Best Songs of 2011: 10-1

10. Milo Greene "1957"
Despite the gloomy lyrics, there's a definite sweetness to this rising California band's "1957." Maybe it's the unison boy-girl vocals or the rockabilly beat, but it feels as comfortable and familiar as a cozy flannel shirt. —Claire Tiller

9. Phantogram "Don't Move"
Sometimes when we're constantly on the go, caught up in our anxieties, it's hard to focus on the here and now. "Don't Move" captures that moment of clarity when the sun shines through our cloudy minds; it literally tells us to chill out and remember the big picture. "You know that you're still alive" — the breezy vocals are telling and questioning the listener, urging to remember what's important. —Azaria Posik

8. The Weeknd "What You Need"
Pop a bottle, dim the lights, and make sure your room's clean, because "What You Need" is some grade-A baby-making music. With lyrics like "I don't give a damn shorty, watch me knock your boots up" sang smoothly over a heart-pumping beat, there's no question that body rubbing will be on your night's agenda. For a soundtrack to a night of endless "between the sheets" fun, I suggest downloading The Weeknd's House of Balloons LP (not based on experience; ladies don't kiss and tell). —JoAnn Schinderle

7. Active Child "Hanging On"
Have you ever been in a relationship and realized something had changed? You didn't know why, but you weren't in the same place you once were. "Hanging On" captures this sentiment in the most striking way; the vocal range and serenity of the harp are absolutely breathtaking. Set aside some time in your day and find a quiet place where you can enjoy the complexity of this beautiful track. —Azaria Posik

6. Wye Oak "Civilian"
Wye Oak creates a massive, powerful sound with just two members. The title song off the band's excellent fourth album, "Civilian" is so full it approaches being orchestral. The song exemplifies many of the things that the duo does well: the track's slow build-up, pounding drums, sharp guitar and driving organ all compliment Jenn Wasner's thick, brooding voice. The closing guitar solo offers some catharsis after three minutes of Wasner's confessional lyrics and the emotional intensification of the song. —David Ruiz

5. Fleet Foxes "Helplessness Blues"
It's as if Crosby, Stills, Nash and Young all had children together (Melissa Etheridge be damned) and these apples didn't fall far from the tree. Brilliant and bright acoustics complement beautifully harmonic voices in this ode to childish hope. The song starts off, however, destroying that hope with Robin Pecknold leading the destruction: "I was raised up believing I was somehow unique, like a snowflake distinct among snowflakes...and now after some thinking, I'd say I'd rather be a functioning cog in some great machinery serving something beyond me." It's a hauntingly beautiful appreciation of the cubicle. But as the song goes on, a peace is made and along with it easily one of the best songs of the year, nothing less than normal from these soon-to-be-legendary songwriters. —Sam Sklover

4. M83 "Midnight City"
Anthony Gonzalez's mysterious, extraterrestrial dance club vibe tempts the limit of your comfort zone. The build-up may forewarn you to anticipate abnormality, but when the intensity peaks sooner than expected, you will erupt into an uncontrollable eargasm. Ultimately, "Midnight City" morphs humans into aliens, aliens into party animals, and invents an absurd experience that you cannot help but register as awakening. —Max Simon

3. Bon Iver "Holocene"
Fans can fondly consider Bon Iver their favorite band, but Wisconsin natives can take it a step further and proudly call him one of their very own. Recorded in Fall Creek, Wisconsin, "Holocene" is from Justin Vernon's 2011 self-titled second album and exudes an interesting combination of summer's ease and the calmness of winter. Along with its choppy vocals and distinctive bridge, it is this versatility in "Holocene" that pushes Bon Iver above the ordinary folk song. —Erica Matlin

2. tUnE-yArDs "Bizness"
tUnE-yArDs' colorful deconstructions of pop music reached its peak in w h o k i l l, Merril Garbus' 2011 opus. The first single "Bizness" carries the eclectic influences and powerful vocals that define the album. Garbus howls over the complicated and layered track that grows with Garbus' voice and keeps adding elements until the tracks pops with enthusiasm. The song's manic energy is driven by tUnE-yArDs' willingness to experiment with all sorts of noises and song constructions; however, her sharp pop instincts reigns in the songs and makes them extremely listenable as well. —David Ruiz

