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obtusemedia · 5 years

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The best songs of the 2010s: #25-1

#25: “SICKO MODE” by Travis Scott feat. Drake (2018)

When music historians look at hip-hop’s late-’10s dominance, I have no doubt that “SICKO MODE” will be viewed as the pinnacle of the era.

Let’s just go through a checklist of what makes “SICKO MODE” an instant classic: The weirdo multi-part structure. Travis Scott’s nearly two-minute long verse with quotable lines galore. Drake somehow managing to make falling asleep on an airplane sound cool. That spooky two-word Swae Lee refrain. Multiple Jamba Juice name-drops (inspiring a hilarious meme video). An iconic, striking music video with whacked-out imagery galore.

But most importantly, it’s a stone-cold banger that will get any dance floor moving. What more could you want?

#24: “Dance Yrself Clean” by LCD Soundsystem (2010)

You might have noticed that one of the decade’s biggest musical trends — EDM — hasn’t shown up much on this list. That’s because a majority of it has already aged badly, even just a few years later. Songs like “Don’t You Worry Child” or “Wake Me Up!” certainly have their charms, but unlike the more enjoyable, trashy electropop that preceded it, most EDM hits were plodding and self-serious. And its best artist, Calvin Harris, made his best work when he drifted away from the subgenre’s rigid structure and just made pure pop music.

But my passiveness towards EDM doesn’t mean I can’t appreciate a great drop. There’s been plenty of songs on the list with incredible drops up to this point, and there’s still a couple more to come. Hell, I even halfway considered putting some Skrillex on the list just because some of his early stuff still can get your pulse pounding (even if these songs REEK of the early 10s). But there will never be a drop more bonkers than “Dance Yrself Clean.”

Indie legends LCD Soundsystem kicked off the decade with a bang with this song — but they made you wait for that bang. More than three minutes, to be exact. But those who were patient enough to sit through the quiet, drawn-out opening were treated to frontman James Murphy wailing like a madman over a shuffling beat, bouncy bass and a cascading, randomized symphony of analog synthesizers. Although I’m sure Murphy calculated every second of “Dance Yrself Clean,” it sounds like absolute anarchy. And in the moments when his screaming vocals go hoarse over the slamming synths, it’s unreal.

#23: “Born To Die” by Lana Del Rey (2011)

This was the first Lana Del Rey song I heard, back in my junior year of high school. I was immediately floored. The vocals, the cinematic orchestral sweep, the spaghetti western guitars, the tragically beautiful lyrics — it was an instant masterpiece. There was no way Lana wouldn’t be the world’s biggest popstar within a year.

A couple months later, Lana infamously bombed on Saturday Night Live, which some thought would derail her career entirely. Even after her career has survived and she’s become a critical darling with a cult fanbase, her debut album, Born To Die, and its title track still have a bit of the stink from that SNL performance. Well, no more.

“Born To Die” is a haunting gothic-pop masterpiece that’s aged much better than much early-’10s pop (although I love the corny club stuff from that era, don’t get me wrong). Lana’s smoky voice is unparalleled, the trip-hop production is untouchable.

And although her pinnacle wouldn’t come until 2014 with her sophomore album Ultraviolence, “Born To Die” is still Lana’s most perfect single to date.

#22: “Green Light” by Lorde (2017)

In 2013, Lorde completely upended the pop universe with “Royals,” a minimalist tune chastising radio hits for their un-relatable opulence. By 2017, the culture had fully gravitated towards Lorde’s moodier sound, with greyscale acts like Post Malone and Alessia Cara writing monster hits about being angsty and sad (and not in the artsy, brilliant way that worked for Kurt Cobain or Kanye). It was a far cry from the neon, bubbly world of Katy Perry and Carly Rae Jepsen from a few years prior.

The New Zealand prodigy could’ve cashed in on being ahead of the curve and continued down her minimalist moody path. But she did the opposite with the defiant and proudly energized “Green Light.” Yes, it’s a breakup anthem, but Lorde doesn’t wallow in her sadness here (she saves that for other Melodrama cuts). Instead, she wailed away into the night, playing off of the thundering drums and bouncing pianos of Jack Antonoff’s production (his best-ever).

With “Green Light,” Lorde let her ex, and the world, know that she isn’t going anywhere. She might not ever reach the commercial heights of “Royals” again, but she’ll be an icon as long as there’s heartbreak that needs overcoming.

