100. Foals “Blue Blood”
Every year sports leagues the world over designate one deserving player “Most Improved.” With Total Life Forever, Foals just might be 2010’s musical equivalent, delivering on and surpassing the promise of their previous efforts. As the set’s opener, “Blue Blood” brings to bear their signature blend of smooth-as-butter vocals and lively guitar picking that dares you not to bob your head. Listener beware: this is just the first of many “I can’t get this out of my brain!” melodies on offer. – Seth McNitt
99. Stornoway “Zorbing”
“zorbing” n. A sport in which a person is strapped inside a large sphere which is itself held inside a larger sphere by a cushion of air, and then rolled down a hill or along the ground. This might seem an odd starting point for a love song. There is nothing more fitting than placing the lyrics inside a bubble. Filling the song with strange harmony and surprising instrumentation, Stornoway takes the British folk-pop tradition and makes it their own. The vocal arrangements subtly evoke acapella groups, but the songs remain accessible for those who’ve been enjoying Mumford & Sons or Villagers. – Brigid Hogan
98. Delphic “Doubt”
Delphic is a four-man band from Manchester that is comfortable venturing into the worlds of electronic and dance, while staying true to core elements of rock. “Doubt”‘s indie-rock guitar and vocals mesh well with its funky voice samples and beats, without feeling like a remix or forced mash-up. – Chad Helminak
97. School of Seven Bells “Windstorm”
With Disconnect from Desire, School of Seven Bells have developed their sound into a poppier version of themselves compared to their debut album Alpinisms. The apty named “Windstorm” is a whirling and twirling track of instrumental flurries and ethereal voices. However, throughout the storm of the track, the band remains cohesive. – Amanda Hammermeister
96. The Drums “Me and the Moon”
“Me and the Moon” starts out like a classic ’80s tune perfected by a group of bumbling outcast high schoolers in the wee hours of the night. The buzzing guitar, simple synth baseline, and easy lyrics make it feel like it should last forever. Or at least as long as a high school romance. It seems like like this band of high schoolers turned out to be the most successful gang in the class of 2010. – Julie Gong
95. MNDR “I Go Away”
The lyrics say “This is my anthem, I know it like I know everything,” and MNDR’s “I Go Away” is literally an anthem for the young and lost. The lyrics exist at the point only at the end of something: loss, confusion, and an unmistakable freedom. The build from the minimal, drum-machine opening to the driving core of the song seems to be the real tie between music and lyric. Both a slow jam and a dance track, “I Go Away” exemplifies a lot of what’s going well for minimalist electro. – Brigid Hogan
94. Surfer Blood “Swim”
So loud with all its echoing goodness yet still so chill, Surfer Blood’s “Swim” is a perfect warm-weather jam for rocker dudes and stoner bros alike. Employing a light and breezy breakdown in the middle for good, indie-kid measure, “Swim” really does have something for very nearly everyone without pandering or becoming a crazy mash-up. Put on your best flannel and enjoy this on a sunny day. – Stacey Lansing
93. Twin Sister “All Around and Away We Go”
Fresh-faced Brooklynites Twin Sister combine an infectious bass line with a retro dancehall vibe full of shimmery synths and Andrea Estrella’s echo-y vocals. It sounds like an American Apparel advertisement — equal parts tongue-in-cheek hipster and youthful idealist. – Claire Tiller
92. Gorillaz “On Melancholy Hill”
Whether they’re playing live or in the studio, Gorillaz like to mix it up with a smorgasbord of genres and musicians. “On Melancholy Hill” is a synth-tastic song about love and longing that literalizes its title perfectly. Damon Albarn’s hazy voice is a welcomed staple on any Gorillaz track, but on this one it seems to be right at home. – Chad Helminak
91. Ra Ra Riot “Boy”
From the opening beat, “Boy” captures your attention in a way only Ra Ra Riot can. The quick beat and hint of string instruments initially pull you in while thoughtful lyrics make you question everything you once knew about yourself. It almost makes me wish I were a cold, cold boy. – Julie Gong
90. White Hinterland “Icarus”
Moving away from her younger American-Folk pianist ways, Casey Dienel’s solo debut and her first record as the leader of White Hinterland can be described as “trip-hop” or “dream-pop.” Whichever way, the light-hearted yet dark whispers fronting a solid electro slap beat leaves me knowing one thing; at the end of a substance-filled night you could find me dancing alone to this song, and enjoying every minute of it. – JoAnn Schinderle
89. J. Tillman “Three Sisters”
J. Tillman’s use of silence in “Three Sisters” works well to create anticipation and appreciation for every subtle strum, tap, and vibrato produced. The song is refreshingly void and introspective, providing a cinematic listening experience as your mind wanders alongside the music. The drudging background beat is sorrowful and matches perfectly with post-apocalyptic kicks from the drum kit/synth. – Chad Helminak
88. Twin Shadow “Shooting Holes”
“Shooting Holes” is a track enveloped in mystery, a tune that hints happily at revenge and sex. George Lewis Jr.’s vocals are soothing and seductive and the underlying groove is just to the right of sleazy. The chorus holds this all together under a glimmering wash of keyboards. – Sarah Probst
87. Margot & the Nuclear So-and-So’s
“New York City Hotel Blues”
Richard Edwards’ pained voice gnaws at you in “New York City Hotel Blues,” making you want to confess every sin you’ve ever committed. With haunting harmonies and lyrics like “I’m never gonna break your heart, not unless I have to,” it’s hard not to feel guilty. – Claire Tiller
86. Wye Oak “I Hope You Die”
Slowly building, roiling under the surface but offering escape in smooth sheets of sound instead of explosive pops, “I Hope You Die” is a wish for gentle release and not the brash kiss-off the title suggests. Arguably about euthanasia, the narrator keeps vigil and wants for deliverance from difficulty — both for herself and whom she watches. – Stacey Lansing