1. James Blake "The Wilhelm Scream"
If there was ever a reason to own a nice sound system, dubstep is it. The genre took the indie scene by storm in 2011 and leading the charge was James Blake. His knack for creating complex electronic masterpieces is unmatched. "The Wilhelm Scream" is a seamless example of his ability to layer sounds in a way that gives the listener a feeling of sorrow and elation in unison. Like a free-fall, the experience it constructs is an auditory sensation that can be frightening at first, but in the end it is an experience that was well worth having. —Nick Crow

Ineligible due to inclusion on 2010 list:
Cold War Kids ("Louder Than Ever" single)
Cults ("Go Outside" single)
Dale Earnhardt Jr. Jr. (Horse Power EP)
The Decemberists ("Down By the Water" single)
Foster the People ("Pumped Up Kicks" single)
The Naked and Famous (Passive Me, Aggressive You LP)

Best Songs of 2011: 25-11

25. Manchester Orchestra "Simple Math"
Slowly dividing into life's abyss, Manchester Orchestra questions existence in fractions. The song, as a whole, adds itself up to combat adversity and the perfectly constructed solution lies in the numbers. Math has never been simple for me, but after squaring the roots of this orchestra there was no choice but to integrate my logic and become a savant. —Max Simon

24. Motopony "Wait for Me" 
"Wait for Me" gently unfolds like a flower, revealing its beauty and depth as it slowly evolves. The track begins simply, and shifts and builds over five minutes to the tear-jearking final verse. —Claire Tiller

23. Wild Beasts "Loop the Loop"
Hayden Thorpe's smoky, theatrical voice croons over a minimalist texture, woven together of guitars and piano. There's a reflective melancholia about the song, as if Thorpe were an outsider, looking in. —Claire Tiller

22. TV on the Radio "Will Do"
Opening with heavy thumps, settling into confident desires, all whilst maintaining a jazzy feel, TV on the Radio gambles with love in a convincing way. As waves of encouragement flow out of his words, renewed compatibility waits with the best contract: "any time will do." Desperateness and conviction work hand in hand here, adding rich spice to a flavor-seeking instrumental. —Max Simon

21. Florence and the Machine "No Light, No Light"
You might just say Florence had a busy year. From killing it on SNL to being the opening act for U2’s North American tour, the Machine took their second album, Ceremonials, and ran with it. A follow-up to 2010’s Lungs, Florence Welch again uses her echoic, defiant voice to encapsulate what she considers a mixture of "chamber pop and soul." The track "No Light, No Light" epitomizes the dramatic elements Welch sought to achieve, leaving us in awe while giving 2011 a unique song that exudes the musical ethos of various genres. —Erica Matlin

20. Black Light Dinner Party "Older Together"
Looping in and out of delusion, "Older Together" eventually puts together the pieces of a pixilated love story. Alone the spontaneous beats and impulsive transitions try to confuse the direction that the song is going, but together they give way to euphoria. It is as if phosphorescent bulbs are intensely flickering alongside his strut to find the girl he's always wanted, but the blinding light has no effect on his desires. And with an everlasting feel, this song and I could be growing old together. —Max Simon

19. Cults "You Know What I Mean"
If "You Know What I Mean" sounds familiar, you probably recognize the borrowed melody from "Where Did Our Love Go" by The Supremes. The instruments are relatively downplayed compared to the vocals until the chorus comes in strong, punctuating every syllable. Madeline Follin's angelic voice is paired with meaning deeper than "baby don't leave me," and somewhere between the sweet-sounding nostalgia there's a more honest version of trying to find something missing. —Azaria Posik

18. Of Monsters and Men "Little Talks"
"Little Talks" gives us a reason to be in high spirits. From the opening "hey" shouts, it carries a bouncy and upbeat rhythm the entire time. You'll feel like "your mind is playing tricks on you my dear" as this song teleports you to a European pub and puts a mug of Guinness beer in your hand. Embrace the moment. Stomp your feet. Jump around. Get used to this one, as this new indie jam will be making its way to the top of the charts soon. —Max Simon

17. Lana Del Rey "Video Games"
New York performer Lana Del Rey's soulful voice — matched with a '50s charm — are exemplified in this breakout track, a romantic and haunting ballad about the joys of contemporary love. The song's honest lyrics linger as they cast a refreshing twist on an old-school style ("he holds me in his big arms, drunk and I am seeing stars, this is all I think of"). "Video Games" marks Lana Del Ray as a true lyricist and a powerful new voice. —Emily Osborne