#21: “If You Know You Know” by Pusha-T (2018)

Pusha-T’s magnum opus, “If You Know You Know,” is a masterclass in cocaine rap with its effortless wordplay, sinister-yet-charismatic flow and blaring Kanye West beat. It deserved to be the song of the summer in 2018, but the masses chose a C-tier Drake single instead (despite Push absolutely ENDING Drake that summer).

But that doesn’t diminish the achievement Push made with this song. It’s quite a feat to record your best-ever track 17 years after your breakout. It’s even more of an accomplishment when that track kicks as much ass as “If You Know You Know.”

#20: “Teenage Dream” by Katy Perry (2010)

Teenage Dream-era Katy Perry is one of pop’s all-time juggernauts. The five consecutive #1 hit singles that album racked up is a feat matched only by Michael Jackson. Of those five singles, one stands out as the clear masterpiece of the group: the album’s title track (although “T.G.I.F” is also incredible).

I remember feeling a little underwhelmed by “Teenage Dream” when I first heard it in 2010. Her last single was a goofy, bombastic summer jam complete with a ridiculous video. “Teenage Dream” is a much more conventional, timeless pop jam. The chord structure is shockingly simple and the lyrics are lovestruck notes from a ‘50s ballad.

But that simplicity is what makes the song work. “Teenage Dream” has aged well because sometimes, all you need is three chords, a monster hook and yearning lyrics. This song will be Perry’s biggest legacy.

#19: “Drunk Drivers/Killer Whales” by Car Seat Headrest (2016)

“Drunk Drivers/Killer Whales” has to be the only uplifting, U2/Nirvana-style power ballad about DUIs.

Landing smack in the middle of Car Seat Headrest’s indie rock concept album/instant-classic Teens of Denial, “Drunk Drivers” is about the main character taking stock of his entire life and emotional instability. And yes, it all centers around driving drunk — or in this case, refusing that temptation as an impetus to change one’s life.

Naturally, in the very next song on the album, it’s revealed that the narrator drove drunk and got arrested anyways. But for a cathartic six minutes, “Drunk Drivers” provides a fleeting escape from the constant loop of self-hate and depression. Not to mention that it’s a grinding ‘90s alt-rock throwback that probably makes Billy Corgan jealous.

#18: “Harmony Hall” by Vampire Weekend (2019)

I’d never guess that Vampire Weekend’s second-best song (after “Oxford Comma,” of course) would be a hippie-friendly tune combining the Grateful Dead and Screamadelica. But here we are. And awkward combination or no, Ezra Koenig knew exactly what he was doing.

In a very dark, uncertain year, Koenig decided to write a song that doubled both as a blissed-out reprieve and a nervous warning. The music is utopian, but the lyrics detail the anger, confusion and constant obstacles of life in the late ‘10s. Koenig takes a lyric from one of his previous songs — “I don’t want to live like this/but I don’t want to die” — and makes it a rallying cry for anxious Millennials around the world, paranoid that the world might not stick around much longer.

It’s a heavy topic, but the gorgeous instrumentals, breakbeat drums, lilting guitars and bouncy pianos certainly ease the stress. “Harmony Hall” is a late-career masterpiece for the ages.

#17: “Marvins Room” by Drake (2011)

Never before has a booty call sounded so sad.

Way before he ruled the pop universe, Drake was just hip-hop’s resident mope. And “Marvins Room” is peak sadboi Drake. Using a real voicemail message in the hook (that he was later sued for using), “Marvins Room” is a six-minute phone conversation in which Drake drunkenly begs his ex to come back.

On the surface, what Drake discusses are what most rappers brag about — sex, money, wealth. But in “Marvins Room,” Drake seems to view them as obstacles to his ex, who he clearly still isn’t over. When he said he had sex four times this week, he sounds disgusted with himself, not proud.

Drake doesn’t look remotely good in this song; it’s more than a little pathetic. But it feels real and raw and revealing in a way that few R&B ballads are willing to get.

#16: “Pedestrian At Best” by Courtney Barnett (2015)

Courtney Barnett’s grungy masterpiece, “Pedestrian At Best,” is appropriately angsty given its crunchy guitars and yell-y vocals. But the Melbourne singer-songwriter touches on a different kind of angst here than Pearl Jam usually tapped into: the pressure of living up to sky-high expectations.

In the early/mid ‘10s, Barnett was earning lots of hype after witty (and excellent!) early singles like “Avant Gardener” and “History Eraser.” She clearly assumed she’d screw up her debut album following up those breakout songs, as she declares herself “a fake” and “a phony” in “Pedestrian At Best.”

Arguably her generation’s best lyricist, Barnett nails her expectation to squander the public’s expectations: “Put me on a pedestal and I’ll only disappoint you/Tell me I’m exceptional, I promise to exploit you.” The ironic thing is, she did the opposite. “Pedestrian At Best” is one of the most successful songs about failing.

