75. Death Grips “Get Got”
“Get Got” was the menacing second step in Death Grips’ YOTTO. The track jostles a punishing, glitchy beat over which MC Ride spits lines faster than T. Swift switches boy toys. Lacking any of the hobo howling that defined last year’s Exmilitary, the song brings the intensity with its vague, edgy lyrics and irritable, jumpy production (it may be “quieter” but it’s still Death Grips). And the best part about “Get Got”? Its video is eerily the most hilarious of the year. Suck it, PSY. —Andrew Brandt
74. Night Moves “Headlights”
Minneapolis four-piece Night Moves hit us with an old-fashioned folk record this past October with Colored Emotions. “Headlights” is certainly a standout track as it sounds like it’s been sitting in a time capsule from the early 1970s until now. Channeling Neil Young with a classic ballad chord progression and accompanying harmonica, the band puts their own modern spin on things with distant, layered vocals and nostalgic guitar leads. —Sam Swiech
73. How to Dress Well “& It Was U”
Did you know this was How to Dress Well the first time you heard it? Interestingly different from his last album, this single from Tom Krell did something that was kind of popular this year: evoking the soul of R&B classics from the ’80s and ’90s and effectively pairing it to a modern, 2K12/end-of-the-world type house beat. The fact that it’s done so well only adds to the dance factor and was probably just what he was going for. —Azaria Posik
72. Sharon Van Etten “Serpents”
Sharon Van Etten’s “Serpents” (like most of her work) is haunting. While seamlessly blending members of The National, The Walkmen, and Wye Oak into the background, she paints a confused, contradicting portrait of ever-changing statements entangling feelings of love and abuse. A steady snare kicks off Sharon’s foray into a world she needs to forget, and by the time the chorus hits, the confident guitars eerily clash with her uncertain stance on what justice he — or even she — deserves. As “Serpents” asserts, however, everything and everyone does change in time. —Andrew Brandt
71. Alt-J “Something Good”
“Something Good” sounds cinematic, like it could be the backing for an introspective scene in an indie film. Lead singer Joe Newman’s voice is vaguely reminiscent of Freddie Mercury, and he sings tentatively so that the listener has to focus in order to make out the lyrics. His words are almost lost to the ambiance: militaristic snare drum, atmospheric waves of synth, piano riffs, and acoustic guitar plucking. The combination of all of this is quite fascinating and beautiful. —Kathryn Doers
70. MS MR “Hurricane”
This year New York duo MS MR released their dark debut EP Candy Bar Creep Show, soaked in anger and angst. “Hurricane” captures these emotions all too well with heavy reverb, exhausted vocals, and personal lyrics which confess a fractured relationship and a dysfunctional mind. The rest of the album, while preserving the feelings of death and destruction, contains a compelling assortment of heavy but relatable tracks, deserving of a listen. —Drew Curtis
69. Lord Huron “Time to Run”
Lord Huron’s “Time to Run” is intriguing right from the get-go. It builds up from a slightly Middle Eastern-sounding instrumentation — which breaks into the song later as well — into faster-paced tempo, fitting to its title. It seems light and slightly mystical with the sounds of the clinking chimes in the bridge, but then you listen to the lyrics “It’s time to run; well I hope you understand what I’ve done” and you’re left wondering just what terrible mistake was made to force the character abandon his love. —Hillary Sprecher
68. Blonds “Run”
From their debut album, The Bad Ones, “Run” has a catchy and intoxicating mix of jazz, Americana, and soul. The track takes the listener for a ride through ethereal hooks and sassy lyrics. The song gives you a sense of nostalgia, adding elements of classic ’60s rock ‘n’ roll to even hints of psychedelics similar to that of Pink Floyd’s The Wall. If nothing else, Blonds’ debut album is timeless and catchy — not to mention that it has been dubbed as one of the best records of 2012. —Rachel Angres
67. Midi Matilda “Day Dreams”
Indie-pop blended to a pulp. Where does one genre start and the other end? “Day Dreams” has all the elements of a summer smash and yet is too good to hear on the radio over the local beach bar’s crummy speakers. Maybe in San Francisco, birthplace of Midi Matilda, there are frequencies dedicated to this kind of fun-loving track but most of us rely on knowledgeable friends or the resident music junkie to find these rare shark teeth in the sand. A personal favorite from our Summer Jams ’12, “Day Dreams” is broadcast-worthy on any airwave. —Chris Kraemer
66. Django Django “Default”
“Default” boasts a flavor all its own. This track is rich with personality and spice beyond its young band’s years. Django Django has found a killer recipe consisting of equal parts gibberish and frenzied electronic effects. Their unique product is anything but the “Default” house special. A steady and unexcitable tone to the vocals heaps more emphasis onto the madness of a groove enveloping them and causes quite the aftereffect of knee-jerking hysteria. Django Django has “set the bar.” —Chris Kraemer
