting course, and love's quiet endurance.
51. Nana Benz du Togo - "TITE" [buy]
    Nerve-nimble dance-punk from Togo: a five-piece that shouts and sings over dry percussion and a cheap, sizzling synth. "TITE" feels like one of those bare, unimpeachable recipes, something we should all know how to make. Delightful.
52. Maya Hawke - "Honey" [buy]
    A cover of "Honey," originally written and recorded by the electro-pop artist Samia. Hawke--Ethan and Uma's daughter--doesn't quite reimagine it: both "Honeys" live in the same wistful space. But I like the way she strips it of drums, makes its languor sinuous and choral.
53. Men I Trust - "Ring of Past" [buy]
    Give the bassist a raise; he seems like he's been training in a work-pit for the past eight years, living on beetles, dreaming of when he'll finally be able to put back on his silvery onesie, rejoin his hit Québecois indie-pop group.
54. Freak Heat Waves ft. Cindy Lee - "In a Moment Divine" [buy]
    If you ever get trapped down a well, bring an old boom-box, an amulet, some Carl Craig and Prokofiev cassettes. (Thank you, Brennan.)
55. Militarie Gun - "Do It Faster" [buy]
    1:48 of blunt force, the cryptographic key to the attack being Ian Shelton's pronunciation of the word "stooge." Militarie Gun's melodic hardcore bops and grooves in the chorus, but the real joy's in the 1/1/1/1 of the verses, the whole band hammering away at the same delicious sweet-spot.
56. Arlo Parks - "Jasmine" [video]
    Arlo Parks covers Jai Paul's "Jasmine", one of the most inventive & distinctive songs of the past 15 years. But instead of shaving off the hard bits or undoing it completely (turning it into bluegrass, say, or bossanova), she bravely crafts her own inventive, distinctive arrangement: this version's got more scamper to it, even more bend; a little more body and less of a sense of breath.
57. The Bug Club - "Marriage" [buy]
    A Welsh band operating from somewhere inside the Franz Ferdinand-Art Brut nexus, yet holding these influences lightly, prancing around a fruit-tree with a puckish sense of pleasure. The guitar-chug's serious, the boy-girl interplay decidedly less so; but I love the little details that point to forethought & rehearsal--rhyme, harmony, "la-la-la-language" and so on. (Thanks, Michelle.)
58. Tiny Ruins - "Dogs Dreaming" [buy]
    "Like the melody 'Blue Moon,'" sings Hollie Fullbrook, "the spell--it broke too soon." A very pretty tune from the New Zealand folk-pop group, the play of B3 organ like a valley full of wildflower. (MVP, as usual, is the bass.)
59. Mitski - "Bug Like an Angel" [buy]
    Mitski's made a song about addiction which feels almost upright, noble--something dignified in the way it stands up and faces the music, or in the choir of sturdy voices, the singers standing shoulder-to-shoulder. It's a dignity that's owed to everyone, no matter how much they've ruined or broken, how long they've been caught in the syrup trap. (Thank you, Matthew.)
60. Mustafa - "Name of God" [video]
    Mustafa the Poet is absolutely one of the most fascinating artists in Canada, a musician whose iconography and subject-matter frequently gesture toward hip-hop, but whose sound hews closer to Sufjan Stevens or Bon Iver. He deploys soft, sumptuous folk-music to tell stories that are specific to him (a Black Muslim) and where he comes from (an underserved community of Toronto); much of his music has been a music of mourning, and it feels deeply unfair that "Name of God" should be another lament--grieving the death of Mustafa's brother, earlier this year. Somehow he has survived these tragedies, moving through them with open eyes, and learning a way to write about faith, truth and trauma that feels deeply understood and prematurely wise.
61. Burna Boy - "Big 7" [video]
    I'm no musicologist, I don't know anything, I'm just a puppy-dog panting hungrily every time Burna Boy rings the bell of "Big 7"'s hook.
62. Ali Sethi and Nicolas Jaar - "Nazar Se" [buy]
    Following on 2021's fantastic "Yakjehti Mein," the Pakistani singer Ali Sethi and the Chilean-American electronic musician Nicolas Jaar released Intiha, a collection of intimate, intricate compositions, of which "Nazar Se" is the highlight. It's a song that feels like a poem, skimming across the surface of the evening. Wait for the long pause in the track's closing moments--when the music resumes, it's the same but different, something subtly changed, a jazz come awake in the corners, the impression of delight untapped and hiding in the stillness.
63. Jean Dawson ft. SZA - "NO SZNS" [video]
    My favourite SZA track in the year 2023 was this guest-appearance, where the appears like a dryad, a summer spirit, stepping out from behind a tree in time for the second verse. This, a song of seasons, draws its force from a straining, plaintive vocal line, but the music around it is gorgeous, adorned with flute and the impression of a bigger, teeming world beyond the limits of one's head.
64. Boygenius - "Emily I'm Sorry" [buy]
    No, it isn't just "Emily..."'s allusion to Montreal, but I gotta confess--it doesn't hurt. Phoebe Bridgers' musical apology gains great strength from its we-ness: the sense of a song sung with other sisters, companions, the way wisdom's something we are gathering together with the other souls whose lives we are knitted up in & with.
65. Odumodublvck ft. Cruel Santino and Bella Shmurda - "Dog Eat Dog II" [video]
    This gloomy Nigerian track, a sequel to the 2022 original, feels linked to a rock/hip-hop sound that extends back from Lil Uzi Vert through Miguel and DMX, all the way back to Run-DMC. At the same time, Odumodublvck's violet melancholy is linked to a younger, Afrobeat influence--the two braid together here, integrated and intertwined, like sadness and Sunday nights.
66. En Attendant Ana - "Wonder" [buy]
    What seems at first like a winsome, pretty bit of indie chanson takes a hard right-turn into treadmill-BPM motorik and eventually full-on rock catharsis, as if these French girls in their miniskirts have fastened their helmets & bungee cords and jumped straight off a cliff.
67. Scott Orr - "Dark" [buy]
    Hamilton, Ontario's widely underrated Scott Orr sends "Dark" up into the air not like a handmade rocket or a wounded bird but like a paper lantern, just some wood and some tissue and a flame, a thing that should be too heavy to fly. I love the diffuseness of his ambient bedroom music, the characteristics that make it less like a pop-song and more like a mist or a perfume.
68. Mannequin Pussy - "I Got Heaven" [buy]
    A wildly tasty, bratty rock tune, all noise and snarl and hooks. As if Sarah McLachlan lived in a horrible boot.
69. Buck Meek - "Mood Ring" [buy]
    I appreciate most the interference Big Thief's Buck Meek instils into this track, the tangle and sparkle and sound that get in the way of it being a plain and straight-ahead folk tune, that make it reflect more brokenly in the mirror.
70. The Drums - "I Want It All" [buy]
    The Drums use the first 50 seconds of this track to put on their in-line skates. But then they're on, the rollerblades I mean, and off they go: "they" is just Jonny Pierce, he's plural, he sings as he goes, rounding each corner, skipping the curb, throwing shapes and stealing hearts, just a little wiggle in his jeans.
71. 7038634357 - "Square Heart" [buy]
    The easy cliché would be to call it a song for a depressed AI--but I admire the sensitivity of Neo Gibson's synth composition: the creation and interruption of rhythm, the use of syncppation and silence. It hints at a wakefulness, a future, for this narrator who sings about drowning; it introduces a tension that points through the cloud. (Thanks, Bries.)
72. Apollo Ghosts - "Gave Up The Dream" [buy]
    All these songs this year about coping with giving up; and so many of them merry + undeterred. Vancouver's Apollo Ghosts frisk and tambourine, flinch and fall in love, they shout-out the Silver Jews with mild abandon. The thing to do after falling down is, obviously, get right back up.
73. Overmono - "Good Lies" [buy]
    A tumbling snowball of intercut vocals and sighing synths, a pinwheel rainbow that doesn't seem as it might ever need to stop, it might go on forever, maybe it will. (Thanks, Steve.)
74. Cola - "Keys Down If You Stay" [buy]
    The promise, hopefully, of an album yet to come--deeply analog, undigital, the ring of electric guitars and an aneurystic stutter, blood on the brain, blood on the brain, a wandering eye that fixes on a lover. This is what I want from Tim Darcy: rock'n'roll that wobbles, that recognizes its weakness and all-redeeming limp.
75. Carly Rae Jepsen - "Shadow" [buy]
    A song like a precise arrangement of gleams--its subject only discerned by careful observation of where the gleaming isn't.
76. Wednesday - "Chosen to Deserve" [buy]
    Lap-steel-tinted indie rock that rests on the axis of Karly Hartzman's rich, expressive voice. Riffs that feel like bales of hay--spots to hide needles, or to engage in a little arson.
77. Noname - "Namesake" [buy]
    An excoriation of the international war machine and musicians' complicity with it (Noname included!), set atop a groove as tight as a hunting snare. Yet Noname's too smart to make this a rant: "Namesake" contains diversion, sleight-of-hand, lots of shifting space. (Thanks, Eric.)

78. Slowdive - "the slab" [buy]
    What's the word for a flat, thick piece of something--of sound, say? Of flickering and humming guitars? A layer atop which you could build a home or a town; or in which some artifacts could be caught and petrified, preserved for a better time?
79. Kylie Minogue - "Padam Padam" [video]
    There's nothing worthy here except the chorus, but honestly what a chorus. You hear it in the city, you hear it in the country, you hear it pumping from a 20-year-old mp3blog, and you think: "Can I hear that again?" Minogue's still got it, singing these four syllables like they're sorcery. Maybe the rhythm's physical, maybe it's sexual, maybe it's a pendulum counting down your seconds... One way or another, it will get its grip on you. (Too bad we have to put up with the verses.)
80. NewJeans - "Super Shy" [video]
    Another of this year's (frankly disappointing) pop entrants, K-pop that squirms like a silverfish, all decked out in the 90s, stepping and stepping and folding back again, reset, like a broken gif.
81. ALL HANDS_MAKE LIGHT - "The Sons And Daughters Of Poor Eternal" [buy]
    La Force's Ariel Engle and Godspeed You! Black Emperor's Efrim Manuel Menuck with the kind of track that doesn't feel at home on this list, a hot coal among hockey pucks. Synth seethe and feedback drone, with a rising drumroll, and Engle's portrait of the noble everyday ordeal of the poor: "O sister we saw hell, it's fluorescent above / a white plastic table, sticky and one bent leg barely holding." Radiant and sad and beautiful.
82. Rosalía and Rauw Alejandro - "Beso" [video]
    A cozy, bounding love-song by Rosalía and her ex 🥲 , the verses like volleying kisses and the chorus like hands clasping hands, two companions boarding their own private plane.
83. Zach Bryan - "El Dorado" [buy]
    I guess I've been pronouncing "El Dorado" wrong.
84. Tommy Lefroy - "Worst Case Kid" [buy]
    Lefroy's a duo with a bit of the Bridgers affect (or maybe it's inherited from Taylor Swift), but I like the rude and chunky rock'n'roll behind them, its contrast with the bee-stung pout. Smash through some drywall, then sit down in the debris and cry.
85. Oisin Leech fr. M. Ward, Tony Garnier and Steve Gunn - "October Sun" [buy]
    A song like a slow exhale, a languorous sigh, as the forest fires' smoke rises up and swallows the house. Produced by guitar adventurer Steve Gunn.
86. Sofia Reyes and Danna Paola ft Kim Petras - "tqum (remix)" [buy]
    At long last, a Spanish-language Mexican-German pop crossover. "Te quiero un montón," Reyes and Paola declare--"I love you a lot," and Petras is ready to take up the charge, all of then dancing around in a sparkling, clobbering beat. The whole thing feels compressed, as if pressure was applied until it could fit inside a can.
87. Jana Horn - "The Dream" [buy]
    The image of a bird as it strikes the window; a song that began as a poem. "Maybe it knows something we don't," Horn says. But the heart of this song is not, for me, its words: it's the story spun by Horn's guitar, wise and daring, uncowed, exploring the dark corners and the bright skies and everywhere answers might hide.
88. Squirrel Flower - "Canyon" [buy]
    Here, meanwhile, is a song that needs no quest, no illumination: "Canyon" knows exactly what is saying, in time-lapse toss and smash. Heavy, fiery, predetermined--the story of a singer's surrender, her inheritance, the way lost things still long to get back. (Thanks, Steve.)
89. Free Range - "On Occasion" [buy]
    A homemade treasure, creased and crumbed, stained with tea or tears or teasing. Music with just enough bramble in it, a little stalk and thorn. A group of friends playing music in a room, using guitars (and some kind of elephant-trunk synth) to make each other smile.
90. Empress Of ft. Rina Sawayama) - "Kiss Me" [video]
    R&B-tinted pop whose cascades of piano feel deeply familiar, the stuff I used to hear on Magic 100.3 in 1994; maybe it's ripped off from somewhere, I can't place it, wikipedia isn't helping, but it might in fact be original, an act of imaginary dejà-vu, a seed implanted in my brain, I feel like lip-syncing into the mirror, where did I find this wig, why am I posing and preening, why am I blowing you a kiss?
91. Jolie Holland ft. Buck Meek - "Highway 72" [buy]
    A homecoming kinda song, one for the recovered and born-again, the ones who found strength in the invisible. You should know by now how much I'm a sucker for a rusty violin; but I've been a sucker for Jolie Holland's singing even longer than that, since someone sent me a copy of Catalpa some 20 years ago, when my heart was young.
92. Sofia Kourtesis - "How Music Makes You Feel Better" [buy]
    A song that is its own description, "How Music Makes You Feel Better"--a sonic prescription by one of this year's breakout electronic artists, a treatment or a pill, a remedy, bass + voices + swishy-swishes, call it a multi-vitamin, it does what it says on the bottle.
93. Ruth Garbus - "Mono No Aware" [buy]
    "Mellow music / makes me feel better / It changes everything / except my mood." These are the words of Ruth Garbus, championing the value of the blues. She parcels out her syllables like they're tablets in a rainbow plastic pill organizer; the whole matters more than one piece. "Mono no aware" is Japanese--it means that objects can make us feel things. Songs can too. They are invisible objects, articles without weight or surface - pure power. This one is the equivalent of a small Honda, a boulder the size of a shed.
94. BAMBII ft. Lady Lykez - "Wicked Gyal" [buy]
    Toronto's BAMBII enlists the London rapper Lady Lykez for this irrepressible banger--a tune that quivers like a shaken soda-can, exiting and scary just to be around.
95. Becky G and Peso Pluma- "CHANEL" [video]
    I'm heartened by the continued rise of corridos tumbados, even if I don't understand enough Spanish to fully appreciate the genre. The idea that this can be a hit song, a song for young people--with its Spanish guitar and traffic-jam of horns: it widens the possibilities for pop, for tomorrow's hit and mainstream music. I love the contrast of Becky G's lazy vowels and the studded trumpet notes, the perky, playful tension that dances in that distance.
96. Royel Otis - "Sofa King" [buy]
    That feeling when a jawbreaker's been hanging out in your mouth a long time; your whole mouth's gone lazy and sweet, you feel like an outfielder with a chewing tobacco problem, you feel like you're talking with an accent even when you're keeping mum. Royel Otis are from Australia, they fall in love easily, they configure their guitars to make them sound like the good old days. (Thank you, Vinny.)
97. Fenne Lily - "Lights Light Up" [buy]
    A little bracelet of riffs, here you can put it on, it looks good on you.
98. Bry Webb - "Modern Mind" [buy]
    This song is here because it deserves to be. It's here because I'm so happy to hear Constantines' Bry Webb again. It's here because I could listen to him sing "veni vidi vici" all day every day, I would tattoo it on my arm if I could make it clear it was him who was saying it, that it doesn't just mean I conquered but, in a way, its opposite: that you can only conquer after you've given up, winning only counts if you understand what it is to lose.
99. Allie Kelly - "Gun Shy" [video]
    "Gun Shy"'s girlishness is deceptive, cover for a grotty pop-song, principled and adamant. Allie Kelly's got a chorus of furious, spurned strut--furrowed brow, balled fists, a determination that pours off her in waves.
100. Hayden ft. Feist - "On a Beach" [buy]
     Hayden (and Feist) at #100, for symmetry. Mr Desser has never sounded milder--lazing on his beach chaise, taking in the waves, sipping a slowly warming drink. To be honest, I fear he sounds a little too mild - the burbly synth bits can't conceal the slight dopiness of what he's up to here, the total lack of neuroticism, a laissez-faire deferral to whatever lines worked at the time. "We're on a beach / Oh yeah, we're on a beach," they sing, "We're drinking income taxes and you're fond of me." It's not perfect but it'll do, it'll carry us like a budget-airline to any paradise we're willing to settle for.

Leave a comment if you like? Tell a friend?

And see you, I hope, when the wind changes.

Hi everyone! Can you believe it's been a year? It's been a year. You deserve a hug, a rest, a fruitcake. Here's some plain green tea, here's a priceless emerald, here are my 100 favourite songs of 2022: songs I love more than new kings, cold soup, or downloading my private data from an obsolescing social media network.

This was a good year for music. There was something encouraging about the weather: a sense that somehow despite all the economic forces stacked against them, musicians were up to stuff. Scenes were happening. New sounds were blowing in.