#15: “Ni**as in Paris” by Jay-Z and Kanye West (2011)

There was some close competition, but I don’t think there was a more quotable rap song this decade than Jay-Z and Kanye West’s crowning achievement from Watch The Throne, “Ni**as in Paris.”

The classic lines don’t stop coming throughout the minimalist banger. Jay’s verse is smooth braggadocio perfected: “I’m liable to go Michael, take your pick: Jackson, Tyson, Jordan, Game 6.” Then Kanye comes crashing in with some truly bizarre bars that are both the dumbest and greatest thing you’ve ever heard. After hearing the song, I never felt the same way about fish filets ever again.

And then, the piece de resistance — Kanye’s inspired Will Ferrell sample from Blades Of Glory. It’s one of the most left-field and iconic moments in hip-hop history, and perfectly described the song itself. “NOBODY KNOWS WHAT IT MEANS. BUT IT’S PROVOCATIVE. IT GETS THE PEOPLE GOING.” Amen.

#14: “Run Away With Me” by Carly Rae Jepsen (2015)

Carly Rae Jepsen deserved to be one of the biggest popstars of all time. She should be selling out the same arenas that Taylor Swift and Beyoncé fill. But, in what is a true tragedy, the British Columbia native is only remembered as being that singer with that one earth-shattering hit and a feverish cult following.

But despite how adorable and fun “Call Me Maybe” is, Jepsen’s true magnum opus is her 2015 album, EMOTION, and its bombastic opening track, “Run Away With Me.”

The single is a masterclass in blending ‘80s flourishes with modern production. On the thunderous chorus, the EDM synths and roaring saxophone riff work in harmony with Jepsen’s passionate vocals to create pure pop bliss. Combined with the intimate verses, the single perfectly encapsulates that butterfly-feeling of a relationship’s honeymoon stage.

“Run Away With Me” is only one of many, many Jepsen singles that would’ve been #1 smashes in a perfect world. But the lack of chart success for this one especially hurt.

#13: “Formation” by Beyoncé (2016)

Where were you when “Formation” dropped? I bet you probably remember (I was writing an essay in my college’s library).

Sure, Beyoncé’s self-titled 2013 album is the surprise drop that gets all the attention. But “Formation” came out of nowhere too a few years later, and let’s be honest — it was much better. (side note: 4 is also much better than the self-titled)

Mike Will Made It’s beat for “Formation” incorporated some Texas twang into his trap-pop production — a fitting match for a Houston legend like Beyoncé. And Bey takes heat-check shot after heat-check shot here: declaring herself the next Bill Gates; casually dropping a “swag” ad lib and magically not sounding corny as hell; making a trip to a mediocre chain seafood restaurant sound like a cool post-sex reward.

It all works. And that’s because on “Formation,” Beyoncé was as untouchable and fearless as her cutthroat stans had always proclaimed her to be. The fact that it was the triumphant coda to one of the decade’s best pop albums just cements its legend.

#12: “Old Town Road (Remix)” by Lil Nas X and Billy Ray Cyrus (2019)

It’s the longest-running #1 hit in U.S. history. An unstoppable juggernaut that held titans like Justin Bieber, Taylor Swift, Ed Sheeran and Drake from the top of the charts. And, oh yeah — it’s perfect.

There are probably a few party poopers out there who hate “Old Town Road.” I am not one of them. By 2019, pop’s grayscale, Post Malone-fueled gloom had gotten out of hand. Then out of nowhere, this teenage Nicki Minaj Twitter stan writes a goofy novelty song that’s both a parody of country clichés and a sincere celebration of the cowboy lifestyle. (It’s also the greatest country song ever written, and the entire city of Nashville can fight me on that.)

Lil Nas X has a pure charisma other artists would kill for, from his warbly, infectious chorus to his endlessly quotable verse (WRANGLER ON MY BOOTY!!). And pulling Billy Ray Cyrus away from Hannah Montana-funded retirement to drop a shockingly fire verse about living the luxury lifestyle in Beverly Hills? There’s no way this wouldn’t be one of my all-time favorites.

Sometimes, when it comes to predicting future classics, you’ve just got to trust the screaming elementary schoolers.

#11: “Midnight City” by M83 (2011)

“Midnight City” sounds like what Space Mountain feels like.

The decade’s best electronic song is so perfect as to be almost alien, yet also remarkably warm and human. And just when you thought the song couldn’t get better, the second-greatest sax solo of all time (only behind “Jungleland”) bursts out of the neon layers of synth.