65. Lianne La Havas “Is Your Love Big Enough?”
Emanating charm and charisma, London-born singer and guitarist Lianne La Havas belts out her feel-good tracks on her debut album, Is Your Love Big Enough?. Through this album-titled single, La Havas re-creates ’90s-style pop, with a jazzy swing and soulful vocals. Accessible and friendly, this is one of those universal tracks with a familiar feel that you can’t help but tap your foot to. —Drew Curtis
64. Lost Lander “Afraid of Summer”
Arguably the track that transformed Lost Lander from a new project to a fully-fledged noticeable band, “Cold Feet” is just one of those songs that makes poetry out of sound. A little bit frantic in nature, this song infiltrates every part of you with a persistence driven home by the pulsing rhythms and the urge to begin again. What’s more, Lost Lander’s ability to take inspiration from their physical surroundings is something to be applauded — the otherworldly nature of their sound is almost as majestic as the temperate rainforests that surround their native Washington. It’s been a good first year for the group. —Rebecca Edwards
63. ScHoolboy Q feat. Kendrick Lamar “Blessed”
ScHoolboy Q invited fellow artist Kendrick Lamar to work with him here and it was a genius move; the rappers’ overlapping styles and beats work together to make something that is downright blessed. The song is this year’s best way to say “things may be bad but they could be far worse” — though obviously ScHoolboy says so with much more artistry than my awkward white girl paraphrasing. —Rebecca Edwards
62. Hundred Waters “Visitor”
Hundred Waters’ self-titled debut album released this year is enchanting, full of rich and crystal-clear detail. “Visitor” embodies all the best parts of what this Gainesville, Florida band has to offer up. Nicole Miglis’ melodious, slightly smoky voice is endearing, and swimming through a dreamy fog of synth flourishes and chiming piano keys it all comes together to create a pristine electro-folk sound. —Hillary Sprecher
61. On An On “Ghosts”
Without so much as an album to their name, the midwestern trio On An On arguably claimed the “indie” anthem of 2012. “Ghosts” feels perfectly scripted for that heartbreaking-as-hell epic movie moment. The song starts with a pleasing beat, muffled vocals, and reverbed guitars. Eventually those parts begin to churn and swell, and — with the addition of some expertly placed girl harmonies — a well-calculated catharsis ensues. Except On An On don’t revel in the gloomy glory; they simply march on as the extended outro eases in. Roll credits. —Andrew Brandt
60. First Aid Kit “Emmylou”
First Aid Kit’s “Emmylou” is reminiscent of the glory days of Nashville’s famous Grand Ole Opry. Referencing such renowned country artists as Johnny Cash, June Carter, and Emmylou Harris is sure to help give the song an Americana vibe. The downplayed steel guitar plucking and steady train-like drums allow the listener to focus on the lyrics and the haunting voices of the two Söderberg sisters. Such a song is refreshing in a world of overproduced tracks and auto-tuned lead singers. “Emmylou” is a tribute to great singer-songwriter duos within country music, and Gram Parsons would be proud of what the sisters have created. —Kathryn Doers
59. White Rabbits “Heavy Metal”
The sonic brilliance of White Rabbits’ “Heavy Metal” comes from an unmistakable mastery of production quality and creativity in the studio. The Brooklyn-based band introduced us to the musical equivalence of a surreal painting with the zany compositions of the first track off their latest album, Milk Famous. With reversed pianos, dramatic stereo effects, and unique percussion elements, a familiar rhythm emerges through their signature catchy basslines and mesmerizing vocal arrangements. —Sam Swiech
58. Beach House “Other People”
“It’s your world, why would you fake it?” Victoria Legrand asks with vocals of smoke and silk. Wet guitar twinkles as Legrand speaks of the complexity of human connections: “Other people want to keep in touch, something happens and it’s not enough.” Blinks of heavenly synth are accompanied by graceful piano scaling. “Was it ever enough?” is asked repeatedly until the end. For a moment there are different vocals behind the questions, undistinguishable and vague this voice melts with sex and soul. Beach House always produces positive dream vibes, but “Other People” is also rich with the passion that makes bodies move. —Alex Wolfe
57. Field Report “Fergus Falls”