16. Real Estate "Green Aisles"
There's something really serene about Real Estate's "Green Aisles." It is the type of song to put you at ease but not to sleep, something one could describe as a calm focus. With various spurts of fast-paced percussion beats, the acoustics stay the same. The song also has a long musical intro so that you really take the music for what it is, and that is an overall solid song that's perfect for strolling the streets, walking to class, or bringing you peace from a crazy day. "Green Aisles" describes a careless lifestyle that is rarely found these days, but listening to the song can give you that break you need from your own chaos. —Erica Matlin

15. Purity Ring "Lofticries"
Irresistible from the start, "Lofticries" represents Purity Ring at their hypnotic best. The opiate groove of the song gets distilled as time progresses, but Purity Ring doesn't push their expansion of the hook so far that the track loses out. The ghostly vocal samples are echoed by the singer's imagery of disembodiment, but Purity Ring's greatest accomplishment in the track is the vital energy they are able to inject into it. —David Ruiz

14. The Rosebuds "Woods"
After a hiatus from the band and each other, we all can thank baby G for Ivan and Kelly's return to the Rosebuds and their latest LP, Loud Planes Fly Low. This album is an open idiom of tension, emotion, and explanation of love, not through blame but through reflection and beautiful music. "Woods" is the most abrasive track with a hauling chorus line sang over pounding keys. The swell and honesty of this track ties together not only the LP, but also The Rosebuds' story. —JoAnn Schinderle

13. SBTRKT feat. Little Dragon "Wildfire"
"Wildfire" blazes through the mazes of your cerebral cortex — shifting your awareness and consciousness to a superior dimension. This mind-shifting transformation occurs due to the ideal contrast between Little Dragon's high-pitched cry and SBTRKT's mysteriously comforting beat. It's scary as phuck. It's the most comforting 3:26 of my night. This monster of a song cleanly punches into dubstep's deformed chest and rips out the heart, Frankenstein style. —Max Simon

12. The Antlers "Every Night My Teeth Are Falling Out" Peter Silberman's vocals drive this brooding track to a chaotic crescendo, before everything suddenly fades out. Sandwiched between two of the slower tracks on the album, "Every Night My Teeth Are Falling Out" stands out as a great example of the frenetic energy that The Antlers can bring in to the studio. This unsettling track is the best off of Burst Apart which is chocked full with great music. —David Ruiz

11. Braids "Lammicken"
"Lammicken" speaks to your body unlike any song has before. At the same time that a heavy pulse harmonizes with your heartbeat, a hypnotizing spell drags your head back and forth. From beginning to end, it triggers the flow of endorphins and incessantly manipulates your energies. Overused phrase or not, this song is mind-blowing. —Max Simon

Best Songs of 2011: 50-26

50. Zoo Kid "Out Getting Ribs"
Zoo Kid has an eerie knack for persuasion. With Eastern instrumentals, a restless voice, and an awkward message, the lure and pleasure arise with restraint. Yet I find myself listening to a combination between Grizzly Bear's "Ready, Able" and El Ten Eleven's "My Only Swerving," placing me in an unfathomable zone. Let Zoo Kid reconfigure your sanity, as his conviction will certainly puncture your satisfaction. —Max Simon

49. Bon Iver "Calgary"
The first part of "Calgary" sounds quite similar to the rest of Bon Iver's self-titled album, who has gained such notoriety within the past year that Justin Vernon's voice has become very distinguishable. What earns this song well-deserved recognition is the change of pace it makes about a minute in. It is impressively subtle, and then about another minute later you hear another pick-up. Although his music is soothing, and Vernon eases us with his brutal honesty, Bon Iver manages to keep listeners on their toes. —Erica Matlin

48. Toro Y Moi "Still Sound"
Chazwick Bundick's sound has never been aggressive but his shift towards a sharper and funkier sound is clear as day in his single "Still Sound." The track's infectious and stuttering groove hooks the listener right away, and Bundick’s lyrics are at their most accessible when compared to the rest of Under the Pines. The sharp drums and swirling keys balance the song’s nostalgic bounce, which lends it an easy intensity that Bundick weaves throughout his sophmore album. —David Ruiz