Said the Gramophone is an old blog and we publish rarely. For the past year or two, the place has been regularly, uh, hacked. Literally, hacked. I'd like to protect the ole' site by upgrading its (pretty big) archives from Movable Type to Wordpress; this requires some advanced stylesheet and javascript jiggery-pokery, and it's beyond my abilities. I don't really have any money to spend, but if you're a generous & experienced CSS wizard/WordPress mechanic, and think you might be able to oversee this, please get in touch. (I've already received some wonderful support from Anthony--thank you!)

What you'll find below is my 18th annual list of the best songs in a given 12-month period. See previously: 2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2019, 2020 and 2021. I follow just one arbitrary rule: that no primary artist may appear twice.

The best way to browse the proceeding is to click the little arrow beside each song and then to listen as you read. The things you like you can then download by right- or ctrl-clicking with your mouse.

You can also download the complete 100 songs in three parts:

• songs 1-33 (311mb)
• songs 34-66 (241mb)
• songs 67-100 (252mb)
(mirror: part 1 2 3 / 1 2 3 / please share any others)
If you have problems with pop-up ads I recommend installing uBlock Origin.

This list is my work—me, Sean, and not any of Said the Gramophone's other past contributors. Don't blame them for my teetering taste.

If this is your first time at Said the Gramophone, please don't hesitate to page through the archives. Papercuts await! You can also follow me on Twitter or read my books: I'm the author of two novels—Us Conductors, from 2014, which reimagines the story of the theremin, and The Wagers, a novel about luck. My third book, Do You Remember Being Born? will be published in Fall 2023 with Astra House 🇺🇸 and Random House Canada 🇨🇦; it's the story of a poet who goes to California to write a poem with an AI. Learn more about these—or get the ebook/audiobook/French/Italian/Czech translations—via my author website.

Among the artists below, 36 are American (the lowest ever), 19 are Canadian, 18 are British, and there are seven Nigerian artists (the most ever), two each from Sweden, New Zealand, Australia and Japan, and one from each of Norway, Jamaica, Brazil, Ireland, France, Colombia, South Africa, Spain, the Congo, Denmark, Mexico, and Guatemala. 51 of the frontpeople/bandleaders are men, 48 are women, at least one identifies as non-binary, and there are 0 mixed duos. This is the way it worked out; it certainly ain't perfect. Here are some charts of this and past lists' demographics.

My favourite songs of the year do not necessarily speak to my favourite albums of the year. Songs and LPs are really different; this year especially, a lot of my favourite music can't rightly be recommended in the form of single 2-8 minute "tracks."

My favourite albums of 2022 were:

• Big Thief - Dragon New Warm Mountain I Believe In You (listen/buy);
• Caroline - s/t (listen/buy);
• Branko Mataja - Over Fields And Mountains (listen/buy);
• Lisa LeBlanc - Chiac Disco (listen/buy);
• Daniel Villarreal - Panama '77 (listen/buy);
• Fortunato Durutti Marinetti - Memory's Fool (listen/buy);
• Oren Ambarchi / Johan Berthling / Andreas Werliin - Ghosted (listen/buy);
• Shabason & Krgovich - At Scaramouche (listen/buy);
• Vieux Farka Touré and Khruangbin - Ali (listen/buy);
• Florist - s/t (listen/buy); and
• Sam Gendel - blueblue (listen/buy).

And now, without any further rigamarole, a dirigible of proudly mixed metaphors:

(original artwork by Midjourney - gulp)

1. Harry Styles - "As It Was" [buy]
   2022 was one of those years with a song. Not a song that encapsulates a feeling or represents a moment, but one that simply registers - a "that one pop-song" to have heard and possibly fallen for, like "Call It Maybe," "Paper Planes" or "Gangsta's Paradise" (rip). When I ask people what they've loved this year, "As It Was" is inevitably the one they say at the end - "and that Harry Styles song, of course" - and it's astonished me that so many of the year's Best Songs lists underrate it. Because - of course. Light-years better than anything else on Harry's House, light-years better than almost anything else on the radio - and among the longest-running #1 singles in Billboard history. "As It Was" was written by Styles and two other pop pros, but there are other artists' fingerprints all over it: the synth-pop influences of A-ha and the Weeknd, the bee-stung melancholy of Clairo and Rostam.

   "As It Was" is a skimmer, not a millstone. It starts and stays airborne, bearing the listener with a magnetic, silvery force. There's no real catharsis, no real release - just the pleasure of a sorrow only lightly held, on the verge of being discarded. Keys glimmer and bells toll; drums dog-trot on, with a medallion swinging 'round their necks. Late in the song, Styles does his best John Lennon megaphone rant; you have the sense of a man who relishes the chance to represent his musical country, to stand up and do whatever's necessary for the tune.