Native Wisconsinites Field Report started 2012 off right. After much SXSW buzz, the six-piece band moved into a busy year — supporting Counting Crows and Aimee Mann and finishing up the year with a headlining tour. Every song on the self-titled debut album will leave you contemplating. “Fergus Falls” opens up with a crisp instrumental intro, building up with layers of texture. Christopher Porterfield’s haunting voice will instantly draw you in, making you feel something you might not quite understand. It’s hopeful, it’s heartbreaking, and it’s human. You will listen to this track over and over, and every single damn time you will still feel that beautiful uncertainty. —Hillary Sprecher
56. The Neighbourhood “Sweater Weather”
With an undeniable Californian feel, “Sweater Weather” plays on the border between indie and pop. Upbeat percussion and faded strings support prominent vocals which together compose a poppy rhythm that carries the first section of the track. Eventually this rhythm breaks down, giving way to an aching trudge which drags the final section of the track through the ocean sand of western shores. The hip-hop inspired vocal style of The Neighbourhood frontman Jesse Rutherford gives the group its competitive edge, adding a depth that allows them stand out in their genre. —Drew Curtis
55. Alabama Shakes “I Found You”
Can a throwback classic best suited for genres long forgotten appear on a “best of” list for the year 2012? Of course. It’d be impossible not to include a standout track or two from Album of the Year candidate Boys & Girls. Eligibility for the Best Newcomer category makes the new/old sound of Alabama Shakes even more impressive. A showcase of Brittany Howard’s voice, “I Found You” is a portal to a simpler time from a beautiful splash of a debut. —Chris Kraemer
54. Daniel Rossen “Saint Nothing”
This ghostly track is a prime sample of Daniel Rossen’s exquisite songcraft. Having spent a few years in relative silence following Grizzly Bear’s commercial breakthrough, Rossen may have been out to prove something with his solo debut earlier this year. Then again, Rossen has indicated a lack of forethought — that these songs poured out of him and were released as a solo record for lack of other projects in the works. In any case, the Silent Hour/Golden Mile EP reinforced the general assumption that these days Rossen is in a class by himself, or at least one only occupied by his other bandmates. —Adam Page
53. Father John Misty “Nancy From Now On”
Josh Tillman finally came into his own as a solo artist this year. After making the economically questionable decision to leave Fleet Foxes and move to L.A., transforming himself from an earnest Pacific Northwest campfire longhair to a slick, sardonic West Coast singer-songwriter, he hit us with Fear Fun, his debut as Father John Misty and an album of remarkable craft, wit, and variety. It’s remarkably different from anything Fleet Foxes have done despite being in the same general wheelhouse. In fact, Tillman’s sarcasm and humorously cynical outlook could be what kept this record from making more of a splash with Foxes fans hoping for more self-serious introspection. In any case, “Nancy From Now On” is a hell of a single; with a rollicking low-key vibe and instant-classic falsetto hook, it’s as good of a track as any to snare new listeners to one of the best records of 2012. —Adam Page
52. Dum Dum Girls “Lord Knows”
Dum Dum Girls remained a leap and a bound ahead of their peers in 2012 with the release of their dazzling End of Daze EP. “Lord Knows,” the disc’s slowed-down single, boasts lead singer Dee Dee’s impeccable vocals over an effortless beat. She sounds confident and sure layered over fuzzed-out backing vocals and reverbed guitars, which churn this intimate confession into an end of summer chill. The lyrics may be vague, but Dee Dee’s heartfelt delivery rings true and renders “Lord Knows” universally relatable. —Andrew Brandt
51. Peace “California Daze”
It’s kind of funny to think of a band from Birmingham, England crooning about the summer days of California, but that’s the case with Peace’s “California Daze.” Exuding a sense of nostalgia as we end the year in the depths of winter, Peace captures the chilled out, laid back, sunny vibe of the Golden State. They paint the quintessential image of a surfer riding away into the sunlight, one you would see on a postcard, except this postcard has the sentiments of the summer that passed to go along with the picture. It’s nostalgic, soothing, and a great listen. —Erica Matlin
Edited by Jon Kjarsgaard and Derek Hagen