47. The Weeknd "Wicked Games"
Abel Testfaye, better known as The Weeknd, writes from deep down in his soul, telling a tale of pain, drugs, and, of course, love. The Toronto-based R&B singer compliments the themes in his ballad with low electric beats and consistent acoustic strumming. His talent is not limited to the wicked, as he was commissioned to remix tracks for Florence and the Machine as well as Lady Gaga's Born this Way album. Yet The Weeknd, on his own, was able to unite the lonely broken hearts of 2011 with "Wicked Games." —Erica Matlin

46. Lykke Li "I Follow Rivers"
A Beverly Hills Cop synth part throws you into rhythmic drums as Lykke Li builds up this ballad. Some meld of a soulful Britney Spears and M.I.A. sings directly to you, and this song's calming cadence floats onward blissfully long after the intensity ends, and leaves you yearning for more. —Sam Sklover

45. The Decemberists "This is Why We Fight"
In this recession-ridden world we live in, The Decemberists created a personal, very much appropriate song for their album The King is Dead. The talented band asks every challenge to fall upon us and answers that call with open arms, ready to fight. An ambitious yet sufficiently motivating song, The Decemberists recognized the push people needed to rise up, and aptly did so for this subtle 2011 hit. —Erica Matlin

44. The Head and the Heart "Rivers and Roads"
If you've ever wanted to listen to the most honest, heartfelt song about the growing of life and love, this is the closest you'll get besides writing the song yourself. There is an authenticity of lyric and sound that punches you in the gut and sends your mind on a personal journey of past, present, and future friendships. One listen isn't enough; "Rivers and Roads" is one of those songs that's OK to have on repeat because your mind is not done reminiscing past its initial four minutes. —JoAnn Schinderle

43. Generationals "Greenleaf"
The bright piano and playful mood of "Greenleaf" makes Generationals seem like they are pandering for a spot on an Apple commercial, not that that is a bad thing. This chirpy and steady song is influenced by the same sun-drenched pop that has had a huge influence in chillwave music; however, Generationals' interpretation maintains a fun, optimistic attitude that is often lost with chillwave productions. The song bounces and floats over a lazy bass, before the coda puts a sweet wrapper on this easy track. —David Ruiz

42. Widowspeak "Harsh Realm"
There's no mistaking the influence of Mazzy Star on Widowspeak's Molly Hamilton. The Brooklyn trio lo-fi and reverb their way to a dreamy, down-tempo triumph that would make Hope Sandoval proud. —Claire Tiller

41. Peter Bjorn and John "Second Chance"
Everyone whistles synchronously to "Young Folks," and similar to that classic hit Peter Bjorn and John has us all ayayayay-ing in “Second Chance.” PB&J seems to construct songs that beg for crowd participation, catchiness, and immediate implantation into your head. If you aren’t humming this one on the street, you are wrong. If you aren’t satisfied with the amount of cowbell being played, you are Will Ferrell. You are not Will Ferrell, so this song will fare well with you. —Max Simon

40. Milagres "Glowing Mouth"
"Glowing Mouth" is a shoe-gaze synth-pop dream. Kyle Wilson's falsetto floats over a pseudo-Fender Rhodes paired with a plink-y piano reminiscent of "It's the Hard Knock Life," creating a sound world of interesting juxtapositions. —Claire Tiller

39. The Kills "Satellite"
A killer mash-up of American alternative and classic British acoustic rock completes the sound of The Kills. Their album is credited with only two artists, VV and Hotel. Hotel's fuzzy guitar creates a dark, smoky, bar-like setting, and VV sings it with a merciless attitude, while simultaneously exuding a sense of vulnerability. "Satellite" could possibly be the most bad-ass song on our list, and it goes to show that maybe all you need is a drum machine to make it big. —Erica Matlin

38. Radiohead "Lotus Flower"
Don't read any further, go watch the music video! Thom Yorke takes his crown as The King of Limbs (album title) in his display of jostled, on beat, theatrical movements. Part interpretive dance, part flower child channeling, the simple lyrics are directly enhanced through his limbs, face, and defining Radiohead vocals. "Lotus Flower" is a reminder of how candidly correlated sound and movement truly are, and what better of a man than Thom Yorke to demonstrate that to us. —JoAnn Schinderle