2. Caroline - "Dark Blue" [buy]
   I missed "Dark Blue" when it was first fired up into the sky, a lonely roman candle, almost three years ago. But credit the algorithm, Facebook's dark and malevolent magic, that offered Caroline up to me when they came to town this fall. In a matter of days, this sprawling English band had become my favourite discovery in years: a group of droning, noisy, wistful seekers that inhabit the spaces between Songs:Ohia, Mogwai and Maher Shalal Hash Baz. Their self-titled debut album became one of my most-played records of the year, its grooves nearly worn through, and I can't remember the last time I was more determined to attend a gig than the night they played La Sala Rossa. Throughout it all, "Dark Blue," Caroline's opening track, remained its rarest treasure: a song of longing that feels like it exists just on the verge of achieving; a song of veering fiddles, of weaving electric guitars, of bass-drum thump, that sounds like a wish not quite fulfilled.
3. Big Thief - "Change" [buy]
   Big Thief's "Little Things" was my #1 tune of 2021; "Change" is the next best thing on Dragon New Warm Mountain I Believe In You, a record which transformed the way I feel about this band, which catapulted them high into a gallery of folk-rock clairvoyants. It's the album's opening song, a tune as soft as a first touch - but it'll reach right into you, a hand through skin and sinew, lending a shimmer to the place your heart beats.
4. Chronixx - "Never Give Up" [buy]
   Produced by Inflo, because everything great seems to be produced by Inflo, and galvanized by its delicious guitar and bass; but illuminated by Chronixx, the singer at its centre, whose reggae has that rare, beacon quality: it needs only flash at you, catch your eye the once, to make you change your course.
5. Shabason & Krgovich - "In the Middle of the Day" [buy]
   Joseph Shabason's a friend of mine now, but Nicholas Krgovich is not - he's a singer I've followed for more than 20 years, since his days in P:ano and No Kids. So I hope he won't mind when I describe some of the lyrics on At Scaramouche as "lightly silly." Not, like, Monty Python silly - but Aki Kaurismäki silly, or Don Delillo silly, or Phife Dawg silly. It's an approach learned from hip-hop, I'm certain, even if Krgovich is applying it to a music more closely linked to dewy-eyed bedroom singers and the lo-fi indie rock of the Pacific NW. "In the Middle of the Day" is like a damp, sensuous revision of "Fools Gold." Krgovich croons carefully over breakbeats, keyboards and a surprisingly wakeful electric bass. Shabason provides synth flutes, scratched trumpets, and a squelch like sentient lichen. "Tempted to 'Rock Around The Clock,'" goes the slow-motion second verse, "and ignore what I can. / Lil' discomfort / a mild upset / swirl of dead leaves collect." Truly, there may never have been a pop song to so vividly bring to life the comfort and sag of a sprawling afternoon.
6. Rosalía - "SAOKO" [buy]
   One of my dearest modern artists returns with a song which thrusts and stomps and constantly thwarts expectations. Yes, there's sway and gnash, the jut of a cocksure chin, but Rosalía is fearless with her song-structure and even "SAOKO"'s interjections: I still can't get over the jazz piano break that comes 90 seconds into the track.
7. more* - "I Believe In You" [website]
   "I Believe In You" has the lope and longing of a classic 70s singer-songwriter tune, Jackson Browne or even Harry Nilsson, with a little filigree of fake-choir + and baroqueish fingerpicking. He's singing about making a choice - him or the other guy, you gotta pick - and honestly it's hard to imagine anyone picking somebody else, not with a song like this, the kind that lights candles with its gaze.
8. Bibi Club - "Femme-Lady" [buy]
   Montreal's Bibi Club is a collaboration between the real-life couple of Adèle Trottier-Rivard and Nicolas Basque, who plays with Plants & Animals. Their debut, Le soleil et la mer, is a tribute to going out and also to staying in - a record that registers the rapture waiting even in your own living-room, dancing with the people you love. "Femme-Lady" is a nickname for a beloved family heirloom, a pineapple-shaped chandelier, and the song that bears this title shimmers with a similar sense of dearness and play. Inspired by Stereolab, Neu and Alice Coltrane, with the mingled voices of Trottier-Rivard's mother + sister and the filigreed curls of Basque's guitar. (Full disclosure: Earlier this year, I was paid by Bibi Club's label to write some marketing materials.)
9. Rahill - "Haenim" [buy]
   "Haenim," by New York-based Rahill, is a cover of a 1973 single by the South Korean artist Kim Jung Mi. Rahill translated the original lyrics into Farsi, and she sings handsomely, in an undecorated voice - but the masterstroke is the way she reinforces the second, downward-rolling half of the main instrumental melody, with piano as well as guitar. This small change gives "Haenim" an even stronger sense of nostalgia and inevitability, a comforting solidity that makes it a perfect tonic for the end of a hard day, or the closing credits of an imaginary Wes Anderson film.
10. Thus Owls - "I Forget What I Remembered" [buy]
    Imagine a naturalist standing in the grass at nightfall, a staff in one hand, a net in the other, watching the fireflies come out. Imagine a detective on the trail of a thief, six months into their investigation, at the moment the trail of footprints disappears. Imagine a musician lying on the floor, staring at a revolving ceiling fan. Erika Angell sings a set of interlocking questions, grasps at a set of interlocking answers: "How true can anything become / and how do we know the difference?" Saxophones lift and get lost; Simon Angell springs traps with his guitar; Sam Joly plays his drums as if eVeRyThIng's jUsT fIne, don't worry, we're almost there. (NB: Thus Owls are dear friends - and I wrote their bio.)
11. Carla Morrison - "Diamantes" [buy]
    From Mexico. Measured and addictive, with a chorus that rises from troposphere into mesosphere, high enough to feel a meteor brush by.
12. Hikaru Utada - "Somewhere Near Marseilles" [buy]
    A hard left turn for the long-time j-pop star, which follows last year's disclosure that they're non-binary. "Somewhere Near Marseilles" is spasming, technicolour acid house, with a sound that bends and dilates over its 12 minutes. Produced by none less than Floating Points (see last year's album with Pharoah Sanders), and it speaks to the producer's enduring breadth, and his ear for collaboration. Utada has conceived of something here that lives in a supple, yearning space between Beth Orton and Daft Punk.
13. Paul Dally - "Back of a Cab" [more]
    Despite its singer's Merle Haggard-like tenor and the song's background twang, "Back of a Cab" is most closely aligned to an obsolete Manhattan anti-folk. Dally's drum machine patters; a cheap acoustic rings out; he repeats his sloppy, catchy supplications. It's like an ode to an unscratched itch and also the scratching of that itch, straightforward and nourishing.
14. Florist - "Sci-fi Silence" [buy]
    A song that moves on moonbeams.
15. Tove Lo - "No One Dies From Love" [buy]
    Tove Lo's become my favourite purveyor of trashy Scandi-pop: "trashy" because she always feels like that guest at the party who's trying a bit too hard, shouting out swear-words or stripping off her shirt. In that sense, "No One Dies From Love" shows surprising restraint: it's just Ebba Tove Elsa Nilsson singing that her break-up's going to kill her. "No one dies from love / Guess I'll be the first," she explains. "Will you remember us / or are the memories too stained with blood now?" Classy!
16. Fortunato Durutti Marinetti - "All Roads" [buy]
    I love this low, slow album by Fortunato Durutti Marinetti, aka Daniel Colussi - a record that evokes, for me, Songs from a Room, Pink City and Chris Cohen's Overgrown Path. Colussi snatches from "Street Hassle" and "Astral Weeks" for the spirit of "Memory's Fool" - a sound that feels like onwards & upwards + also onwards & downwards, a reminder that moving into the future isn't only abandoning the past but discovering that it stays with you, stuck like a burr or perhaps like the sweat on your back, regret and tooth decay, the faint impression of a kiss. Singer-songwriters are a dime a dozen; I'd give Fortunato Durutti Marinetti a dollar, I'd give him ten.
17. Sleepy Hallow ft. 347aidan - "Die Young" [buy]
    "Die Young"'s strange magic comes down to the involvement of 19-year-old 347aidan, aka Aidan Fuller, from Cambridge, Ontario. Maybe he lives in New York now, maybe he and Sleepy Hallow laid down tracks in a Flatbush studio, maybe 347aidan's drooping and generic, maybe he's already lost any of what set him apart. But on "Die Young" he still had it - a strange magic i said, strident and yet also somehow fumbling, world-weary and childlike, a looped sample that feels like a kid calling sadly down the hall, "I don't want to die young!" So don't, Aidan. Go to school, take care of yourself, be good.
18. Dry Cleaning - "Anna Calls from the Arctic" [buy]
    Dry Cleaning make a case against invention. They use an old recipe: post-punk zig-zag, guitar labyrinth, a singer singing nonsense overtop. But they're refined it, reinvented it. Florence Shaw doesn't quite sound like anyone else. Her bandmates don't either. "Anna" gives a whiff of Baxter Dury or Life Without Buildings or Robert Wyatt, but what's a whiff? As the song goes on the weather comes in. Nothing feels settled or complacent. There's no invention, but the reinvention's rich: the words, the music, they glitter. It is excellent; this is sufficient. I mean, just listen:
    Nothing works
    everything's expensive
    and opaque
    and privatised.
    My shoe organising thing arrived
    thank god
    I don't want to go on about it
    but we're back in business.
19. The 1975 - "Wintering" [buy]
    I do adore "Part of the Band," but the chorus (of all things!) is a weakness, and so my pick from Being Funny in a Foreign Language is this, a kind of Christmas carol - a manic end-of-movie everything-is-happening tribute to going home, and going mad, and how you can never really go home, not really, but you love your family, you love being alive, you love the snowflakes wheeling wildly on the grass. The 1975 and Rosalía are the only major contemporary artists I can imagine ever paying to go see in an arena, not just because they make good music but because of their appreciation for theatre, spectacle, and the braiding of meaning and affect.
20. Men I Trust - "Billie Toppy" [buy]
    I like this twist for Montreal's Men I Trust - a turn toward what's noir and spidery, mysterious, like the car-case at the heart of a Murakami novel. And then the chorus: glittering like the interior of someone's Paula Abdul-themed jewelry box.
21. The Golden Dregs - "American Airlines" [pre-order]
    In a pantheon of weird modern songwriters, the Golden Dregs' Benjamin Woods could pose on a pillar next to Aldous Harding, Cate Le Bon and Benjamin Clementine. He sings "American Airlines" like a Disney-animated St. Bernard - in a sloughy, genteel baritone that makes delicious contrast against his band's tasteful soul. There's a world contained within this song, one with different gravity and governments.
22. Brad Barr - "Two Hundred and Sixteen" [buy]
    Solo guitar from one half of the Barr Brothers (i was hired to write his bio for this album) - a track that has stayed with me, a kind of haunting, the kind of music that feels as if you've always known it, like the lines on your hand.
23. The Nunnery - "Floating Garden" [buy]
    "Your Woman," "Hide and Seek", "Fiya" - the long tradition of a one-person band making a mini bedroom masterpiece. "Floating Garden" sounds like spun gold and sturdy carpentry, Sarah Elstran's hand-hewn love dancing on the head of a pin.
24. Destroyer - "June" [buy]
    This tune only truly reaches lift-off in its second half, with a (brilliant) knock-knee'd guitar solo and an extended spoken-word breakdown. Bejar steadily goes off the rails - or really just climbs onto narrower, faster, weirder rails, a monorail heading across the bay and into a tunnel, where shadows skew and loom, where animatronics stutter-stop, and pitch drifts, and a cow-bell comes roaring out of the dark. "Flippin' the pages of Chatelaine..." "Absent friends," he later asks - "Where'd you go?"
25. Rozi Plain - "Prove Your Good" [buy]
    "Now the favourites are changing," Rozi Plain intones, on a song that balances its ominousness and its gift. You've been carrying something for a long, long time and you may finally put it down. Art-pop from England that flinches and settles in equal measure, unsettled and kind.
26. Congotronics International - "Super Duper Rescue Allstars" [buy]
    Members of Konono No.1, Kasai Allstars, Wildbirds & Peacedrums (and many others) come together here to absolutely crash through Deerhoof's "Super Duper Rescue Allstars" - with help from Deerhoof themselves. It's noisy and messy and jubilant, like a paper dragon run through a shredder and fired up as confetti.
27. Sault - "Life We Rent But Love Is Rent Free" [buy]
    Once, in a park in Kraków, I saw a small rock combo performing on a stage. All the performers were priests, actual priests - young ones - performing to a crowd of nuns. Toes were tapped, feedback was loosed, God was praised. Sault are from England, not Poland; they're one of the most gifted R&B acts int he world. (After releasing my favourite song of 2020 and another album in 2021, they released six LPs in 2022.) But I'm reminded of Kraków's holy racket listening to this dusty, lo-fi praise music; I'm even reminded of the grey light.
28. Zion & Lennox X Danny Ocean - "Brisa" [video]
    Said the Gramophone regulars will have registered my affection for steelpans, however fake they may be. And "Brisa"'s panning certainly doesn't feel real: it feels studio-engineered, optimized, a Puerto Rican virus unleashed upon the world's parties. But every time the drums pause + the steelpans count down I'm ready for another drop, my fists are bunched and I'm grinning.
29. Alvvays - "Tom Verlaine" [buy]
    Whether it's Molly Rankin's private heartache or an answer to Tom Verlaine's own tune, "Tom Verlaine" has a vividness that changes the afternoon + ripples the air. Rankin's voice is like the bluest end of the spectrum, a place where harmonies start to come apart.
30. Bandmanrill - "Don't Make Me Crash" [video]
    "Don't Make Me Crash"'s unlicensed sample has swept it from the upstanding corners of the internet, but the world needs "Don't Make Me Crash" - it needs its lush assailing hunch, its sturdiness, its Honey I Shrunk The Kids approach to Miguel, with the singer transformed into a ululating mini-Grimes.
31. SCUDFM - "One Thing" [buy]
    Jarvis Cocker and Sleaford Mods on the French Riviera, reclining in chaises longues, telling it how it is. Also: flute.
32. Carly Rae Jepsen - "Western Wind" [buy]
    You're nearly there, just two more steps, the whole valley's going golden. Unhurried, peaceful, with a drumbeat tugging toward a future.
33. Wizkid ft. Skillibeng & Shenseea - "Slip N Slide" [buy]
    When you pick up a nice new floaty and toss it into the pool, steadying yourself in the sunshine before you attempt to jump on top.
34. L7nnon and Os Hawaianos ft. DJ Bel da Cdd & DJ Biel do Furduncinho - "Desenrola Bate Joga de Ladin" [video]
    I love this lurching, queasy tranche of Brazilian funk carioca, a track that sounds like a CD that's stuck and skipping. If at first it sounds broken, give it a moment to reset and start again: like the limp of an evil mastermind, the squint of a beauty. 129 million views and counting.
35. Alex G - "Runner" [buy]
    A kind of bromance anthem, but sewn through with goodness and warmth and a sort of musical nobility. Despite Alex G's yowl, despite his promise of having done "a couple bad things," the band's all upstanding, ceremonious, like a gazebo.
36. Florence + the Machine - "Free" [buy]
    A whirl-around-the-room kind of marvel, Florence Welch's luscious singing nailed in place by the tidy tick-tock beat.
37. Karol G - "Provenza"" [video]
    Karol is unrelated, first of all, to Alex. A successor to Shakira, she is probably my favourite of the current slate of Latin American pop-stars, and "Provenza" was a worldwide hit - I discovered it browsing YouTube's global music chart (544m views!). Still, it's an unconventional hit, most easily comparable to Drake's "Passionfruit" (a mere 135m views): melancholy, understated, content to await your attention. But I have spent some hours listening to it on loop, listening and moving to its weather.
38. Mabe Fratti - "Esta Vez" [buy]
    Fratti is a cellist living in Mexico City. Her forward-facing (mostly) acoustic music has a little of Duval Timothy to it, a little of Arthur Russell's oaken folk, but the structure of a song like "Este Vez" follows its own refreshing grammar. It's a song filled with entrances and only few exits: the accumulation of new forces, like winds swirling through a vestibule.
39. Cate Le Bon - "Moderation" [buy]
    A birthday cake with tasty little pearls of antifreeze.
40. Future ft. Tems and Drake - "Wait For U" [buy]
    Speaking of Aubrey, here he is with Future and the Nigerian singer Tems, gliding through shadows and flipping coins. I don't care about lyrics in a song like this - it's all vibes, wistful vibes, a hip-hop of receding protagonists.
41. Flock of Dimes - "Pure Love" [buy]
    Lilt and squiggle with just the right amount of thump: Wye Oak's Jenn Wasner creates a New Wave tune with style, verve and real force. "All my loving," she sings - part-lover, part inter-dimensional siren - as if the Beatles' '63 single was left to grow in the heart of a star.
42. Another Michael - "Water Pressure" [buy]
    Look at these likeable youths, listen to their likeable harmonies, a folk-rock of friendships and spearmint and sundown's orange light. "What am I gonna do? / Good water pressure could come through," sing Philly's Another Michael, as if a public utility is a moral good, as if you could fix the world by burning some CDs for your pals, slipping them into a padded envelope. Maybe so.
43. Zinoleesky & Tiwa Savage - "Jaiye Foreign" [video]
    I don't rightly understand the meaning of the words "Jaiye Foreign," nor how a Black Nigerian man took up the nickname Zinoleesky. It doesn't necessarily matter: "Jaiye Foreign"'s weird ripple lets it skip all around a room, delighting the ear. The richness of contemporary afrobeats: a sound that feels like it could contain everything, like it's big enough to interpret the whole world.
44. Old Fire ft. Bill Callahan - "Corpus" [buy]
    It starts out a little shaky, but by the mid-way point on "Corpus," I'm sitting contentedly in Bill Callahan's thrall. Old Fire cast a spell of guitars, strings and drones - they slow down the light until I can see each individual photon; until I can hear wavelets moving across the bay. Like a Serge Gainsbourg tune at half speed, and more beguiling than anything (for me) on Callahan's own 2022 release.
45. Nilüfer Yanya - "anotherlife" [buy]
    The unreality of a break-up, captured in Nilüfer Yanya's lyrics but also the crystalline inventions of "anotherlife"'s sounds. The London singer sounds like she has one foot in today and another in tomorrow, she's forward-looking and also brooding, ready to move on just as soon as the stars change.
46. Evan J Cartwright - "and you've got nobuddy" [buy]
    A little Calvin Johnson, a little Lester Young - lo-fi folk that dips and pivots like a skater in the bowl. A cherubic troubadour, backpack full of Dickinson.
47. Beirut - "Two Blue Eyes (BER-ABQ Version)" [buy]
    This is the Berlin-Albuquerque version of "Two Blue Eyes," but it's not clear to me Beirut's ever released another version. In it, Zach Condon asks a question that many people have asked before: "Did I fall in love with you, or did I fall in love with California?" The implication, imho, is that it was probably California. That's OK, forgiveable. California's very nice. And, in general, this music's dulcet rhythm seems to lend agreement. It'll be all right, it seems to say. Everything will be fine.
48. Saba - "One Way or Every Ni**a With a Budget" [buy]
    Saba raps and sings about being a little rich: not a blues but a blue-gold-greys, a mixture of pride and resolve and a crumb of trouble. Already he's developed a taste for sweetness, luxury, string sections. "One Way..." sounds good, like it was purchased at an expensive store; put it on your mantel.
49. Asake ft. Olamide - "Omo Ope" [buy]
    Nigeria's answer to Bad Bunny, Asake is a man who knows how to stand and regale you, how to show off a watch. He and Olamide could start an ice-cream shop and just stand outside, talking about the ice-cream, never serving a single scoop. I can imagine the line.
50. Jenny Hval - "American Coffee" [buy]
    Hval's astral soprano leads us from shimmering memory into a vivid, groovy present - a woman at the cinema with a painful UTI; a vision of alternate lives, paths not taken. It's electric and alive, the sort of art that stuns you with its imagination: a musician can do anything, make any sound, tell any story, do it however they want, imagine!
51. Caitlin Rose ft. Courtney Marie Andrews - "Nobody's Sweetheart" [buy]
    A country-rock duet in dusty rose and black pepper. Rose and Andrews' voices meet at a kind of mirrored edge, the same knifey interval that gives the McGarrigle Sisters their savagery.
52. Widowspeak - "Everything Is Simple" [buy]
    I'm not sure who Molly Hamilton is singing to or against - herself? an idol? an enemy? Singers tend to hide the truth, she breathes. What do you expect, it serves them well / to edit anything that's fit to tell. It's a song that feels like hypnosis: dark chords, a pendulum swing, the sense of falling into (or out of) a dream.
53. Cass McCombs - "Karaoke" [buy]
    Cass McCombs makes his question thrillingly literal: are you, a karaoke singer, karaoke-ing me? Are you for real? The gift is the pleasure of it all, the tempo and arrangement - a reminder of all the times you've enjoyed a lie too much to call it out.
54. Pheelz ft. BNXN - "Finesse" [video]
    More Nigerian R&B, occupied with the usual stuff: desire, decency, the decision whether or not to "Netflix and chill." This no fugazi, Pheelz sings, in the Sicilian sense, and although I don't quite believe him I'm delighted to hear him plead his case.
55. Nick Hakim - "Happen" [buy]
    A song so drowsy it begins to come apart, its coupled molecules drifting out toward the Kuiper Belt.
56. Drake - "Sticky" [buy]
    Never mind what Drake's going on about - just turn up the volume and pour yourself through the night, down the tunnel like a fast car, all the light unnatural.
57. Mon Doux Saigneur -"Art vivant" [buy]
    Ringing, triumphant power-pop from Montreal's radiant & bloody Mon Doux Saigneur. A love song for a person you've not seen in forever - a promise that it would be a good time if you went out tonight. Listen to those guitar runs, the crash of the lovestruck cymbal.
58. Georgia Harmer - "Headrush" [buy]
    There's a certain kind of rock'n'roll that doesn't feel as if it should need a dry space, electricity. You should be able to play it at the bend of a river, in the middle of a field, somewhere moss is growing and birds can land.
59. Beyoncé - "Break My Soul" [buy]
    My ambivalence to house and disco makes Renaissance a bit of a tough sell, but whenever "Break My Soul" comes on, the whole room starts to bounce. More than anything, I admire Beyoncé's singing: she makes the choice to be present, alive, where a lesser star might content herself with a riderless horse.
60. Sylvan Esso - "Didn't Care" [buy]
    Sylvan Esso's Amelia Meath writes a messy, deconstructed song about falling in love with someone she doesn't even like that much, whom she never dreamed about - even if now, well, she's "in awe." I love the tune, the wriggle of it, the hope (and the bass!), but tbh, Amelia, I'm not sure this is going to work out.
61. Jnr Choi ft. Gunna - "To The Moon (remix)" [video]
    There's not much to this song besides Sam Tompkins' hook, but mood, mood, mood - moonlight piercing the night like a dagger, icy cold.
62. Flume ft. Caroline Polachek - "Sirens" [video]
    The deadly kind of sirens, I figure, not the wet, French kind. Or maybe the kind that howls on the top of an ambulance - listen to Polachek's voice, oddly sweet underneath all that digital writhing. Mozart might have liked this kind of electronic music, at least after a mild concussion; imagine him in his Viennese bed, a wet cloth over his brow, waiting for the throbbing to subside.
63. Cash Cobain & Tata - "Back It Up" [video]
    Reminds me of "Racks on Racks" with its ceaseless chatter - but Cash Cobain's much more friendly than Lil Pump, he seems like he'd buy you a drink, invite you to an escape room; like maybe he'd be good at pinball, at filleting fish, and at the end of the day he'd put on a good song. Yes, Cash and Tata would like some ladies to press their butts to their mid-sections, but the former at least understands he must issue an invitation, and maybe close with a handshake.
64. Dougie Poole - "High School Gym" [buy]
    Dougie Poole's got a dream, a sour and golden one. It unfolds over four minutes of patient, vaguely psychedelic country, and the music perfectly captures the feeling fo the words: the glow of remembrance, the candlelight of it, even when the memory's not so nice. Sometimes remembering's about savouring, reliving; other times it's about revising: pretending you can roll the dice again.
65. Dunnie - "More (ko ko ko)" [buy]
    There's a little of Brazilian "cucurrucucú" in this orange-slice of Nigerian pop - Dunnie pours a little sugar, pours a little more, until "More" can't bear any more, it's sweet enough to hurt your teeth. A serene honeytrap.
66. Yoko Ono and ANOHNI - "I Love You Earth (Thomas Bartlett remix)" [buy]
    This too might have been too sweet, but Thomas Bartlett (fka Doveman) transfigures the collaboration between Yoko Ono and ANOHNI (fka Antony), rearranging its crescendo into a distorted, occasionally mournful arc. I love the juxtaposition of ANOHNI's polyphonic cybernetics against Ono's fragile, aging humanity. Bartlett's piano is just right, dark as a smoke-soaked night sky.
67. Frankie Cosmos - "Empty Head" [buy]
    A song about spilling-over, the too-much inside, and also about stillness, silence, and maybe a love-song too, a song about the see-saw life, the way it is and isn't and therefore always is.
68. Charli XCX - "Lightning" [buy]
    You can use the first minute of this song to lay out and sweep a checkerboard dance-floor, polish it to shining, so that when the song shifts gears - elevating in a series of assonant syllables, light/ning/light/nin' etc. - you're all set, ready to throw shapes and do the splits; I don't want anyone to get hurt.
69. Li'l Andy - "In a Gingham Dress (analog tape Version)" [buy]
    For 2022, Montreal's Li'l Andy created an omnibus of an album: a 2XLP+novel imagining the story of a fictional country singer, Hezekiah Procter, who tramped through interwar North America with a band of like-minded fools. Andy recorded two versions of each song: one on ca. 1937 wire recorder, the other on a half-inch tape machine. This rendition of "In a Gingham Dress" comes from the second collection - and I love the glee of it, the rambunctious joy, as Andy + a fiddle + a banjo + an unfettered sousaphone clamour about a pretty girl and their Saturday-night plans. It's the kind of song you want to crowd into a cabin with, let it claw all over you like a cat.
70. Aldous Harding - "Leathery Whip" [buy]
    Part-vixen, part-gremlin, New Zealand's Aldous Harding creates a music that's as tempting as it is discomfiting, unsettling the listener who dares to lay his head on her shoulder. I can't quite tell you what "Leathery Whip" is about, but it's hideous and mischievous and also a little exciting, like an imp who is occupying a section of your night-table. Harding plays with her voice, from sneering falsetto to sly cowboy drawl, with additional help from producer John Parish - whose tremoring harmony is wonderful, horrible (and perfect).
71. Julia Michaels - "Sorry To Me Too" [video]
    I like the unblinking skip-skip-skip of this, Michaels' blubby ballad set to an arrangement that won't wait around, that's in a stupid hurry, as if sorrow can be rushed past if you only run fast enough.
72. JID ft. 21 Savage & Baby Tate - "Surround Sound" [video]
    JID's flow just pure entertainment, a rat-a-tat of rhyme that twists and kinks around a "Ms. Booty" sample; then 21 Savage with his own dark-mirrored bid. The track resets at the half-way mark, offering a second solution to the same puzzle, extra instructions I'm not sure we need.
73. Dehd - "Window" [buy]
    Like Phil Spector or the Jesus & Mary Chain, the kids in Dehd recognize the virtues of a kick-drum. "Window" is all electric guitar and hoarse throats and BOOM BOOM BOOM, a shining tumult meant to wash the glass clear.
74. Sha EK ft. PGF Nuk - "We Droppin'" [video]
    The hardest song I loved in 2022, just ferocious, with a wobbling rhythm that feels like falling down Cooper's Hill.
75. 070 Shake - "Cocoon" [buy]
    Blackly rippling, with an oxycontin shiver, "Cocoon" is all tension and release, tension and release, as if a single EDM drop could be distributed into a complete stockade: an array of heart-plunging epiphanies, none of them really earned.
76. Casey MQ ft. Petal Supply - "Telephone Light" [buy]
    Glistening, glorious hyperpop, made mighty not by its pitchshifts but by the verve of its original singing: the streeetch of the vocals, vowel-sounds bending, like fairies naming their pets.
77. CMAT - "Lonely" [buy]
    Glorious, savvy, Irish country music, mildly evocative of (Englishwoman) Katy J Pearson's marvelous "Willie of Winsbury" from last year. CMAT is aka Dublin's Ciara Mary-Alice Thompson, with a voice as coppery as her hair. Small details - plucked banjo, lap steel, her own backing "ah-ah-ahs" - make the whole plaintive thing feel jeweled, a mournfulness like a bijou in your drawer.
78. Lewis Capaldi - "Forget Me" [buy]
    I could not, despite my efforts, convince my partner about this song. Maybe that's to her credit. But I love the brash candour of Capaldi here: the relentless way he sings his affections, calls for love, like Phil Collins after a chocolate-strawberry energy drink.
79. The Beths - "Expert in a Dying Field" [buy]
    "Expert..." makes an interesting triad with Tove Lo's #15 and Nilüfer Yanya's #45: three women's break-up songs, each one a different configuration of sadness, rage and resignation, each one illuminating a different corner of the ever-after. The Beths' spiky pop-punk is undercut by Elizabeth Stokes' mild sing-song, her level-headed analysis, but there's something pointed to that tension, too: the irony's aimed at someone, like a poisoned dart.
80. Spoon - "My Babe" [buy]
    There's a ghost in the piano. As Britt Daniel sings to his darling, heat rising, eventually the thing's gonne have to be replaced. And only electric guitar will do.
81. Fontaines DC - "Jackie Down the Line" [buy]
    There used to be a bar in downtown Montreal, around the corner from the HMV, where old dudes bought pig's-knuckle sandwiches and sat staring out the window, sipping from giant brown bottles of beer. I spent New Year's Eve there once, had an incredible time.
82. Two Shell - "home" [buy]
    A little slip of gauze, stuck in a ventilation shaft.
83. Rema - "Oroma Baby" [buy]
    Nigerian R&B with style and smarts. Give a prize to the little whirr in the periphery of this song, like a vibrating phone and a whooping crane; makes you want to buy a new appliance, get a bird, slide in next to Rema and see how he makes it work.
84. Gilli - "Baianá" [website]
    The Danish rapper Gilli samples Barbatuques' riotous "Baianá" to impressive effect, tossing easygoing rhyme over jew's harp and gang vocals. A song at the intersection of Anderson.Paak and Le Mystère des voix bulgares, with a silly and contagious essence.
85. Pup - "Robot Writes A Love Song" [buy]
    Pup pay tribute to Grandaddy, telling their own reedy story of a kind-hearted robot. It being Pup, the volume eventually arrives: a dazzling and extended chorus, worthy of a pogo-ing Toronto crowd.
86. Fresh Pepper - "Congee Around Me" [buy]
    While Joseph Shabason perfumes the air, the Deadly Snakes' Andre Ethier and Bernice's Robin Dann sway and stir (rice porridge). Literally the greatest jam ever written about one of my favourite breakfasts. (Worth listening just for their "Mushrooooooms!")
87. Beth Orton - "Friday Night" [buy]
    A song about staying in with a good book on Friday night. And of missing someone terribly, like a wound. And of love. Beth Orton was a foundational voice for me, one of those artists who widened the world of my imaginary. Hearing her here, like this, the years audible in her voice, the wisdom and acquired grace, makes me feel deeply content - and also sad, not for her but for me, at all the roads untravelled, the parallel futures that never came to be. Because you must choose one.
88. Kendrick Lamar - "United in Grief" [buy]
    I will not pretend to be the biggest Kendrick Lamar fan: my brain's too crummy to lyrics, and the elastic of his rhymes don't always twang into my ears. But I love here the energy generated whenever "United in Grief" moves from open piano chords to compressed drums, like a companion that keeps changing shape, he can be whatever you need, fox or raven or magic sword.
89. Kate Bollinger - "Running" [buy]
    Despite its title, despite its lines about hurrying, striving, trying, "Running" is delivered in slow motion: a blossoming at petal speed, subtle and restive, with some of the loveliest guitar-playing in the year 2022.
90. Haim - "Lost Track" [video]
    A miniature, an ornament, throwing light around the room.
91. Tyla - "To Last" [video]
    R&B in a play of textures: verses so soft they could almost come apart, punctuated by lacquer-hard instrumentals, wordless almost, after every chorus. It makes the whole experience tactile, more touched than heard.
92. Julia Jacklin - "Just To Be A Part" [buy]
    Julia Jacklin's cover of the Bill Fay song takes a once-mighty devotion and slowly, purposefully dismantles it. A lover mourning the barest remainder: nothing left than the wish to have been a part of the other person's life. (Thank you, V.C. McCabe)
93. Kwesta ft. Kabza De Small, Masterpiece YVK & Papta Mancane - "Mrholo Wayizolo" [official]
    The South African rapper Kwesta first caught my ear with "'Ngud," one of my favourite tracks from 2016. He has this deep voice - so cavernous it feels like it would have stalactites. On "Mrholo Wayizolo," he teams with Kabza De Small, who is among the leading producers of amapiano, and their sounds make for a fascinating mix. "Mrholo Wayizolo" is an ear-massage operating at multiple frequencies - close-up and distant, subterranean and squeaky. It's so effective that it feels nearly purifying, like a week at a Cape Town spa.
94. Lydia Képinski - "Vacances-travail" [buy]
    There's a kind of road-trip that takes place at a turning-point in a relationship, a crease, and the plainest details acquire a nearly psychedelic force - like eating a too-hot pepper, the way the candles on the table gain a halo. Over subterranean bass, jolly simulated marimba, Képinski sings the dry sweetness of a journey like this: when everything might be changing, or nothing is, and a rest-stop's automatic doors gasp open.
95. Braxe + Falcon ft. Panda Bear - "Step By Step" [buy]
    There's a tactic for giving instructions to a ca. 2022 artificial intelligence: you ask it to take things "step by step". This helps the system to think logically, or at least to seem like it does. This song, featuring Animal Collective's Panda Bear, has nothing to do with this one weird A.I. trick - but at the same time it does, maybe, in that Braxe + Falcon's celestial disco uses plain lyrics and stately drums to short-circuit the frontal lobe of my brain, giving me an immediate sense of comfort and even control.
96. Hotkid - "Star" [buy]
    Steady Nigerian pop, with a phalanx of unusual, oddly sympathetic support-sounds: wooden xylophone, African choir, wheezy synth, and a faint, vaguely Nashville fiddle. I like how matter-of-fact Hotkid sounds, as if he's explaining how he's going to plaster my wall.
97. The Weeknd - "How Do I Make You Love Me?" [buy]
    I love what The Weeknd did with Dawn FM - creating a pop album that's odd and idiosyncratic, its vision deeply understood, never pandering. I suspect it will outlive most of his other work - not for its (ever-dodgy) lyrics, or its singles, but for its clarity. It has such a clear sound: TRON synths; sequenced drums; phased, plaintive hooks. "How Do I Make You Love Me?" might be here for its drum programming alone: a pattern of beats that jumps into my bones, moves through my body like the jolt of fresh calories.
98. Anaïs Mitchell - "On Your Way (Felix Song)" [buy]
    A heart-breaking tribute to Mitchell's friend Felix McTeigue, a songwriter who died in 2020. She sings it breathlessly, as if she's building up the head of steam to carry these words past the border, into the afterlife, but her meaning's constantly skipping back and forward from bittersweet memory to metaphysical hope. "You get one take" is an old, worn metaphor: but Mitchell earns it here, gives it grace. (Thank you Peter and Charlotte.)
99. GOAT - "Under No Nation (Radio Edit)" [buy]
    When the woman lays the necklace around your neck, she tells you not to ever, under any circumstances, eat the blossoms. And yet, of course, you do. You slide a beautiful flower into your mouth. Somewhere nearby, a queen bee watches you from the mouth of the hive.
100. Lil Yachty - "Poland" [video]
     The year's most bewildering rap single - a tribute to pierogies? eastern europe? a long-shot World Cup contender? (No.) Whatever the point of it, I love the plain sway of Yachty's vocoded hook - a reminder of the virtues of simply writing a curious string of words and giving them a catchy tune.