M83 has a catalogue stuffed with stunning retro synthpop bangers. The fact that “Midnight City” towers above them all is a testament to the song’s sheer majesty.

#10: “All Too Well” by Taylor Swift (2012)

Yes, I’m aware that this is the obvious Taylor Swift pick for this list. But Swift’s literary masterwork, “All Too Well,” hits me too hard to deny it.

“All Too Well” is so packed with vivid details and intense emotional swings that it feels like more like a short story backed by arena-rock instrumentation more than a pop song. From her an abandoned scarf tucked in a drawer, to her ex’s mother embarrassing him with his dorky child photos, to the phone-call breakup that was “casually cruel in the name of being honest,” Swift didn’t leave anything out.

Coupled with her songwriting, Swift’s vocals also make “All Too Well” her pinnacle. She reaches into her upper register so rarely that it sends shivers whenever she does, like on the emphatic climax here.

If it catches me in the right mood, Swift’s performance, the lilting guitars and cutting lyrics in “All Too Well” brings a few tears to my eyes. (Yes, really.) It’s only fitting that one of the greatest breakup anthems of all time is sung by a master of the artform.

#9: “Ivy” by Frank Ocean (2016)

I was very tempted to put Frank Ocean’s 10-minute synthpop epic “Pyramids” on the list instead. Make no mistake — if it wasn’t for my self-imposed one-song-per-artist rule, both it and “Ivy” would’ve placed highly.

But “Ivy” is a heart-stopper. It’s a fairly simple song, with just Ocean’s raw vocals playing off the languid guitars. To pull a song like this off, you have to be a double-threat, a genius lyrically and a stunning singer. Ocean fits that bill.

“Ivy” is the decade’s greatest R&B song, a heartbreaking ode to a slowly crumbling relationship.

#8: “The Edge Of Glory” by Lady Gaga (2011)

Lady Gaga’s best songs hit you like a brick to the face. Gaga — the greatest pop star of the 21st century, don’t @ me — has plenty of pop bangers that do this, particularly on the wildly underrated Artpop (shoutout to the insane and insanely fun “G.U.Y.”). But arguably none of her singles provide as much maximalist pleasures as “The Edge Of Glory.”

The track reeks of trying too hard in the best way possible. Gaga reaches into her upper vocal register frequently, scratching her upper limits every time she reaches the chorus. The production is a messy-but-beautiful jumble of slamming synths and drum machines. And that Clarence Clemons sax solo — one of the last musical contributions he made before his death that same year — is just the icing on top of the gloriously sugary cake.

Gaga’s over-the-top synthpop from her early years isn’t everyone’s cup of tea. But for someone like me, who wants pop to feel as massive and inescapable as humanly possible, “The Edge Of Glory” is still a towering high-water mark.

#7: “Pay No Mind” by Beach House (2018)

This spot could’ve been taken by any number of Beach House songs, the modern masters of dream-pop. “Space Song,” “Myth,” “Take Care” — the Baltimore duo honed in on a specific musical style and perfected it.

To me, “Pay No Mind” is the culmination of those years of Beach House subtly tinkering with their hazy, nocturnal sound. It’s like a gothic wedding slow-dance song: the right rhythm and with a romantic feel, but maybe a bit too gloomy for your grandparents. But regardless, “Pay No Mind” is breathtakingly beautiful, like seeing neon lights through the fog.

#6: “m.A.A.d. city” by Kendrick Lamar feat. MC Eiht (2012)

If you haven’t tried to memorize the nearly two-minute uninterrupted opening verse of “m.A.A.d. city,” were you even alive in the early ‘10s?

Kendrick Lamar has written many hip-hop epics in his career so far, but so far none have topped the semi-title track from his major label debut, good kid, m.A.A.d. city. In that concept album about Lamar’s teen years growing up amidst the gang warfare in Compton, “m.A.A.d city” marks the point where the gangsta dream shifts into a horrifying nightmare.

The song is a blur of murder, violence and police sirens. Lamar sounds positively terrified on the track, his voice cracking while he confesses. And bringing on old-school rapper MC Eiht to play a veteran gang member snapping Lamar out of his haze was a brilliant move. “m.A.A.d city” is an exhilarating tour-de-force that proved how much raw talent, in both flow and storytelling, Lamar had.

#5: “Somebody Else” by The 1975 (2016)

If Vampire Weekend is the most important band of the early ‘10s, then The 1975 is the most important band of the rest of the decade. Their transformation from (really good!) simple pop-rock to tacking incredibly dark subject matter while successfully taste-testing their way through nearly every musical genre was unexpected. And brilliant, seeing as they pulled it off.