37. Vacationer "Trip"
Eliza Thornberry presents you with a pill. "Take this and you'll be speaking to toucans and orangutans in no time." Shortly thereafter, you find yourself floating north of your cubicle and prancing through a colorful, vibrant, mystical jungle. Vacationer's "Trip" lifts you miles away from stress with nature's beauty ingrained in its earthy sounds and spot-on vocals. —Max Simon

36. Dum Dum Girls "Coming Down"
Dum Dum Girls don't stray much from their signature reverby sound on "Coming Down,” as the slow-burning first single from album Only in Dreams shows off how much room the band can still explore in their sonic niche. Kristin Gundren’s voice soars and maintains an intimacy that is balanced out by the thunderous backing track. The song’s warm fuzziness and unhurried buildup reflect Gunderson’s painful inspiration for the song, the death of her mother, and help the song sound as epic as the band’s intent. —David Ruiz

35. Atlas Sound "Te Amo"
Bradford Cox’s voice glides over glittering ostinatos, built from a myriad of guitars, keyboards and percussion. The result is a lush tapestry of sound that lends itself to discovery upon every new listen. —Claire Tiller

34. Future Islands "Balance"
There's something nostalgic in the combination of lead singer Sam Herring's voice and the swirling, electronic, pop loops that ride out the beat. If you were pretending your life was a movie, this would be the song playing in the montage sequence as you're growing up. The omniscient voice looks to the future while still being completely in the present reminding that everything takes time to change. —Azaria Posik

33. Tennis "Seafarer"
"Seafarer" is one of those songs that instantly transports you — no matter what time or year or geographic location you're in, once the song gets going you're doing the pony on the beach, awash in sunshine, waiting for your love to come ashore. Alaina Moore's vocals dip over the waves of bandmate/boyfriend Patrick Riley's guitar, pulling the melody up over the song's rhythmic churn. —Stacey Lansing

32. Youth Lagoon "Afternoon"
Have you ever heard a song and weren't sure of the lyrics, but didn't care? "Afternoon" proves to be the perfect headphone song of 2011 with layers of sounds and rhythm in which vocals take a backseat. Trevor Powers, better known by the stage name Youth Lagoon, used this recipe to create a tune that features tambourine, whistling, and reverb all complementing one another. You may not know the words, but you will definitely find yourself whistling along. —Nick Crow

31. Crooked Fingers "Heavy Hours"
As this lullabye is voiced by the tired, accepting voice of a man in poetic despair, a listener can't help but catch a glimpse of optimism. The kind of optimism that puts wrinkles by the corner of your mouth. That's the balance that is wonderfully kept in this ballad that is beautiful in every sense of the word. —Sam Sklover

30. tUnE-yARDS "Powa"
In her solo project, Merrill Garbus uses vocals and instrumental range to take you through a whirlwind of emotions. Beginning softly with lyrics "wait for me honey" and light acoustics, the song then transitions with percussion tapping and a harsher electric bass, until you're at an all-out vocally-driven rage. tUnE-yArDs brings music expression to a whole new level, singing to the breaking point but taking listeners through each step. It is an emotional roller coaster ride, and if you cannot decide your mood or what type of music you want to listen to, "Powa" can give you a little bit of everything. —Erica Matlin

29. Painted Palms "All of Us"
"All of Us" is a refreshing three minutes of upbeat, intoxicating happiness. Because anything tropical sounds highly appealing, a steel drum sounding preset blends with Reese Donohue's repeating and echoing voice. Seemingly effortless, Painted Palms constructs a richly textured arrangement of electronic enjoyment to serve as a mini-soundtrack for those days worth celebrating. —Azaria Posik

28. The Rural Alberta Advantage "Stamp"
The RAA's drummer, Paul Banwatt, is hard at work in "Stamp." His drum track is dynamic and crucial to the track's overall coherence and energy. The hard-driven earnestness and tight-production in "Stamp" is reminiscent of the better moments in emo music. The track's eventual crescendo is powerful, but plays coy by disappearing much more abruptly than it came. Relative to its short length, "Stamp" is quite varied from movement to movement, and all the different elements add up to a gripping and energetic track. —David Ruiz

27. Dirty Gold "California Sunrise"
There’s something about music from California that sounds remarkably... Californian. San Diego's Dirty Gold is no exception, and "California Sunrise" fits the trademark "eternal summer" sound, with a laid back vibe and bossa nova rhythms. —Claire Tiller