Leave a comment if you like? Tell a friend?

And see you in 12 months!

Hello world! We're still standing. Here are my 100 favourite songs of 2021: songs I love more than sand-worms, insurrections, and successfully traversing the Suez Canal.

Said the Gramophone is an old blog and we publish rarely. Writing about these songs is a tradition now almost two decades old and at this point it feels deeply seasonal -- at the end of November I start feeling like I imagine pumpkins must feel in August; or bears as the first frosts appear. I have something to do now. A habit that's made its way into my bones.

In 2021, I listened to as much or more music than in any year I can remember. I listened from home—because attending concerts was, for a while there, plausibly lethal. Still, I bought a ticket to see Michael Feuerstack and David-Ivar Herman Düne in September, in a basement up the road, and as I whispered along I felt like I was finally waking up from something. That's because I was. And we'll all go on waking.

This year I feel more out of sync with the singles charts than at any other time I can remember. Many of 2021's most popular tunes still don't make any sense to my ears. Perhaps I'm getting old. Perhaps people clung to flimsy sounds. But you know where to find that other stuff if you want to.

What you'll find below is the 17th such list at Said the Gramophone: see 2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2019 and 2020. I follow just one arbitrary rule: that no primary artist may appear twice.

The best way to browse the proceeding is to click the little arrow beside each song and then to listen as you read. The things you like you can then download by right- or ctrl-clicking with your mouse.

You can also download the complete 100 songs in three parts:

• songs 1-33 (258mb)
• songs 34-66 (269mb)
• songs 67-100 (269mb)
(mirror: part 1 2 3 / please share any others)
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This list is my work—me, Sean, and not any of Said the Gramophone's other contributors. Don't blame them for my unfortunate taste.

If this is your first time at Said the Gramophone, please don't hesitate to page through the dusty archives. You can also follow me on Twitter or read my books: I'm the author of two novels—Us Conductors, from 2014, which reimagines the story of the theremin, and The Wagers, a novel about luck, which the Globe & Mail described as "a literary fireworks display, an explosion of joke-filled energy that manages to be a novel of ideas, but one delivered as if it were a caper story." Learn more—or get the ebook/audiobook/French/Italian/Czech translations via my author website.

Among the artists below, 47 are American, 20 are British (the highest ever), 16 are Canadian (the lowest ever), and there are five Australian, three Swedish, two French, two Nigerian, two Dominican, one Belgian, one Brazilian, one Colombian, one German, one Ghanaian, one Guinean, one Japanese, one Pakistani, one Senegalese, one South African, one Spanish and one Kiwi artist(s). 41 of the frontpeople/bandleaders are men, 56 are women (the most ever?), 0 identify as non-binary, and three are mixed duos. This is the way it worked out; it certainly ain't perfect. Here are some charts of this and past lists' demographics.

My favourite songs of the year do not necessarily speak to my favourite albums of the year. Songs and LPs are entirely different creatures.

My favourite albums of 2021 were:

• Floating Points and Pharaoh Sanders - Promises (listen/buy);
• JJJJerome Ellis - The Clearing (listen/buy);
• Kacy Hill - Simple, Sweet, and Smiling (buy);
• Whitney K - Two Years (listen/buy);
• Muito Kaballa Power Ensemble - Mamari (listen/buy);
• Lucy Dacus - Home Video (listen/buy);
• Mustafa - When Smoke Rises (listen/buy);
• Little Simz - Sometimes I Might Be Introvert (listen/buy);
• Jason Sharp - The Turning Centre of a Still World (listen/buy);
• Myriam Gendron - Ma délire - Songs of love, lost & found (listen/buy);
• Low - HEY WHAT (listen/buy);
• Weather Station - Ignorance (listen/buy); and
• all of Sam Gendel's insane run of records, especially Fresh Bread and Music for Saxofone & Bass Guitar More Songs.

And now, without any further rigamarole, a mountain of proudly mixed metaphors:

(original artwork by Eric Metcalfe; photo by Vancouver ArtGallery)

1. Big Thief - "Little Things" [buy]
   The thing I love about this song (incidentally the first Big Thief song I've ever truly adored, with that rose-red shimmer in yr chest) is its press. There's nothing much to it but that press—the ring-ring-ring-ring-ring-ring-ring of a guitar. Adrienne Lenker murmurs; the drums fall down and get up again; another guitar darts at the periphery; but mostly ring-ring-ring-ring-ring, a hammer that won't stop. Hammer on heart, gold on silver, relentless and shining—this life, this awful splendid life, and its ravish.
2. Low - "White Horses" [buy]
   A song like a ruinous glitch—like a chasm that's unsealed beneath your household, your city, underneath the whole world. Alan Sparhawk and Mimi Parker sing in stately harmony while the everything around them seethes, shudders, and yet still stands.
3. Mia Doi Todd ft. Jeff Parker and Money Mark - "Music Life" [buy]
   There can be majesty to something natural, intuitive, true. A tune by Mia Doi Todd was one of the first songs I ever reviewed; 20 years later, the gifted singer turns her attention to the years lived in between: the rewards and disappointments of a life given over to music.

   Chances are you've got a few friends
   who burned the candle at both ends
   And every day was a weekend
   until the dark night came for them
   in a hotel or hospital room
   And now you'll be seeing them soon
   in dreams and memories bittersweet
   And in songs sung so beautifully
   Songs sung so beautifully
   Life lived so fully.
   If you give your life to music.