But The 1975′s best track is much less capital-I important than most of their epics about Trump or suicide or heroin — it’s a synthpop song about complicated post-breakup emotions. But “Somebody Else” earns its keep as the band’s pinnacle through sheer relatability. It nails that complicated feeling of being over someone...but not really. Or as lead singer Matty Healy puts it bluntly: “I don’t want your body/but I’m picturing your body with somebody else.”

The shuffling drum machine groove and icy synths complete a perfect song for wandering aimlessly at night, longing for a lost love. And although The 1975 might switch sounds endlessly in their career, their sweet spot will always be this moody ‘80s update.

#4: “TiK ToK” by Ke$ha (2010)

“TiK ToK” is still easily the peak of the 2009-12 pop golden age. It has a bit of everything you’d want in a single from that era: Gloriously grimy synths! An uber-catchy chorus with plenty of demands to party! And of course, a charismatic and unforgettable star who can deliver the song. I don’t think anyone would argue Ke$ha fit that role to a T.

When “TiK ToK” first arrived around the turn of the decade, I couldn’t stand it. I thought it was too sleazy. Nearly 10 years later, Ke$ha’s performative sleaziness is exactly what makes this song so fun. Yeah, the hook is bulletproof and the production is buzzy. But Ke$ha’s slurred, drunken delivery and ridiculous lines are what have kept “TiK ToK” in the public consciousness. She single-handedly made P. Diddy and especially Mick Jagger relevant again. She made brushing your teeth with Jack Daniels seem cool (and not insanely nasty, like it actually is). Every single ridiculous line, sung through Ke$ha’s fake valley girl accent, is a gem.

I can understand how someone wouldn’t like the unfiltered debauchery and greasiness of “TiK ToK.” But to me, that’s the entire charm of it, and what makes it stand out amongst a sea of similarly-minded club jams from its era.

#3: “Runaway” by Kanye West feat. Pusha-T (2010)

I was going to ask all of you to forget about Kanye West’s recent stumbles, be it his association with Donald Trump or his insistence that slavery was a choice. But the power of “Runaway” is that it is a semi-apology from a man who knows he’s deeply flawed. Every one of Kanye’s gaffes and terrible decisions makes “Runaway” even more relevant today.

But “Runaway” was originally a response to Kanye’s infamous “Imma let you finish” rant at the 2009 VMAs, where he interrupted Taylor Swift. The song basically operates as a semi-apology to the world for being, as he puts it, a douchebag. An asshole. A scumbag. A jerkoff. He’s somewhat bragging about his misdeeds, while sheepishly asking for forgiveness.

And yet, it’s an extremely vulnerable song. The bridge — “I guess that you’re at an advantage/Cause you can blame me for everything/And I don’t know how Imma manage/If one day you just up and leave” — initially feels like something Kanye is saying to a lover. But really, he’s saying it to all of us. And it’s arguably the most moving moment in his whole career.

#2: “Get Lucky” by Daft Punk feat. Pharrell and Nile Rodgers (2013)

Don’t think about it too hard, folks.

Considering that Daft Punk are the greatest dance-music artists of all time, it only makes sense that they’d dip their toes into disco and absolutely KILL it. And that’s all “Get Lucky” is. Two French masters making their grand comeback by recruiting one of funk’s finest guitarists and one of the 2000s’ most charismatic vocal presences.

“Get Lucky” will be a wedding dance staple until the sun explodes. And it deserves that status. It’s a flawless dance track. Just embrace the groove.

#1: “Archie, Marry Me” by Alvvays (2014)

My favorite song of the 2010s wasn’t a part of some major trend. It wasn’t particularly influential. It doesn’t have any profound meaning, and it didn’t try to tackle a major event. “Archie, Marry Me” just happens to be the greatest indie pop song ever written.

Every little aspect of Toronto band Alvvays’ debut single works, from the surf-y guitars to lead singer Molly Rankin’s monotone-yet-yearning vocals. With its lo-fi ramshackle charm and monster hook, “Archie, Marry Me” is all you could want in a dream-pop single. It even has the nice touch of echoing a Neil Young classic in the chorus.

The whole intention of this list — as it is with any of my year-end lists — is simply to measure which songs made me the happiest; which songs never wore out on me. And no single this decade puts a bigger smile on my face than “Archie, Marry Me.” It’s simple, achingly romantic (in a Wes Anderson-esque half-ironic way, but still), and I wouldn’t change a thing about it.

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