26. Friends "I'm His Girl"
Garage funk basslines plow this '80s-influenced strobe light love tune right into your ears. A seductive female vocal compliments the powerful bass and rhythmic drum combination. Each verse brings a new musical surprise that keeps this beautiful piece exciting, and its modern tinge brings this retro beaut some well deserved freshness. —Sam Sklover

Best Songs of 2011: 75-51

75. SBTRKT feat. Sampha "Trials of the Past"
Sampha's vocals and keyboarding skills combined with Aaron Jerome's mixing, sharp percussion, and jittery acoustics make this "reflection" song very much futuristic. The electrical, passion-infused rhythm of "Trials of the Past" has the ability to be appropriate for both a hazy club and a swanky bar. The confessional aspect of the song is captured lyrically while the musical motions occur during the breaks between verses, making it very innovative indeed. —Erica Matlin

74. St. Vincent "Surgeon"
Annie Clark, the creative force behind St. Vincent, filled "Surgeon" with her characteristic autobiographical storytelling. Embellished with details as personal as her relationship with her mother and battle with depression, the song is layered, schizophrenic, and not just a touch sexy including a nod to Nancy Sinatra's Bond theme. Floating in and out of biphasic dream-like states and bouts of electronic fireworks leave her seeking release from the madness with red & blues, sleep, the thrill of theft and, finally, surgical intervention. —Drew Mosley

73. Foster the People "Helena Beat"
"Helena Beat" comes in strong with the rapid kick drum, and with playful laughing as the transition, we're hit again with a powerful base-infused beat. By the time it strikes all you want to do is dance, no drugs necessary. Foster the People gives us something different in each of their tracks, and what distinguishes "Helena Beat" is the ongoing build up that keeps you going. Perhaps that "sip of something poison" was all we needed in 2011. —Erica Matlin

72. Starfucker "Bury Us Alive"
"Bury Us Alive" sounds like the end of a night, with its soft promises and careful energy playing coy throughout the track. This song comes from Starfucker's second LP Reptilians, and the album bounces and grooves with a mix of electronic instrumentation, smart songwriting, and spoken-word samples. "Bury Us Alive" represents Starfucker's middle ground — it finds Starfucker in a confident and understated form. The lyrics carefully frame the sharp middle of the track, and the echo-y synths that start the track offer a solid framework for the rest of the song. —David Ruiz

71. Cut Off Your Hands "You Should Know Better"
The influence of The Smiths permeates "You Should Do Better," from a Johnny Marr-esque guitar riff to Nick Johnston's Morrisey-like vocals. They may wear their influences on their sleeves, but Cut Off Your Hands don't sound like an imitation — they sound like a band that knows how to make great music while honoring their inspirations. —Claire Tiller

70. Atlas Sound "Terra Incognita"
"Terra Incognita" is a fever-dreamed stream of consciousness where one is whisked away from earthly attachment. It seems that in this song Bradford Cox has baptized himself in willful solitude, away from petty distraction: "I know a place called love, no one bothered me there, no I was all alone." Gently plucked guitars, liquid reverb, and slight phasing sweep along behind Cox's science fiction inspired musings. The swirl of the instruments glide from speaker to speaker, leaving the listener unlocked and sent drifting away into a spiraling night sky. —Peter Charles Allen

69. Blouse "Into Black"
Charlie Hilton's voice drifts over sawtooth synthesizers and a rhythmic bass line that recalls The Cure in their heyday. It's a perfect three-minute nostalgia trip that leaves you aching for John Hughes movies and bad perms. —Claire Tiller

68. Milagres "Here to Stay"
Milagres playfully approaches pop music's conventions without irony in "Here to Stay" and the result is an upbeat jam that sounds familiar without getting too comfortable. The song's tight construction, starting with steady drums and ending with a playful chime, give this track an accessible appeal. —David Ruiz

67. My Morning Jacket "Holdin' on to Black Metal"  This begins very much like the scene in the movie where the bad guy makes his entrance into a bar: the doors fly past him, everyone turns to look, all while the bartender slides the guy a drink — his usual, of course. The edginess of the guitar, bass, and psychedelic elements gives this badassness a solemn quality that alludes to hints of mysteriousness, furthering the meaning of the title. There's something that gives an answer to all misunderstood youth; for My Morning Jacket, metal was it. —Erica Matlin