   Jeff Parker's guitar and Money Mark's piano crowd in like so many memories—noisy enough to put the edge on, to keep the sugar from settling, to keep the sparks all suspended in the air.
4. Indigo de Souza - "Hold U" [buy]
   Not to be confused with Masta Ace's 2011 classic (previously), nor Gyptian's "Hold You" (#33 on my Best of 2010), this breakthrough single by the North Carolina musician Indigo de Souza plays in a joyous, nourishing space between stability and lift. It's indie-pop rich in skip and skitter, the lo-fi soar of its choruses. But the undergirding is serious, low and almost mournful—a sequence of organ notes that you could build a foundation on, or a home.
5. Chlöe - "Have Mercy" [video]
   By far my favourite pop (or R&B) song of the year—a cheeky, sinuous debut by Chloe Bailey, one half of Chloe x Halle. Although it stumbled on the charts, I find its allure self-evident, undeniable: the contrast of (frisky) melody and (steely) delivery; Chlöe's charisma; and a production devoted to playfulness, constantly tickling the ear. A tremendous coming-out.
6. Kacy Hill - "So Loud" [buy]
   A supple, golden-hour ballad, trained on Cyndi Lauper, Haim, and the drum breakdown from "In the Air Tonight." From one of my favourite records of the year.
7. Ben LaMar Gay ft Ohmme - "Sometimes I Forget How Summer Looks On You" [buy]
   A birthday-cake-coloured swirl of melody, harmony, and something nearly nauseating. It's easy to imagine "Sometimes I Forget..." as two or three (or five or six) different songs, tea-time soul and spiritual jazz and Flaming Lips'-like churn, but LaMar Gay's command of musical arrangement lets it all work together as one—triumphant, emotional, absolutely unreplicable. A tour de force of tune.
8. Skiifall ft. Knucks - "Ting Tun Up pt. II" [video]
   This is the second version of "Ting Tun Up," but I missed the first (nobody's pefect). The best song by a Montreal rapper... ever? Gleaming in a way that's hard to put into words, illuminated both by YAMA//SATO's rhodes beat and by Skiifall's rolling flow. A sound I want to settle in and dwell inside, like landscape.
9. Tonstartssbandht - "What Has Happened" [buy]
   Like a long joke, like a heartache, like a message rolled up and hidden in a tulip shell. Hard to explain who Tonstarssbandht are, what they do, except to say that "What Has Happened" isn't shaped like anything else you'll ever hear; you've never heard this particular shade of grey.
10. Ali Sethi & Nicolas Jaar - "Yakjehti Mein" [video]
    As much as I loved Nicolas Jaar's latest record with Darkside ("The Limit" might easily have made this list), the rarest treasure of his 2021 is "Yakjehti Mein," a luminous collaboration with the Pakistani singer Ali Sethi. A pair of poems—"Hum dekhenge" and "Aaj bazar mein pa bajola chalo"—written by the great poet Faiz and now set to music in a call for Palestinian liberation. Sethi's voice seems to vibrate at two frequencies—patient and consoling, urgent and plaintive—and Jaar's electronics move around it like jewelled clockwork. Simply extraordinary—and from a rumoured long-player still in the works.
11. Myriam Gendron - "Shenandoah (II)" [buy]
    My son used to attend the same daycare as Myriam Gendron's children and I'd often see her outside on the street, each of us bundling and cajoling and wrangling with the stuff of parenthood. We rarely spoke. Her first record, a transfiguration of poems by Dorothy Parker, was one of my favourite folk releases of the past 25 years. Shyness then, from both of us. But also, I think, a tacit recognition of the work we were each undertaking: the wordless solidarity of our effort and our love. The American traditional "Shenandoah" is probably the keystone of Gendron's second album, Ma délire. It appears twice, as an instrumental and then again like this, translated into French. Gendron's "Shenandoah (II)" is low-fidelity, slow-motion, an expression of love and longing that seems to transcend place and time, from colonial Missouri to post-colonial Montreal; but the singer also makes a subtle shift to its lyrics, lifting the song away from the Rocky Mountains and into an expression of devotion that stretches far further, beyond any measure, to the very ends of the Earth ("jusqu'au bout de la terre").
12. CHVRCHES - "Asking for a Friend" [buy]
    The opening track from Screen Violence—synth-pop that quivers and slams, silver-glassy, red light flashing everywhere.
13. Wau Wau Collectif - "Mouhamodou Lo and His Children" [buy]
    A tune like the best kind of fairy tale, tender and magical, ancient and youthful, visited by a saxophone and a flying saucer. Wau Wau Collectif is a collaboration between the Swedish musician Karl Jonas Winqvist, Senegalese engineer Arouna Kane, and an array of West African and North European partners. Mouhamoudou Lo may well be the name of the main male voice; the children might be his children; I don't know, I just close my eyes and imagine them, peaceful and playful, bathed in a cosmic folk music.
14. Katy J Pearson and Maudlin - "Willie of Winsbury" [buy]
    For six months I've been smitten, unreasonably smitten, by this bizarre, cross-pollinated rendition of "Willie of Winsbury"—a British traditional dating back to 1775. Katy J Pearson's from Bristol; Maudlin's from not-sure-where; and from an instrumental perspective they give the tune all appropriate pomp and filigree. But Pearson's more Dolly Parton than Sandy Denny—instead of singing it flat and windy, she gives the tune a shrill, urgent tremolo. The country-folk inversion is strange and sour and faintly science-fiction, as if it comes from a universe with different maps.
15. A1 x J1 - "Latest Trends" [buy]
    A1's 15, J1's 17, they made this song for Houseparty, then TikTok, then Spotify, Youtube, worlds beyond. It's not clear how any of these platforms allow A1 or J1 to actually earn a living, however this is evidently their goal—pounds sterling, or USD$ at the minimum. "You wouldn't know this, but my heart is cold like my home is," A1 explains in the chorus. "I can't have a bitch, 'cause I'd probably lose focus." They're cold 🥶 hard capitalists singing as sweetly as lovers, K-Ci & JoJo reinvented for the gig economy.
16. Lucy Dacus - "VBS" [buy]
    "In the summer of '07 I was sure I'd go to Heaven / but I was hedging my bets / at VBS." So begins this song about adolescence and bible school—it goes basically the way you'd think. But Dacus has the songwriter's gift of saying a lot with a little, and her doubled vocals (think Andy Shauf or Elliott Smith) lend tenderness to "VBS"' luckless, lonely, lovely thump. A song like a crucifix uncertainly worn.
17. Amyl and the Sniffers - "Guided by Angels" [buy]
    Punk-rock from Australia: Amy Taylor snarls her salvation, pogo-ing in place as divine light pours from her nipples, her nostrils, the points of her middle-fingertips.
18. Sault - "Bitter Streets" [more]
    Sault, the winners of 2020, didn't rise to the same heights in 2021, but they probably made more money: the group's bandleader, Inflo, produced three tracks on the new Adele record (not to mention two much better albums by Cleo Sol and Little Simz). Still, the London-based R&B collective remains one of the most compelling, prolific and consistent bands in the world. In June they released Nine, their fifth album in 25 months, and "Bitter Streets" was the highlight: an uncanny, groovy ballad; a little Gladys Knight and a little Connan Mockasin; a classic sound made contemporary, all its light dispersed.
19. Charlotte Cardin - "Daddy" [buy]
    I'm not usually susceptible to the idea of a guilty pleasure but this song is called daddy, and it's not a tune about Cardin's father. I find the phrase inane, vaguely odious—so imagine my surprise (and reluctance): "Daddy" is by far my favourite recording of the Montreal singer's career. Never mind the lyrics, or try your best: listen instead to the melody's drift and flutter; to the band's quick, scrupulous groove. Possibly the easiest listen of the year (assuming you don't understand English).
20. Mustafa - "The Hearse" [buy]
    Mustafa the Poet's magisterial debut album invents a new kind of sound: soft-textured folk music about street violence and its collateral damage, informed by hip-hop but only scarcely, like a common weather. "The Hearse" skirts the grandiosity of much of his other work, casting its tragedy in a pulsing, playful light. It's neither a love song nor a war song, it's a lament cast in ecstasy—the dangerous pleasure of a common fate.
21. Goodbye Honolulu - "Cut Off" [buy]
    Full disclosure: Goodbye Honolulu's drummer is my cousin. But the family connection made me hold this song to a higher standard, frankly. "Cut Off" bounces with the ping of the Ramones, the pong of the Strokes—the kind of rock'n'roll that makes you think of drunk kisses, brickwork, and running through the streets on a rainy night. Nervy and electric with just enough sweetness, especially in its closing bars, to bring a happy ending to life.
22. Flock of Dimes - "Two" [buy]
    Flock of Dimes remains the solo project of Wye Oak's Jenn Wasner and "Two" is the locket swinging around Head of Roses' neck. The video plays with mirrors, doubling, but the song's as much about separation as togetherness: a flower-soft synth-pop tune asking what love is if it doesn't involve subsubming the other, swallowing them up.
23. Tokischa & Rosalía - "Linda" [video]
    My favourite Spanish pop-star lends her persuasive phonetics to Tokishcha, a Dominican rapper whose affect brings to mind an extremely intelligent little sister. "Linda" feels like double-dutch and playing catch and like putting yourself in a position where at any time a boulder might smash you to smithereens.
24. Coldplay - "Higher Power" [video]
    I like Coldplay—except when they're terrible, which is increasingly often, but not here, on a tune co-written by Max Martin, a song that's breathless, kinetic, alive with a sincere and expansive joy.
25. Tierra Whack - "Stand Up" [buy]
    A bone-dry beat. A rapper with one obsidian eye and one opal. Something faintly Yorgos Lanthimos about her—and not just the Favorite-inspired video. A couple decades after Missy, Whack rhymes like no one else can or would: "I am like the mayor / I am not the mayor." Someone give her a chain of office.
26. Lisa LeBlanc - "Entre toi pi moi pi la corde de bois" [buy]
    I was quickly taken with his teaser-track from LeBlanc's upcoming Chiac Disco (the title's an allusion to the singer's distinctive strain of Acadian French and, um, the popular 1970s dance craze). Over burbling keys and strings as smooth as sucre à la crème, LeBlanc sings a lean, catchy tune about hanging around the cottage & doing jack shit.
27. Leo Bhanji - "Damaged" [buy]
    A song like a sort of incantation—bedroom musings mumbled and deconstructed alongside samples from past, present, future: Dilla? The Noviciat des Soeurs Missionnaires de Notre-Dame d'Afrique? Metal Gear Solid? I adore the shimmer of it, the simultaneous thinness and presence, like smoke hanging in the air.
28. Martha Wainwright - "Love Will be Reborn" [buy]
    Martha recorded her last record just up the street from me, in her own tiny venue, with musicians from the supernatural music group Bernice. There's a little of 1985 in it; and a little of 2085; but this tune is simply a song about love and its rebirth, that uncounted-on redemption; and she sings the hell out of it.
29. Doja Cat ft. SZA - "Kiss Me More" [buy]
    Love a raunchy R&B song that begins with the words, "We hug and kiss". Love a song like the soundtrack to a mellow amusement-park ride. Love Doja Cat's alternating flows, the way she uses a change of cadence to electrify a verse. "Kiss Me More" basks in its Christmas-light glow—the kind of fun that's rare + sugared, but still essentially wholesome.
30. Little Simz ft. Obongjayar - "Point and Kill" [buy]
    Little Simz executes this song with a clear conscience, an even stare. Her new record, Sometimes I Might Be Introvert, is a massive leap forward—it lifts Little Simz to the ranks of my favourite rappers working today. Here, the 27-year-old Londoner is assisted by the Nigerian singer Obongjayar, by Inflo's clink & bass & horns, as well as by a memory of M.I.A.—sweeping like a pendulum across her flow. But the centre is hers, bright and mighty, true to itself as fruit on a tree.
31. Falle Nioke & sir Was - "Wonama yo ema" [buy]
    This collaboration between Falle Nioke, who was born in Guinea, and sir Was, from Gothenburg, is a weightless marvel, like a waft of bergamot and clary sage. Nioke's vocals interweave across synths, woodwinds, and traditional African instruments; each repetition feels like a subtle rearrangement of the air.
32. Ethel Cain - "Crush" [buy]
    Swathed in Floridian sunlight, draped in the flannel of the Jesus and Mary Chain, the songwriter Ethel Cain drifts in and out of phase—ghost and portent. "Crush" is either a lighting-up or a snuffing-out.
33. Holly Humberstone - "Please Don't Leave Just Yet" [buy]
    A rainy, achey, reluctant long song, gleaming like streetlights, co-written and co-produced by Matt Healy of The 1975.
34. Gayance - "Fruta Gogoia" [buy]
    Montreal's Gayance transforms Gal Costa's performance of "Fruta Gogoia" from something sober and nearly morose into a site of (eerie) play—a sound that's upbeat, funky, yet at the same time weirdly haunted, like a dancefloor inherited in a will.
35. Taylor Swift - "Holy Ground (Taylor's version)" [buy]
    Taylor Swift re-recorded all of her 2012 album Red because she doesn't control the masters of the original version. This was a matter either of principle, pique, stubbornness or greed. (If it was principle, I'd encourage the singer to do more to change this practice industry-wide.) Whatever the motivation, some of the re-recorded versions are better and some of them are worse: "Holy Ground" is improved, kicked up another notch, a little of the twang swapped-out for raw stomp. I'm not sure this song benefits from a wiser singer: some mistakes ring truer when they're newer. But I hear more pleasure in Swift's voice here—she knows even better the preciousness of a song like this and its singing.
36. Pino Palladino & Blake Mills - "Ekuté" [buy]
    A nervy, scrumptious instrumental by Blake Mills (Fiona Apple, Alabama Shakes) and Pino Palladino (one of the greatest session bassists of all time). This track features Marcus Strickland's horns, Chris Dave on drums, and none other than Andrew Bird on violin. If it were a calendar it'd be lunar; if it was a clock, it'd cuckoo.
37. The Kid LAROI ft. Justin Bieber - "Stay" [buy]
    Like getting a tattoo of your ex on the itchiest part of your body.
38. Madi Diaz - "Nervous" [buy]
    The buzz of a headache, the buzz of a guitar-string, the buzz of a crush and its occasionally ill-effects. Madi Diaz's voice dips and crests like a swallow that can't quit its mate, like a ball on a string just waiting to get whapped.
39. Abstract Mindstate - "A Wise Tale" [stream]
    One of this year's oddly slept-on stories was Abstract Mindstate, an early-2000s hip-hop duo resurrected by the interest of—and production by—Kanye West. With a smart, conscious style that's leagues away from West's recent escapades, the Chicago MCs delivered a strong album filled with the kind of soul samples that made a certain bygone rap era feel so agreeable. "A Wise Tale" was the lead single and the LP's highlight—a mea culpa with a grin on its face, the sort of warning you'd ignore just to hear it repeated again.
40. Selena Gomez & Camilo - "999" [video]
    A sparkling Spanish-language tune from Gomez (who normally performs in English) and the Colombian pop singer Camilo. Lithe and lilting, with a rhythm like the click and crackle of ice in a highball.
41. Black Country, New Road - "Track X" [buy]
    At disparate moments cozy or skeletal, at home or alienated, horns & guitar & coos & recrimination from a British band that feels like Nick Cave crossed with Xiu Xiu.
42. Natalie Bergman - "Talk to the Lord" [buy]
    Crooked kitchen-sink gospel, where that crookedness is the thing that gives it life. Like the twinkle of a clean plate on a dirty dish-rack, profane proof for the existence of God.
43. Sweeping Promises - "Pain Without a Touch" [buy]
    That first riff like a stab in the back; then they keep coming, one after another, and you turn toward the knife, happy as a clam. Everything about this garage-rock tune is braided around the chorus, the title, with Lira Mondal singing like a breathless, alpine Neko Case.
44. Anna Fox Rochinski - "Cherry" [buy]
    Quilt's Anna Fox Rochinski rides a rainbow road of twanging guitars and Mariah Carey mini-runs on the way to "Cherry"'s steady, chiming ruby of a chorus.
45. The Goon Sax - "In the Stone" [buy]
    A call & answer in alto and baritone, happily sombre, as a guitar chugs. A song of (emotional) vampires, the way we're all hiding sets of fangs.
46. Katy Kirby - "Traffic!" [buy]
    Katy Kirby's Cool Dry Place was one of the highlights of my end-of-year—an aching, breaking record for when the weather turned. At times just gentle singer-songwritery, almost straight-ahead, but with moments of slight refraction—whether it's autotune, twang or a swell of synthetic angels.
47. The Limiñanas and Laurent Garnier - "Saul" [buy]
    My favourite French psych group collaborates with the French producer Laurent Garnier for a record that feels like Serge Gainsbourg crossed with Blade Runner—"Saul" uncoils with libidinous menace, lustrous trouble. "Il y a de la cruauté dans l'air (there's cruelty in the air) / à l'école (at school) / au village (in the village)..."
48. Illuminati Hotties - "Pool Hopping" [buy]
    Like Bejar, Malkmus or Mark E Smith, Illuminati Hotties' Sarah Tudzin has a gift for phrases like gumdrops—the kind of things you just want to pop into your mouth. "Stealth makeout / breakfast take-out," she squawks. Or, later: "All rip'rs / No more skip'rs!" But the music's a long way from Destroyer, Pavement or The Fall—an indie rock much more methodical, engineered, less like an oil-painting and more like a shiny, possibly over-elaborate jet.
49. Cleo Sol - "Spirit" [buy]
    The singer of my favourite and fifth-favourite songs of last year returns with a more serene, quietened record (the title is Mother); "Spirit" is one of its serene, slightly-less-quiet treasures. An unfolding of drums & piano and eventually horns & choir—Sol responds to loss with open-hearted, nearly lavish, abundance.
50. Billie Eilish - "I Didn't Change My Number" [buy]
    I really like this grimly swinging Billie Eilish tune—it's a kiss-off and a threat, but most of the violence is tucked inside the chords and synth patches, like a cheerful greeting-card scratched in poison ink.
51. Springtime - "Will to Power" [buy]
    Springtime's a six-legged supergroup featuring Tropical Fuck Storm's Gareth Lillard, The Necks' Chris Abraham, and Dirty White's Jim White (aka my favourite drummer of all time). Isolate just the piano part and "Will to Power"'s anemic, almost rinkydink—but that's like ignoring the heat as you hurtle into a star: Lillard howls like a villain at the end of a Bond movie, spittle flying, roaring about what he's done and what he's due.
52. Third Eye Blind - "Box of Bones" [buy]
    This is my list, I don't need to apologize for anything.
53. Sun-EL Musician ft. Simmy - "Higher" [buy]
    A South African sunrise.
54. LUMP - "Animal" [buy]
    LUMP is a team-up between singer-songwriter Laura Marling and Mike Lindsay, who has a long-time folktronica project called Tunng. But "Animal" (and the record it's from, Animal) avoid the stale safeness that a description like that might suggest. There's instead something probiotic to this music: twitchy, alive, with a slightly carbonated tang.
55. Wet Leg - "Chaise Longue" [pre-order]
    Powered by cute girls, a cool video, and this excellent, double-entendre-crammed single, I can't decide if Wet Leg are the next Yeah Yeah Yeahs or the next Right Said Fred. But there's no getting away from "Chaise Longue"'s sleek, sealskin appeal: a ticking clock, catchy riffs, and Rhian Teasdale's stern purr about "buttered muffins" and her lover's Brobdingnagian D.
56. Piers Faccini - "Dunya" [buy]
    "Dunya" is a collaboration between Faccini, who lives in France, and the Algerian musician Malik Ziad. Lashed with strings and excellent, specific drumming by Simone Prattico, it's a sombre mixture of Faccini's agile, occasionally soppy, songcraft and a heavier North African influence—the sort of outstanding fusion that Faccini's label, NØ FØRMAT, has come to reliably produce.
57. Ayra Starr - "Bloody Samaritan" [video]
    From Nigeria, a shot against the bow that ripples and pulses yet is suffused with a melancholy, nearly crestfallen, spirit.
58. Lil Nas X ft. Doja Cat - "SCOOP" [buy]
    Clearly the best pop star in the world right now—and "SCOOP" is a gold-and-chocolate confection, a song that feels like a highly useful verb.
59. Rostam - "Bio18" [buy]
    He credits Debussy and Ravel, but I hear the mighty Emahoy Tsegué-Maryam Guèbrou in the DNA of this song—an influence ne plus ultra, if you ask me. "Bio18"'s languid beauty is even and unobtrusive, rooted in Rostam's piano as well as some excellent percussion and a marvelous sax part by Henry Solomon.
60. Wolf Alice - "How Can I Make It OK?" [buy]
    The kind of track that makes me nostalgic for heartache—makes me wish I could rent it at the store, take it as a date to the movies. Wolf Alice are one of the world's best bands, with a command of sound that is occasionally almost too much—leaves me longing for a little more fumble or flop.
61. Jose Gonzalez - "Tjomme (DJ Koze remix)" [buy]
    There are a couple of tunes I love on Local Valley, Gonzalez's latest ("Lilla J" and "El Invento" especially), but I just can't resist the way DJ Koze remade "Tjomme," folding and unfolding it, leaving creases all over, different ways to arrange it, to hear it, each repetition like a day or a week or a month or a year, take 2, take 3, take 10, you still have time to change the final cast.
62. Le Mav ft. Tay Iwar - "Supersonic" [more]
    Silky Nigerian pop that waits almost an entire minute before showing its hand: that's when the knock comes, brrup tup, a call anyone in their right mind would answer.
63. Julien Sagot - "Cendre et descendre" [buy]
    A song like one of those "cartoons for grown-ups" where someone walks along a grey, night-lit street while flames gutter and flare from the stormgrates. Vive les bandits, vive les bandits! A lament and a weary joke for this land and all its greed.
64. Sofia Kourtesis - "La Perla" [buy]
    Techno in white, off-white, eggshell, ivory, linen, alabaster, porcelain, cream, seashell. A prayer, a holiday, a clean set of sheets.
65. Aldous Harding - "Old Peel" [buy]
    A song that's there for the taking, for the misinterpretation. Sheets of Easter, feats of Easter—hot clown and the creek is turning. It might be a spell and it might be a memoir—a Canterbury Tales for a woman who has seen too much, who learned sorcery from a one-legged lecher. (And a final thump from a blackjack down upon your head.)
66. Tion Wayne - "Wow" [buy]
    Brutal, bounding drill music—a tune that bounces like the recoil from a pistol or a hammer.
67. Hand Habits - "Aquamarine" [buy]
    Dusky synth-pop about the heaviest things—deception, suicide, parenthood—but glittering here, skittering, a singer who has learned to make candles come back to life just by pointing at them.
68. Arooj Aftab - "Mohabbat" [buy]
    Glittering Persian folk-music—the production's at times too glittering in fact, like trying to see into a sequin room. But Aftab's voice is supple and steady, a bearer of feelings more complex than mere shine.
69. Spinabenz ft. Whoppa Wit Da Choppa, Yungeen Ace & FastMoney Goon - "Who I Smoke" [video]
    For me, the most disturbing song of this year—but a tune I also kept returning to, studying like a pearl under a loupe. Yes: a celebration of gang killings built atop a sparkly "Thousand Miles" sample. It's certainly not the most gruesome tune I've ever loved, but the mixture of violence, delight and something like "sincerity" is genuinely unsettling. (Vanessa Carlton, for the record, has no problem with it.)
70. Fiver - "June Like A Bug" [buy]
    Mystical folk-country that takes the month of June and rolls it in iridescent butterfly parts, fly parts, grasshopper parts. Sorrow and fury, acceptance and resistance, the pinch of a pin as it pierces the fabric of your shirt.
71. TDA - "Présence" [buy]
    A clamorous industrial pop-song, like a Christmas tree made of scrap metal and gloom.
72. Karine Polwart & Dave Milligan - "The Old Men of the Shells" [buy]
    Something seized me, and held me, in this performance of a Scottish traditional. It's the arrowlike trajectory of Polwart's voice but also, and maybe especially, the cool plainness of Milligan's piano. A song not washed in suds and flowerpetals but swept by wind.
73. Barrie - "Dig" [buy]
    A weird northwestern grit-of-teeth—angry, needy, nearly tropical (!). Like a Peter Doig painting of a Casiotone song.
74. Julie Doiron - "The Letters We Sent" [buy]
    A flaming arrow from Julie Doiron, one of my favourite songwriters in the world. A song of finding your heart has broken (open); of letters you may or may not decide to burn. Daniel Romano's closing guitar solo sets the end of the song alight, makes it all into tinder, filling the sky with smoke. Neil Young in cotton pyjamas.
75. Worlasi - "Fkn Guy" [buy]
    Wry and lighthearted pop about the infuriating allure of... boys. From Ghana.
76. Fake Fruit - "No Mutuals" [buy]
    From Oakland, California—a singer with an excellent, blunted punk shout; a band with growl and grin in their guitars; and a message to a fool who's making trouble.
77. Big Red Machine ft. La Force - "8:22am" [buy]
    Bon Iver and Aaron Dessner and friends—or at least one friend, La Force's incandescent Ariel Engle—perform a song of moments, of impressionistic glimpses, glances, the chill of dawn and the black of night, the way a memory ties a gold cord around your heart and stays there, tightening, loosening, tightening again.
78. Damien Jurado - "Johnny Caravella" [buy]
    The most profound, heartbreaking, thunderous song ever written about a character from WKRP in Cincinnati.
79. El Alfa, Busta Rhymes & Anitta ft. Wisin, CJ and El Cherry Scom - "La Mamá De La Mamá (Remix)" [video]
    A transnational party track, with Busta Rhymes setting the tone up front: heavy, purposeful, playful. Not that they needed him: the mostly Spanish-language original was already a smash (110 million views), anchored by El Alfa's ejaculations and that relentless 4/4 beat.
80. Tirzah - "Send Me" [buy]
    Like Sam Cooke crossed with an industrial-grade printing press: somewhere that's blasted twice a day with compressed air, its components sprayed down with bleach. Tirzah allows her wanting to sound rudimentary, nearly childlike—but she combines these stripped-down vocals with a clockmaker's vision, specific and meticulous, selecting whatever gear will make the song shiver.
81. Waxahatchee - "Streets of Philadelphia" [buy]
    Waxahatchee's Saint Cloud, released last year, is one of those records that's still gaining power over me—that's looming larger & larger in the back-catalogue of my life. Katie Crutchfield released an expanded version this year, with a few covers—including this take on Bruce Springsteen's classic, a favourite tune from my teenage years, which I heard first during a classmate's oral presentation. (Her name was Ramona; thanks, Ramona!) Either Crutchfield's voice fits your heart like a key, I suppose, or else it doesn't; but I'm a flimsy cabinet.
82. Perfume Genius - "Borrowed Light (Katie Dey remix)" [buy]
    Katie Dey shatters "Borrowed Light" and reassembles the shards—faces skew in the mirror, loom, pixellate. Tenderness remains.
83. Ada Lea - "Damn" [buy]
    A proud addition to the tradition of songs that take place when you're having a bad time at a party. "Damn" plays like a short film; it gathers force as its chorus montages repeat. "I've had it with this place / we've all gone insane," Alexandra Levy sings—a statement we've all lived through this year, climbing the walls of our own small lives.
84. H.E.R. ft Thundercat - "Back of my Mind" [buy]
    One of those rare places where the guest bassist really does refine the song: H.E.R.'s plaintive R&B is granted a permanence, maybe even a grace, by Thundercat's roaming counterpoint. Together they make a sound that feels like it could endure, lending itself to future trouble.
85. Kacey Musgraves - "Justified" [buy]
    Like a pastel convertible through a West Texas evening.
86. Wet - "Larabar" [buy]
    A melting, lonely tune, falling apart at the seams. (Every era learns a different way to come apart.)
87. Tristen - "Complex" [buy]
    I just love the way Tristen rhymes complex with complex, the repetition fitting itself like a set of red solo cups. Tristen's Tristen Gaspadarek; she's a Nashville songwriter with a band keeping pace beside her—all of them on horses, cantering through the morning, not yet thinking about lunch.
88. Josie Dunne - "Cooped Up" [video]
    The pop singer Josie Dunne has been rebooting her career with a year-long series of songs & videos called Tennis. Each of them offers a different flavour of Carly Rae Jepsenesque delights, and "Cooped Up" is my favourite of the bunch: eager, breezy, happy as a bluebird with its particular quarantine situation.
89. Yuma Abe - "Omaemo" [buy]
    Sun-kissed Japanese folk, like Mac DeMarco after 10 years of office work—finally over himself, alert to his good fortune, staring happily at the flowers in the window.
90. Ed Dowie - "Dear Florence" [buy]
    If the Gates of Heaven opened up in an en-suite kitchen.
91. Dntel - "Fall in Love" [buy]
    For The Seas Trees See, the long-time electronica-maker (and Postal Service co-founder) known as Dntel turned his sights to traditional folk music, borrowing acapellas such as Kate Wolf's "The Lilac and the Apple Tree" and warming them, bending them, twisting them back on themselves. I couldn't work out where he got the pieces for "Fall In Love," but I love the weird, burred thing he made with them—turning a clear-voiced tune cloudy, making plainsong feel alien.
92. Rozi Plain - "Silent Fan" [buy]
    An unsettling admiration. On this Adult Swim single, the English singer-songwriter takes the notion of the "fan," the admirer, and turns it in the light, exploring its facets, the shadow it leaves upon the velvet. There's a peacefulness to "Silent Fan," a wary readiness—the sense that Plain is up to the task—but at the same time a tremor underneath: from saxophone and even weirder things, worrying at the edges.
93. Tuns - "My Memories" [buy]
    I suspect that almost everyone who has watched Get Back has asked themselves, "Shouldn't everyone make music like this?" The answer is no: not everyone should make music like the Beatles. But thank god Tuns do—the only Canadian indie supergroup devoted to repaving Nathan Phillips Square with a dappled Strawberry Field. "Memories" is honey-sweet and strafed with harmonies; it catches the light like a crossing-guard's gold tooth.
94. Le Ren - "I Already Love You" [buy]
    Le Ren is steady in her heartache and bright-eyed in her wishing, her ears attuned to Nashville and to Fife (even though she lives in Montreal). Her music is clean. It's unhurried. It will hang in the air, sad and old-souled, until whenever it is it's needed.
95. Dry Cleaning - "Every Day Carry" [buy]
    Make it to the far side of the canyon in the second half of "Every Day Carry" and you will feel like you have gulped down gasoline, the fancy kind of gasoline, Ultra Super-essence of whatever it's called, the sort of thing that makes your muscles go wiry and your eyes glow red. "I just want to put something positive into the world but it's hard because I'm so full of poisonous rage," Florence Cleopatra Shaw explains. "I just can't creep comfortably." This band—and this singer—move about like shadow people, they can slip through walls.
96. Cate Le Bon - "Running Away" [buy]
    Imagine a Medieval tapestry. Soaking wet, because someone dipped it in the moat. Fragrantly perfumed, because somebody sprayed it with oud. And when you hold your ear up close to it? You hear the Benny Goodman Band.
97. Twin Shadow - "Johnny & Jonnie" [buy]
    There's something fondly "Ob-La-Di, Ob-La-Da" about "Johnny & Jonnie," enough so that you wonder if it's a joke. But the lyrics say otherwise—lines about gay lovers fleeing Texas in the 70s, taking refuge in New Orleans. Maybe the joke's what they find there: a series of pratfalls and punchlines, happy disasters, true love sputtering while dub reverb fires.
98. Liars - "Sekwar" [buy]
    The sinister squelch of an asshole ascendant: but Angus Andrew tastes his trouble; he knows what he's got isn't good for him. "All the substance seeping out / from the storeroom of my mind," he growls. "All the colours that I wanted to hold." A sound like doomed rock'n'roll.
99. Quivers - "Radio Song" [buy]
    Maybe I shouldn't be so passionate about a cover of a 30-year-old R.E.M. song, but Melbourne's Quivers redeem it with such subtle finesse: slowing the whole thing down, infusing it with power, amputating the (many) bad bits. In their care, "Radio" becomes not just hopeful but noble somehow: "The world is collapsing / around our ears / I turned up the radio. / [Now] I can't hear it."
100. Charlotte Adigéry & Bolis Pupul - "Thank You" [buy]
     It's not often you get a dance track so dripping with sarcasm. But "Thank You" somehow balances pleasure and contempt, shimmying backward across the room even as it rolls its eyes. The title of Adigéry and Pupul's upcoming LP seems apt: Topical Dancer. But there's nothing tedious about Adigéry's anti-patriarchal/anti-colonial techno: like with Marie Davidson, I'd listen to her renew a driver's license.