66. Snowmine "Let Me In"
Damn yo, this is some of "That Psych-Indie-Tribal-Surf-Pop-Enya-Core Stuff All The Kids Love," as one YouTube user so aptly put...so spin into a daydream as the subtle abstraction eases your eyes and opens your imagination. And though self-produced, Snowmine's songs have all the rich elements one could bargain for. For "Let Me In," it is the tinkering loops, the dynamic yet soothing voice, and the sheer originality that somehow put me in a state of perplexity and temptation. —Max Simon

65. Washed Out "Amor Fati"
Hypnotic and endlessly listenable, this track by Washed Out could also find itself in a John Hughes movie. The processed vocals meld seamlessly with the waves of melody that slowly build up in typical chillwave fashion. The trance-like repetitiveness of the song fits perfectly with the title, which means love of one's fate in Latin; whether that imparts apathy or optimism is up to the listener. —David Ruiz

64. A.A. Bondy "The Heart is Willing"
The sluggish drawl of this song never ceases to surprise me. It throws me out of my comfort zone every time I listen to it. Not because of any new-age, groundbreaking changes, but you know that feeling where one part of a build seems to hint at a coming change, and when that change comes it feels good because it just feels...right? Well that never happens. It brings you to this antagonizing change, and throws curveballs out constantly to an unsuspecting ear. But being juxtaposed by the rather simple but beautiful instrumental face of the song, this piece tiptoes the small balance beam of comfort and excitement, listen after listen. —Sam Sklover

63. Fleet Foxes "Grown Ocean"
A pulsing beat and a vintage sound combine to illustrate a foggy voyage, easily imagined in Technicolor. Led by nature's warmth, the voyage drifts on through your nerves and hits you dead on where it counts. Even with a classic feel, Fleet Foxes keeps chugging on with its harmonious reputation, paving an extensive path with fresh footprints. —Max Simon

62. Feist "How Come You Never Go There"
Soulful doesn't even hold a ghost of a chance at describing this track from Leslie Feist. It's so much more than that, even at first listen. This ominous, low, visceral flow is perfectly spaced enough to push the song along, but not overtake the perfectly complimented vocal support of the song. And towering above the rest of the song comes the story of the tail end of a love-once-was. The production mantra of "simplicity is the essence of efficiency" makes this song too pleasing to listen to over, and over, and over again. —Sam Sklover

61. Leisure "Follow Me"
Characterized by a poignant mesh of poise and perplexity, this track plays with passion, confusion, and pity in a pulsing trance. As an 18-year-old, Jed Rouhana wrote "Follow Me" as a reaction to "anonymity and feeling ridiculous for trying to make everyone understand you when they never will." The sly, surreal sound hints to these emotions — and further depicts the animation of walking with a fake swagger. Everything tempts the listener to accept his desperate call for companionship...will you follow them? —Max Simon

60. Das Racist feat. Danny Brown and Despot "Power"
Das Racist has come a long way from their "Combination Pizza Hut and Taco Bell" days — in fact, Relax was their first commercially released album. However, Das Racist keeps their sound with "Power," a sarcastically witty track that may not be the future of hip-hop but certainly helps dispel any rumors that they are joking, or not joking, just joking, they're not joking. —Nick Crow

59. Low "Especially Me"
Low's "Especially Me" starts with Alan Sparkhawk's audible cough in the first seconds — a small detail that adds a human touch to the glossy, orchestral production that follows. Strings steadily build behind Mimi Parker's wall-of-sound vocals as gentle bells and percussion keep the temperature rising slowly throughout the piece, although never allowing it to boil over the rim. Low uses simplicity instead of flash to encourage the listener to delve past simple face value of the song and dive into its sonic layers in order to discover the beauty of the well-cooked, mature songwriting. Some songs do indeed "sound like cake." —Peter Charles Allen

58. James Vincent McMorrow "If I Had a Boat"
With every word as a whisper, "If I Had a Boat" makes McMorrow's voice unique, the idea of wanting something more in life is clear through poetic lyrics like "hoping for the shore." The ending is sharp, a vast change from the collective voices that begin the song, leaving us in a cold darkness, further emphasizing the means to which we all need to complete our goals. With this daydream-like state, listeners can sail off in McMorrow's boat. —Erica Matlin

57. The Antlers "I Don't Want Love"
Much like the relationship portrayed in the lyrics, the deep-seated emotion of "I Don't Want Love" draws you in repeatedly despite the pummeling it delivers. The last "ooh" falls somewhere between a ecstasy and pain, filling your heart in such a way that love couldn't fit even if you wanted it to. —Stacey Lansing