Leave a comment if you like? Tell a friend?

And see you next year.

Taqbir - "Sma3" [bandcamp / vinyl]

The genius of punk is eternally on the move, a fugitive spirit inspiring the crabby, smart, and sensitive around the globe. My favourite new jam is by woman-fronted Moroccan Taqwacore crew Taqbir. Blasting out of Tangier, their four song EP is a furious gust of universal hardcore. A fluid phased-out bass drives the lead song "Sma3." Accompanied by gloriously distorted guitar and bouncy drums, it is as invigorating as an espresso shot after a night of restless sleep. The vocals are powerful, fresh, vital, and fueled by a surfeit of rage at hypocrisy and greed, made explicit by the Crass-level agitprop cover graphics. This crucial EP is another entry in the forever-expanding catalogue of brilliant punk from everywhere, an atlas of discontent and shredding. Maghrebi hardcore forever!

(image source)

Bonnie "Prince" Billy - "Thick Air"[buy on bandcamp]

Until the beginning of June, Nova Scotia was under third-wave lockdown, and now we're in Phase 2 of reopening. It seems we're climbing out of the tunnel, or coming round the valley bend, or opening the shutters. I don't know, global pandemics seem to lend themselves so readily to metaphor, but in the moment none of them feel really right. Admittedly, that's pretty low on their list of negatives, but a good metaphor would have helped, as I surfed through all the different eras, all the new normals packed tightly into the last fifteen months.

The closest sonic analogue I found to the cramped feeling of second lockdown is this song from Bonnie "Prince" Billy. Cheeky clarinet, springy drums, and capacious upright bass provide a sure-footed backdrop to Bonnie's reassuring baritone. He acknowledges the "long, long time we've been shut darkly in, / Scratching for smiles, and missing our friends." But, he insists, it's almost over. And something great is coming.

In the quarter-century since I first encountered Will Oldham, the warbling kid cinematographer has been replaced by a bone-tired elder statesman, doggedly celebrating life despite all its losses and disappointments, encouraging us to look up and notice "the thick air of promise" surging by.

This song is a life-raft, a consolation. It has buoyed me countless times throughout the past uncertain months. It is the great covid song, even if it was released on 2019's I Made a Place. Most likely, it is about Oldham taking care of his parents at the end of their lives, but nothing else fits the static mood of covid year two, a time when the right metaphor has been so difficult to find.

--

It's summer now and I'm feeling Gramophone-y. I'll try to post here over the coming weeks. Hope everyone is holding on <3

These are my 100 favourite songs of 2020: songs I love more than solitude, take-out and the immune-responses of bats.

What a hell year. What a nightmare. What an endless shit parade. 2020 was a fuckin Grand Canyon of Wretchedness and yet, and yet, it was also suffused with a sense of resilience: the sense of coming-through. We have lived inside an avalanche. We have sunk to the bottom of the sea. We have survived isolation and deprivation and loneliness and loss; we have ordered deliveries; we have strived; we have applied alcohol to our hands. We have come this far and promise me we will keep on going somehow, in kindness and in solidarity, with songs on our lips.

Said the Gramophone is an old blog and we publish rarely. Early in this year's pandemic, as monotony and worry unfurled, I began posting again. Then I stopped. I am OK, I'm writing, I'm caring for myself and everyone I can. But life got very small and it's going to stay small, I suspect, for a little while.

Except in music: in music, as in dream, there is no such thing as quarantine.

This here is the 16th list like this at Said the Gramophone: see 2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018 and 2019. I follow just one arbitrary rule: that no primary artist may appear twice.

The best way to browse the proceeding is to click the little arrow beside each song and then to listen as you read. The things you like you can then download by right- or ctrl-clicking with your mouse.

You can also download the complete 100 songs in three parts:

• songs 1-33 (166mb)
• songs 34-66 (151mb)
• songs 67-100 (163mb)
(mirror: part 1 2 3 / please share any others)
If you have problems with pop-up ads I recommend installing uBlock Origin.

This list is the work of me, Sean, and not any of Said the Gramophone's other contributors. Don't blame them for my questionable taste.

If this is your first time at Said the Gramophone, I hope you'll bookmark us or subscribe via RSS. You can also follow me on Twitter.

Please read my books! I'm the author of two novels—Us Conductors, from 2014, which reimagines the story of the theremin, and The Wagers, a novel about luck, which was recently optioned by Hulu. The Globe & Mail called The Wagers "a literary fireworks display, an explosion of joke-filled energy that manages to be a novel of ideas, but one delivered as if it were a caper story." You can learn about both of these books (and get them in print/ebook/audiobook form) at my author website.

Among the 100 acts below, 39 are generally American, 27 are Canadian, 14 are British and there are five Nigerian, four South African, three Australian, two Norwegian, one German, one Tanzanian, one Argentinian, one Portuguese, one Danish and one Kiwi artist. 51 of the frontpeople/bandleaders are men, 48 are women, and at least one artist is non-binary. This is the way it worked out; it certainly ain't perfect. Here are some charts of this and past lists' demographics.

My favourite songs of the year do not necessarily speak to my favourite albums of the year. Songs and LPs are entirely different creatures.

My favourite albums of 2020 were:

• Waxahatchee - St Cloud (listen);
• The Microphones - Microphones in 2020 (listen);
• This Is The Kit - Off Off On (listen);
• Alabaster dePlume - To Cy and Lee Instrumentals Vol. 1 (listen);
• Max de Wardener - Music for Detuned Pianos (listen);
• Cleo Sol - Rose in the Dark (listen);
• P'tit Belliveau - Greatest Hits Vol 1 (listen);
• Jeff Parker & The New Breed - Suite For Max Brown (listen);
• Crack Cloud - Pain Olympics (listen); and
• Pa Salieu - Send Them to Coventry (listen).
  

Now, without any more rigamarole, lots of proudly mixed metaphors:

(original image by Shanti Shea An)

1. Sault - "Wildfires" [buy]
   The central flaw—the only flaw?—of my favourite song of the year is that ends after 3 minutes and 27 seconds: that it does not last forever, an unbroken groove. "I will always care," intones the unnamed singer (understood to be the artist on this list's #5 track); the irony is that "Wildfires" is a song striving for an ending—to police violence, anti-Black racism. White supremacy seems able to survive anything, from war to protest to a worldwide pandemic. Yet the force of this track, the vow at its heart, is the promise of undoing. A dagger wrapped in velvet, a voice and a bassline, Cleo Sol's pledge that she "will always rise"—as all her numberless companions nod along.
2. Waxahatchee - "Fire" [buy]
   From one fire to another, this one less rampant: the scorch of a river in sunset, a heart in revision. Katie Crutchfield's voice cuts through and crosses lines, vivid in ways other voices cannot be. And a groove that's so simple, just a couple of branches and a chemical reaction—watch it burst into flame. The part of this song that most gets me, the alchemy in it, is a moment around 2:14, when the drums and guitar Crutchfield's voice all seem to collide, overlapping, not quite in order, unfastening my locks like a skeleton key.
3. Max de Wardener - "The Sky Has A Film" [buy]
   I don't know if you heard, but all this crazy shit happened this year. None of the old piano repertoire seemed sufficient—I didn't really turn to Bach or Brahms or Guèbrou. All that stuff made too much sense. Instead I listened to Kyle Gann and Max de Wardener: pieces ful of im/patience and stirring and wrong (right) notes, music like refracted light, or broken pixels, too long staring at the screen.
4. Weather Station - "The Robber" [buy]
   The lead single from Tamara Lindeman's lustrous new album (full disclosure: i wrote the bio) is infused with a sinister, shadow-edged desire. There are shades of Talk Talk, and even Serge Gainsbourg, but Lindeman is as patient as a ruby, unburdened by the anxiety of influence. She sings in a slow, low vocal, aware of how easily her voice can hug the strings' or bassline's curve—aware of how little it takes to be tugged along, complicit, or how small a spark can catch on dry tinder and ignite.
5. Cleo Sol - "Why Don't You" [buy]
   The year's best R&B album was by Cleo Sol, who records with the band Sault. (Judging from the name of that very secretive group, she was one of its founders.) Between Sault and her own debut, the London singer has released five albums since the beginning of 2019; an astonishing run, and while "Wildfires" was at 2020's summit, I found myself turning more often to her solo record. Rose in the Dark is tender and personal, aptly named—and "Why Don't You" shivers with feeling, a complicated feeling, closer to an Alice Munro short story than to an Usher ballad. Through strings and woodwinds, Sol narrates a relationship's worries and pitfalls, its risks and its fruit. "Remember on the weekend / I said I'd make some changes," she sings. "And you said you'd do the same thing." Plainspoken and faithful.
6. Perfume Genius - "Describe" [buy]
   Set My Heart On Fire Immediately is like portal after portal—each song seems to contain sounds I've never heard, combinations I've never imagined, like a rewiring of human sensuality. "Describe" fizzes and reverberates like the Cocteau Twins in negative, those astral notes gone seismic and underground.
7. Phoebe Bridgers - "Garden Song" [buy]
   The sadnesses of 2020 helped the world recognize Phoebe Bridgers—hailing her as one of the USA's great young songwriters. God knows I listened to a lot of Bridgers this year, although mostly from her last record, and I know I wasn't alone. People don't say enough about her qualities as a singer—a trusty plaintiveness that reminds me of Julie Doiron. No matter Bridgers' sorrows, no one could ever blow her away; she won't budge, she's not a pushover. She'll stand all day in the rain. And yet she imbues her voice with kindness, warmth—as if it'll all turn out OK, those wounds will heal, she'll text you on your birthday and maybe even call.
8. This Is The Kit - "Started Again" [buy]
   Folk music that glitters like polished wood, aluminium foil, the inside of a hadron collider. "Camouflage yourself chameleon," Kate Stables sings, over iridescent horns and ticking guitars, part-Bedhead and part-Fotheringjay, before the song reaches a cliff's-edge and tumbles, head rolling over heels.
9. Haim - "Don't Wanna" [buy]
   In a sense it's a song of forgiveness: someone's done wrong and she's willing to take them back. But it won't be easy. "I don't wanna give up on you," Danielle Haim admits. "I don't want to have to." This ain't an oath, it ain't even a pledge: it's an open window, that's all, on a brisk spring day.
10. Mac Miller - "Circles" [buy]
    There is an unexpected flavour to Mac Miller's final album, released a little over a year after his accidental overdose death. Jon Brion—who had been working with the rapper—completed it posthumously, and the producer's fingerprints are all over the songs: Circles sounds as much like Aimee Mann's Bachelor No. 2 or Fiona Apple's Extraordinary Machine (both of which Brion produced) as it does Miller's prior work. Apparently these were Miller's wishes—that his sixth LP feel more Gen X than Gen Y—and to be honest, particularly in this elegiac light, it mostly works. For me, the title track is the clear standout: pensive and hopeful, the dryness of Miller's voice counterbalancing the sweetness of Brion's arrangement.
11. Buddy Ross ft. Gabriel Delicious - "Bored Again!" [buy]
    An exultant, elastic pop song from Frank Ocean's longtime keyboardist—"Bored Again" bounces and bounces and eventually hits a chrome set of (mono)rails, powered by saxophone, moxie and additional vocals by Bon Iver.
12. Beyoncé - "Black Parade" [buy]
    Beyoncé as orchestrator extraordinaire, marshalling brass band and gospel choir and a Timbaland-worthy beat (she and Derek Dixie are credited as producers). What I most admire here isn't the tapestry of the arrangement nor the exactitude of Beyoncé's raps—it isn't even the lilting heights of the melody: it's the play Beyoncé wove through "Black Parade," all the games and rhymes and diversions twisted through the tune.
13. DJ Stokie ft. Loxion Deep & Kabza De Small) - "Senorita" [buy]
    Amapiano from South Africa, released at the very end of 2019. Beautifully arrayed with flute and percussion, with a gleaming house-music heart: and yet wound tight, taut throughout, the pleasures doled out with precision.
14. Marie Pierre Arthur - "Dans tes rêves" [buy]
    I love this weird, cracked pop song. Like a bashed-up tape by an 80s chansonnière, its magnetic band semi-disintegrated. I first heard it on the radio last winter and I felt like I was having a seizure, the most petit of mals—the universe folding and unfolding, winking at us through the sky.
15. Anderson .Paak - "Lockdown" [video]
    COVID-19 and the George Floyd protests have finally produced the kind of political music we've been promised since the 2016 US election—not just timely but frequently excellent, and gratefully received not because I Like Being Entertained (although I do) but because it's a fucking relief, maybe even a respite, to receive a song that can answer the call of the moment. It's a way for one's heart to be kept company. .Paak is dry-eyed here but his rhymes are supple, with stings hidden in their tails, and the whole song feels like work, good work, when it's getting done: check, yup, no problem—what's next?
16. Good Sad Happy Bad - "Shades" [buy]
    What begins as a mournful dose of ambient noise emerges unexpectedly into a nearly conventional midtempo rock song. I say nearly because Good Sad Happy Bad are the newly rechristened Micachu & the Shapes—one of the most inventive bands in all of indie rock. While there's something of the Velvet Underground or Squeeze to "Shades," that would only be true if Squeeze were melting wax figures, if Velvet Underground were being reconstituted from their elemental particles. Jaunty at moments, even supersonic, there are other times when this song feels just a few degrees shy of falling apart.
17. Antoine Corriveau - "Les sangs mélangés" [buy]
    Inspired by a text by novelist Éric Plamondon, and featuring a breathtaking English-language verse by Erika Angell, "Les sangs mélangés" feels like the closing credits of a latter-day David Lynch movie. Sinister and dreamlike, but Corriveau's fixed his gimlet eye on something literally close to him: the fucked-up relationship between Settlers and Indigenous people. "En Amérique," he sings, "On a tous du sang indien / Si c'est pas dans les veines / c'est sur les mains": "In America, we all have Indian blood; if it isn't in our veins, it's on our hands." And then as the groove staggers on, noise rolling, Angell's blazing lines—a performance that had me literally scrabbling for the liner notes, imagining it might be a rejuvenated Mary Margaret O'Hara.
18. Charli XCX - "Enemy" [buy]
    Charli XCX's full-length How I'm Feeling Now, recorded during lockdown, was one of the few COVID albums to truly capture the feelings—the tedium and the malaise—of those earliest pandemic days. Sure, most of us are still feeling tedium and/or malaise: but there was a particular blue-black colour to March, April and May, and that hex-code is smeared across "Enemy": a bloom of sickness despite its synthpop swoon, the certainty that Something'Is Wrong.
19. Future Islands - "Thrill" [buy]
    A ballad as slow as spring thaw. Samuel Herring sings a rueful love-song to himself, a prayer or a promise, an affirmation, his rough voice making way for the majesty of "Thrill"'s chords.
20. Against All Logic - "If Loving You Is Wrong" [buy]
    Nicolas Jaar's music takes so many shapes—supple electronica, crushing techno, soundtracks for extra-terrestrial love stories and minerals. "If Loving You Is Wrong," released under his Against All Logic moniker, feels threaded somewhere in-between: intimate and human yet intermittently mechanized, violent even, a life that has come of age under capitalism.
21. Mr Eazi ft King Promise - "Baby I'm Jealous" [buy]
    Nigeria's Mr Eazi writes his own "Jealous Guy": solicitous, caressing, much more sweet than bitter-.
22. Jason Molina - "Old Worry" [buy]
    From Molina's posthumous album Eight Gates, recorded in London more than a decade ago and released earlier this summer, "Old Worry" is scarcely there—just two minutes of guitar, viola, organ and a gunshot-like drum/guitar effect. But Molina's voice is as luminous as ever, a magnolia in the night, and his lyricism is at its height: there's no other songwriter whose words feel so easily, instantly eternal.
23. P'tit Belliveau - "Les bateaux dans la baie" [buy]
    God I love this record from this winking Acadian ne'er-do-well—whose music gambols and lurches like a mixture of Mac DeMarco, Beck and the McGarrigle Sisters. It's a twanging, cheerful, synthy lo-fi folk: weird and brilliant and utterly itself.
24. Crack Cloud - "Something's Gotta Give" [buy]
    One of the year's most beguiling debuts was Pain Olympics, from the Vancouver-based collective Crack Cloud. Contemporary post-punk that seems so adamant, that seems to know itself so well, that you can imagine the record trembling on the turntable. "Something's Gotta Give" feels at once tender and combustible—bowed strings and cooed whispers wrapped like a garotte around Iggy Pop's neck.
25. Camille Delean - "Idle Fever Out Of Tune" [buy]
    The Roches' "Hammond Song" is sour and perfect; this tune's sweet and burled. But both seem to extend toward a similar sky—endless and monochromatic, rippling with everything you long for or regret. An absolutely stunning tune from one of Montreal's most intriguing songwriters. "Threat of fire in a spark / Threat of dawn in the dark / Threat of fever in every room." (And whether deliberate or not, there's some of thee mightee "Safe Inside the Day" to it, too.)
26. Prince Kaybee ft. Black Motion, Shimza, Ami Faku - "Uwrongo" [stream]
    More South African afro-house, throbbing under the ripple of Ami Faku's voice and a simple, particular guitar figure. (Here's Prince Kaybee's investment advice.)
27. Gillian Welch - "Picasso" [buy]
    Gillian Welch's amazing Lost Songs sets—three discs of unreleased home recordings laid down to meet a publishing deadline—are full of treasures. Foremost among them is this, a simple tune of guitars + harmonica + two unhurried singers—and an utterly remarkable lyric, celebrating and bemoaning the power of art. Forget Dylan, frankly—those words! She makes it sound so easy.
28. Pa Salieu ft Mahalia - "Energy" [buy]
    The English MC Pa Salieu is among my very favourite new rappers—a guy whom I would listen to reciting the phone book, although there are no phone books, so instead perhaps the daily COVID statistics or, much preferably, this lovely tune with Mahalia, by far the warmest moment on Send Them To Coventry, which I like to imagine as a very hard man's endorsement of self-care.
29. Sam Lynch - "Keeping Time" [buy]
    I love the way this song unveils itself: restful, patient, like a box full of objects examined one by one. By the end you're crying, I'm crying, everyone's crying, as drums & strings & Sam Lynch's voice all do their good work. Startlingly great music by a singer-songwriter from BC.
30. Alabaster dePlume - "Not My Ask" [buy]
    One of my very favourite albums of the year was an oddity by a London musician for whom instrumental jazz is not standard fare. Yet To Cy & Lee is a quiet marvel: miniatures with just enough scrape and skronk, just enough din, to keep away the maudlin. This is work that does for me what Satie does, at times, or Emahoy Tsegué-Maryam Guèbrou: calms the body, paints pictures in the air.
31. The 1975 - "The Birthday Party" [buy]
    Although Notes on a Conditional Form was a disappointment, the 1975 are still for my money the most interesting big commercial rock band in the world. My favourite tune on the record was this—a kindly, dopey ballad, nostalgic and confessional, like if Knausgaard wrote a song for Lorde.
32. Lido Pimienta - "Te Queria" [buy]
    It's the steel drums that get me on this one, or the joyous crossfire in the song's second half, basking in the ease of Polaris Prize-winning!, Grammy-nominated! Lido Pimienta.
33. The Strokes - "The Adults are Talking" [buy]
    It was a great and abiding reassurance in 2020 to find that the Strokes still got exactly the same and undeviating it.
34. Omah Lay - "Lo Lo" [buy]
    The sun-kissed ease of "Lo Lo," the loll of it, makes it seem like a time-traveler: a song not born of this year. Maybe Omah Lay's been sitting on it—waiting until it was needed.
35. Yves Jarvis - "Semula" [buy]
    I feel like Yves Jarvis makes folk songs, or bedroom pop songs, and then gradually takes away the components. Like a game of new age Jenga: block after block after block and yet still somehow standing at the end, those little pieces of wood, gleaming in the sun.
36. Coriky - "Clean Kill" [buy]
    I have a deep soft spot for Ian MacKaye's sweet & stubborn post-Fugazi projects, like The Evens and now Coriky. This is punk rock turned down from 11 or 3, its emotions written not in sweat + tears but pencil-scratch + breath.
37. Land of Talk - "Diaphonous" [buy]
    I adore the cascading, fragmented grace of this song—like a wish reassembled from its fragments, memory + vision + brass + voice + electric guitar.
38. Austra - "Risk It" [buy]
    It's been a long time since Katie Stelmanis was primarily known for her gigantic pipe-organ of a voice. With Austra, the singer's lungs became less central to her work: theirs is a music of interplay, voice/electronics, timbre/harmony, instead of pure volleying wow. I'm not sure that this has ever been clearer for me than on "Risk It"—as drum'n'bass skitters, synth-horns blurt, and Stelmanis hangs her hook on a squidged up, silken chipmunk squeak.
39. Bad Bunny ft Sech - "Ignorantes" [buy]
    Today I played with my son in the living-room, a game of pigs and yeti, scampering over mountaintops, and as I did so I listened to Bad Bunny, because I have taken to listening to new music while we play, these days, because I can't listen to music the ways I normally do. ... At a certain point I was listening to "Ignorantes" for the fifth time in a row, like a tonic, like drinking a healthful tonic, another dose of quinine and orange juice.
40. Plants and Animals - "Love That Boy" [buy]
    Plants and Animals play a song of peace and love but you can still hear it—the fraying nerves, the strain, everything that nags at the edges.
41. Dagny - "Somebody" [buy]
    Dagny made what was arguably the year's best straight pop record—skittering Scandinavian synths with great drums and soaring, silver-sewn melodies. Cut from the same cloth as Robyn's Body Talk era but boy could you do worse.
42. Braids - "Here 4 U" [buy]
    A song of bright synthpop colour, high blue sweetness and grave gold feeling, but Raphaelle Standell-Preston sings as if she's undecorated, nude: the woman at the heart of the vortex, standing before a plate of clear glass.
43. Gil Scott-Heron and Makaya McCraven - "Me and the Devil" [buy]
    Chicago jazz man Makaya McCraven is the second artist in the past decade to release an entire record of Gil Scott-Heron remixes—a fact that speaks as much to the singer's estate as it does to his lasting influence. But whereas Jamie XX transformed Scott-Heron's final LP into a work of chill and echo, like an after-hours club, McCraven reasserts the album's downtown tumult: he makes a song like "Me and the Devil" feel pinned to the city, inseparable from it, as if its groove and brio are pouring through the streets. (While we're on the topic, McCraven's 2018 double-LP, Universal Beings, is unquestionably among my favourite jazz releases of the decade.)
44. Astrid S - "It's Ok If You Forget Me" [buy]
    This is my list and I can include whatever I want, including a fluffy acoustic ballad from a 24-year-old Norwegian pop-star. I'm bewitched by the chorus—it's absolutely straight-ahead, even rote, but there's this slant to Astrid's singing, five degrees of flaw, which allow it to slip like an arrow through all my armour.
45. Caribou - "Sunny's Time" [buy]
    A wriggling piano and a burnt-chesnut voice, but also that drooping sax, those levitating synths, and above all Dan Snaith's hand upon his mouse, snip/cut/crop, manipulating the tape like Glenn Gould in deepest studio, scissors in his hand.
46. Fontaines D.C. - "Televised Mind" [buy]
    Everything's fine.
47. Kurt Vile and John Prine - "How Lucky" [buy]
    In a year that ripped John Prine away from us, at least we have this: he and Kurt Vile singing an old song about fortune and contentedness.
48. Owen Pallett - "A Bloody Morning" [buy]
    A literal song of shipwreck: a man named Lewis, drunken at the tiller, til the schooner hits a reef. But Owen takes us past the cataclysm into the bloody morning after—and all its sun-traced forgiveness. / A chiaroscuro of orchestral rock—gasping and seething, sumptuously arranged, with a near perfect video and a thousand tiny details. (I live for the pleading whistle at 4:00.)
49. Tierra Whack - "Feel Good" [video]
    One minute and twenty five seconds wherein the visionary rapper Tierra Whack feels really bummed out.
50. Fiona Apple - "Heavy Balloon" [buy]
    Apple's been holed up with her dogs, her diaries, and (in my imagination) the first Tune-Yards album. "Heavy Balloon"—and all of Fetch the Bolt Cutters—creeps and thrashes, teased on by all of Apple's crashing and the ferrous force of her voice.

51. Shabason, Krgovich & Harris - "Open Beauty" [buy]
    You know the controls on photo software—exposure, saturation, hue? Or on recording apps—volume, gain? Imagine being able to twist each of those knobs to skew the life before you—the daylight, the evening, dream. Nick Krgovich sings in a murmur over warble and hoot; a keyboard sings a circle; a piano promises that when the ending comes it will be gentle.
52. Adrianne Lenker - "Anything" [buy]
    Even unaccompanied, the Big Thief frontwoman is unafraid of the smallness of her voice: she lets it be as it is, strident and mouselike, sharing hopes and worries, murmuring wishes; a girl casting stones at a window.
53. Bob Dylan - "I Contain Multitudes" [buy]
    The $300 Million Man obviously knows how to turn a phrase: but I found myself deeply charmed by "Multitudes," the way he rhymes nudes, dudes and preludes, that deadbeat grin at the end of his lips.
54. Still House Plants - "Shy Song" [buy]
    A song that literally sounds like two songs playing at once, and indeed probably is—but the two-songs are in conversation, affinity, shining back and forth like worn-out semaphore. A band that's aptly named, with music that seems to operate along invisible lines, impossible paths.
55. Dirty Projectors - "No Studying" [buy]
    Dirty Projectors have spent the year(s ?) releasing experiments, and this is my favourite among them: a track that brings together one part chugging garburator guitar and another part wistful acoustic sing-song. It's as if Wes Anderson were to collaborate on a project with Animal, each of them tugging for the camera.
56. Maeta ft Buddy & Kaytranada - "Teen Scene" [buy]
    Sultry, woozy, cherry-red: imperturbable R&B over a deliciously off-centre Kaytranada beat.
57. Marlaena Moore - "I Miss You" [buy]
    A whistling, clattering wanting—high-flying rock'n'roll produced by Chad VanGaalen.
58. Ball Park Music - "Cherub" [buy]
    There's a little of The Shins to this tender, tart guitar ballad—that is until the ending, when the Australian musicians furrow their brows and step on their pedals and blow out all the windows for miles. (Thank you, Vinny—more of his picks here.)
59. Sylvan Esso - "Rooftop Dancing" [buy]
    A private dance, perhaps; as gusts of sounds flutter through, scraps of whim.
60. Madeline Kenney - "Cut the Real" [buy]
    If "Cut the Real" hadn't been recorded before 2020 it would have had to be invented: a slowly pulsing song of "bright light ... [and] mess," of quarantining with the dull voice inside your head. Kenney has a beautiful way of making an incoherent world feel more coherent, as if the fractures are part of the design.
61. Thanya Iyer - "Always, Be Together" [buy]
    Iyer has been making music for years in Montreal, tapping a rich vein between deconstructed folk and naturalistic R&B. Her latest album, Kind, is a triumph and a culmination—it feels less like a piece of music and more like a home I want to live inside. "Always, Be Together" rustles and creaks, thrums, echoes; it's filled with solace, love and sunlight.
62. Kathleen Edwards - "Fools Ride" [buy]
    The song's called "Fools Ride." A present-tense sentence, but the tune's about being caught out, tricked: taken for a fool's ride, possessive form. Edwards with a tale of blind love and shady business—a "red flag flying in the shit parade / a warning sign that I ignored"—yet the song gains its texture from her' choice to share the blame. Fuck this guy, this unkind swindler, but she never lets herself off the hook. The villain's gone now: the protagonist is her.
63. ShooterGang Kony - "Jungle" [video]
    Over a flinching beat—is that Tracy Chapman? or just some synth-squirt?—Sacramento's Kony makes a case for his authority. He menaces his enemies and congratulates himself, willing always to make a joke at his own expense: "Had to earn my stripes, bitch / I'm a tube sock."
64. James Blake - "Summer of Now" [buy]
    As someone who prefers Blake's early electronic work to his latterday ballads, I love the way "Summer of Now" gathers force: splintering from a man and his memories to something less steady, more subdivided. The present is the sum of forgiveness plus regret; we're right to fear the calculation.
65. TOPS - "I Feel Alive" [buy]
    Title track from the Montreal band's new one—a sunny guitar-swept song whose serenity is almost, almost, almost, almost, almost convincing.
66. Burna Boy ft Naughty By Nature - "Naughty By Nature" [buy]
    Yes, it's that Naughty By Nature, invited back by Nigerian superhero Burna Boy—for whom NbN were an early influence, a polestar. Now he gets to return the favour, letting Vin Rock and Treach cast their smiling lines over a radiant, afrobeat production.
67. Widowspeak - "The Good Ones" [buy]
    There are those old stories of the Evil Eye—that all it takes for a curse is a compliment. I can't tell if this dark, dusty tune is a blessing or a hex, a malediction cooed through thin lips.
68. Kiesza - "When Boys Cry" [buy]
    A lean little tune for dancing to—fingersnaps and plainsong, the nervy pleasure one-and-a-half note guitar-line.
69. Tropical Fuck Storm - "Legal Ghost" [buy]
    Bristling, sidling slacker rock that treats its chorus as a queue: time to get your shit together, put your house in order, haunt a better town.
70. Jennifer Castle - "Broken Hearted" [buy]
    Monarch Season's coda feels like such a gift: something placed tenderly in your hands, without any need for thanks. Just Castle's windy voice, her little guitar. A song of moonbeams coming through.
71. Loma - "Breaking Waves Like A Stone" [buy]
    The outstanding and underrated Loma make music in the tradition of Spirit of Eden and Yankee Hotel Foxtrot: fathom-deep songs in tiny reflecting pools, all echo and evocation. With piano, woodwinds and percussion, "Breaking Waves Like A Stone" shines under Emily Cross's voice, a lustre that shrugs off any shadow.
72. Jeff Rosenstock - "NO DREAM" [buy]
    A song of the "great" American dream—in the Ta-Nehisi Coates sense, the one the USA needs to wake the fuck up from—and Rosenstock does his best to make that clamour, to raise that alarm, to rouse the sleepers with shout and crash and even a slice of straight punk hardcore. He's furious and impatient and kind and hopeful and fuckin' right as rain. (Thank you Jeff.)
73. Marika Hackman - "Playground Love" [buy]
    I love Marika Hackman's sleepy Covers record, but I was surprised to find my personal highlight wasn't either of the Grimes or Sharon Van Etten tunes, or even "Between the Bars": it was this, a drowsy reimagining of Air's ubiquitous 2000 hit. Hackman's "Playground Love" would have never fit on The Virgin Suicides: it's too sultry, too embodied, a reminder that love is sometimes thick and sticky, not thin as wine.
74. Nap Eyes - "Fool Thinking Ways" [buy]
    One of my favourite bands invites us on a trip to epiphany. While the verses feel dreary, like clouds are collecting above your head, each chorus is like a sunburst: bright, unmistakeable, like May in England (or maybe, in Nap Eyes' case, Halifax).
75. Frances Quinlan - "Your Reply" [buy]
    Pure and ringing clamour from Hop Along's Frances Quinlan, whose debut solo album soundtracked much of my February, before the curtain fell. When it comes to this song I am admittedly biased: it is rare, as a novelist, to hear a song about reading a novel, but that is where "Your Reply" begins: marginalia, and a paragraph about a dead horse. Within moments, Quinlan is singing the word "website" with the genius and patience of somebody who has been doing this long enough to know all the rules and how to break them—who can sing whatever the fuck she wants, sing whatever the fuck into being, pow, zip, like a sorceress in black jeans.
76. Agnes Obel - "Island of Doom" [buy]
    Just a light little number about watching a loved one get lowered into the ground. The Danish songwriter knows how to use her most trusted tools—glacial arrangements of piano, synths and strings; her monumental voice—but she has other tricks too: an eerie chorus effect she applies to the latter, and also a satinnier register, smooth and almost droll, that reminds me of Roy Orbison.
77. Nas - "The Cure" [buy]
    Not sure who Nas is rapping to, here—himself, I guess, but I like to imagine it as something he texts to any other hip-hop luminary who occasionally express ennui. "The markets see you as a old-ass artist ... They just want you to switch your lanes up / so they can hate on your ass." Whenever Jay or Tip put this on, its regal trudge bluetoothing to their airpods, I hope they'll be as struck as me: by this legend's craft, his unflagging brio.
78. Yumi Zouma - "Lie Like You Want Me Back (alternate version)" [buy]
    With this version of "Lie Like You Want Me Back," Yumi Zouma's shimmering tune gets pleasantly discombobulated: a crisscross of voices, just a dash of vinegar, in what is otherwise too sweet.
79. Mthandazo Gatya ft. DJ Manzo SA, Comado - "Senzeni" [buy]
    There's a lot of what's called afro-house on this list, especially the South African sub-genre amapiano. This surprises me—I'm not someone who listens to much house music generally—and it speaks perhaps to this year's trouble (and its remedies). But it also comes down to the breadth and depth of this genre: a huge community of producers, beatmakers, musicians and singers who seem to take every single track as a challenge to somehow make something even prettier. My affection for the genre was carried in on the back of Sun-El Musician's (brilliant) "Akanamali," in 2017, but at this point Sun-El's just one more DJ in a "gauzy beauty" arms race, and here's the producer Mthandazo Gatya with yet another salvo: "Senzeni"'s weightless, light as air, and still it keeps its shape.
80. Jazmine Sullivan - "Lost One" [stream]
    Five years after her last solo album, Sullivan returns with a quivering, lonely tune. It's a song full of failure, built atop a simple guitar loop, but Sullivan answers and confronts and calls out to herself throughout—as if she's finally found a way to bring herself the antidote.
81. Muzz - "Bad Feeling" [buy]
    A song that bides is time, sitting in its stew, 'til the glory of the closing seconds, when finally the fanfare breaks through.
82. Lina_Raül Refree - "A Mulher que já foi tua" [buy]
    From Portugal, Lina's unadorned fado music and Raül Refree's simple, consummate reconfiguration. I understand it to be true that if you stand on your tip-toes all day, your highest tip-toes, then tomorrow you will be taller. And if tomorrow you stand on your tip-toes, your highest tip-toes, then you will be even taller the next day. ... I understand it to be true that if you are safe today, all day, then tomorrow we will be safer. And if tomorrow you remain safe, then the next day safer, and the next and the next, on and on, until the day when it is impossible for any of us to be safer. We will be as safe as we can be.
83. Taylor Swift - "marjorie" [buy]
    With a relentless forward movement, a tick like telephone poles through a traincar window, my favourite of Taylor Swift's occasionally glutinous 2020 material is this beautiful ode to her late grandmother. Nimble, confident and deeply felt.
84. Roki Fernandez - "Nuevo Amor" [buy]
    A Spanish synth cover of David Bowie's "Modern Love"—shiny as a soap-bubble, ready to pop.
85. The Killers - "Caution" [buy]
    With the Killers, in general, I just can't help it. It's their coyote grins, and gallop.
86. Baba Levo ft Rayvanny - "Ngongingo" [video]
    The Swahili-English dictionary doesn't have a translation of "ngongingo," but says "ngongongo" means either "on purpose" on "freight train." Elsewhere, a relatively unreliable translation proposes "You're not alone." Listening to this magnificent, thudding tune, any of these will do—that is, as a song of reassurance or intention or barrelling high-speed transport. Baba Levo and Rayvanny's voices both seem almost fluorescent, cutting right through everything: and the everything is irrepressible, on the move, marching like a legion wherever the hell it wants.
87. Angie McMahon ft Leif Vollebekk - "If You Call" [buy]
    One of my favourite Montreal artists joins Australian songwriter Angie McMahon for an iceflow-slow rendition of her tune "If You Call." It's a song about the afterwards of a relationship, or an afterwards, a time that tends to feel either worthless or sacred. McMahon reaches there with her voice—and there's the wurlitzer wishing too, and a little bit of whistling—as the darkness hunkers down. (Thank you, Arnulf.)
88. Helena Deland - "Comfort, Edge" [buy]
    "You'll never make a fool of me," sings the Montreal songwriter, but it's never quite clear to me if this to the person she's wishing for or to the one she'd never choose. "Give me comfort, give me edge," she asks over studded organ and electric guitar. We all know she can't have both.
89. Olamide ft Omah Lay - "Infinity" [buy]
    A song whose spirit is not that unlike the other Omah Lay appearance on this list (at #34): free-moving, weightless. But whereas "Lo Lo" seemed sunlit, "Infinity" is all starlight: darker, gentler, a milder reassurance.
90. Baby Keem - "hooligan" [stream]
    "Hooligan" is darkly catchy, rooted in a sped-up piano round and an infrequent whistle hook. At certain times playful, at others times dour—and in equal parts proud and self-hating—the erratic Baby Keem is never more fascinating than when he's sullenly blurting the chorus, "Fa-fa-fa, fa-fa-fa."
91. Lomelda - "Hannah Sun" [buy]
    Lomelda's own name is Hannah and here she's thanking and searching and shining, sun-like, over shuffle and strum, a small and kind and faithful demonstration of what a hope is worth.
92. Keleketla! - "Shepherd Song" [buy]
    It's with the bass that this song gets me—a tumbling Western/African collaboration overseen by Coldcut and featuring artists such as Afla Sackey, Antibalas, Gally Ngoveni, Nono Nkoane, Sibusile Xaba, Thabang Tabane & no less than the great Tony Allen. The bassline isn't always there, hiding for a time under rattle and folksong and rubbery synth stabs, but my ear longs for it, goes searching, for the gentle-hearted languor at the centre of the day. (Thank you Jeff.)
93. Jon McKiel - "Deeper Shade" [buy]
    Hop on board the loop, ride it to the terminus. Jon McKiel has a flair that reminds me of Casiotone for the Painfully Alone, but Owen Ashworth would have never allowed this track's closing acoustic guitar section—glittering and wishful, unsentimental, the promise of a happy ending just around the bend. A lo-fi love-song that doesn't show its hand.
94. Masha Qrella - "Geister" [buy]
    This is, Arnulf tells me (thanks, Arnulf!), of the German musical genre known as "Spröder Pop." Spröde meaning brittle, like a clean sheet of ice or my nerves in November. Masha Qrella has been at this forever—Jordan first wrote about her here in 2004. With age comes wisdom, a level-headed singing style that endows this flickering cybersong with a grown-up sense of scale and distance.
95. Wizkid - "True Love" [buy]
    Compared to the trouble of "Smoke" (see #96), Wizkid's "True Love" seems like pure untroubled ease. The Nigerian singer has mild promises to make - plus the silkiest saxophone, a chorus like a sunbeam on the bedsheets, the smell of jasmine on the air.
96. Joy Oladokun - "Smoke" [buy]
    Despite the hopeful rise of "Smoke"'s chorus, its strength—by far—is its verses, where this young American songwriter demonstrates clarity and specificity in a way that reminds me of early music by The Streets. Joy Oladokun has the kind of forward-pushing energy that makes one root for her, imagine her triumphs.
97. Max García Conover - "Handsome Suit" [buy]
    Sturdy old chords and even a sturdy old melody—but Max García Conover has a gift for consonant and rhyme, the click of two lines as they meet. Folk-songs don't always need much filigree: it's as simple as some images, some wisdom, the metaphor of the real world made to sing. "Crazy lady shoveling the whole damn road / 3 gold deer in the hip high snow." (Thank you, Matthew!)
98. The Weeknd ft Rosalía - "Blinding Lights (remix)" [video]
    There's an obvious lustre to "Blinding Lights," but to me the original feels paint-by-numbers. With Rosalía at least, singing in Spanish, more sparkle gets blown all over—the slightest bright disorder. If anything it's still too clean—the melody measured, each bar neatly counted—but I suspect any one of us can lend it a little mess.
99. Bullion - "We Had a Good Time" [buy]
    Docile, futuristic pop from British producer Nathan Jenkins, co-written with Gramo-fave Diego Herrera (aka Suzanne Kraft). Jenkins' voice recalls the Beta Band or Westerman, and the bend of his melody reminds me of Connan Mockasin. Despite its burble and thunderclap, this song is all comedown—a balm, a salve, at the end of an abominable annum.
100. The Dears - "Play Dead" [buy]
     Playing dead isn't the worst advice in 2020. Murray Lightburn didn't know that when he wrote this, when he sang it into an old microphone—but I like to imagine he knew it as he loosed it into the world, knew this advice would unfurl with a little more resonance. "Play Dead" is itself a very quiet anthem, like a power-ballad recorded in a broom closet, warmed by melody and purpose and the guitar's flickering fire. A song that's willing to take your hand, willing to break all the rules, just to lay with you.

Love,
Sean

Jane Inc. - "Steel"

"I can finally think," the hum and the vibrating earth. Earth shifted in pillars. Pillars rearranging in patterns and letters and guts. "I can finally hear," the clouds and the piteous sky. Sky part, a place to drop in. Drop in, centered, Age of the Skateboard Teen. A pop-up epoch, one eon only. "I can finally have," the gears and the movers within. A rubbing electric ripping, hair with a life of its own. That gaze, that tube of ethereal navy throb, through which you can see your favourite thing.

Jane Inc. is power. Power on, up, and through. "Steel" is reflexive, out-of-body momentum. This is great shit.

[Pre-order]