56. Dale Earnhardt Jr. Jr. "Morning Thought"
There is nothing sweeter in the world than reaching the checkered flag at Talladega. The one possible exception is Dale Jr. Jr.'s "Morning Thought." An upbeat song that can be enjoyed in pit row as well as victory lane, it beckons the listener from start to end. Like something from a dream sequence, it can be adored in any frame of mind. If heard in the rain, one can almost taste the victory champagne. —Nick Crow

55. Lana Del Rey "Blue Jeans"
Lana Del Rey is clearly addressing American symbols with "Blue Jeans." Her compositions embody a feeling of expansiveness that is reminiscent of the southwestern U.S. The way she combines disparate elements gives "Blue Jeans" a sense of space: the juxtaposition of a loping guitar, sampled yell, lyrical hip-hop references, and cinematic violin combine into an eclectic American form. —David Ruiz

54. Girls "Vomit"
This ode to loneliness is like drinking in the dark, chain smoking, and feverishly writing in a Moleskine. Owens voice sounds on withdrawal, desperately "looking for love" like an addict searching for his next fix. The intensity turns into incredibly powerful guitar chords joined by an electric organ and a soulful choir, leaving you with chills and a retrospective look on lost love. —Azaria Posik

53. The Black Keys "Lonely Boy"
"Lonely Boy" took the reigns on The Black Keys' seventh album, satisfying fans of the blues-rock combo that is synonymous with the band's name. The rock duo of Dan Auerbach and Patrick Carney give it straight with a fast-paced guitar riff followed by consistent drumming. Auerbach's airy singing in the chorus, "I got a love that keeps me waiting," is complemented by subtle echoes that make the song that more powerful. Even the seventh time around, The Black Keys are still indulging in a purist sound. —Erica Matlin

52. James Blake "Measurements"
James Blake's dubstep sensibilities aren't completely absent in "Measurements." The track's sparse instrumentation chooses to stutter and sink instead of wobble, and this lets Blake's vocals drive the song. The near-choral effect that Blake uses on the vocal tracks are reminiscent of Justin Vernon's experimentation in tracks like "Woods," but Blake's use of the effect here isn't as dramatic or extensive as Vernon's, and it is much stronger for it. "Measurements" dissolves over its four-minute length, with careful silences becoming increasingly common as the song continues. The minimal aesthetic that Blake carries throughout creates a gorgeous and introspective atmosphere here. —David Ruiz

51. Summer Camp "I Want You"
This is the same stuff that both Madonna and Chromeo could get off to. Just like Madonna, this song takes a shot into crazy after tip toe-ing on the borderlines between them with lines that start with "I'd wrap my arms around you and snap every bone in your back" and end with "Put your name and blood on everyone and make the evening news." The pulsating electronic beat pounds along as the lyrics pound away at normalcy. —Sam Sklover

Best Songs of 2011: 100-76

100. Timber Timbre "Black Water"
"Black Water" floats along with a sweet nostalgia that doesn't get too wrapped up in its own appeal. The keys remain understated and give ample room to Taylor Kirk's crooning vocals. Timber Timbre carries an effortless cool throughout the track, but the single and sustained violin note and lonesome saxophone that end the song give the track an uneasy ending that adds to its mysterious charm. —David Ruiz

99. The Drums "Money"
The Drums take a perfectly solid guitar rhythm and make it crazy catchy with vocals that vary between rushed phrases and lazy, drawn out syllables. The falsetto adds a touch of frenzy that seems perfect, but not without the actual lyrics that are universally likable if you've ever been one who couldn't buy your significant other (or anyone) something nice. —Azaria Posik

98. Tennis "Take Me Somewhere"
An interesting combination of doo-wop, pop, and alternative, "Take Me Somewhere" gives us the imagery of people swaying at a 1950s high school dance, except the punch is spiked and the band is the husband/wife duo of Alaina Moore and Patrick Riley. Moore's voice may be old fashioned but their sound is modern, bringing together that nostalgia of what used to be and the fast-paced present we face everyday. —Erica Matlin

97. Cut Copy "Where I'm Going"
"Where I'm Going" is a busy song — keyboards swirl, background singers shout, and layers upon layers build behind Dan Whitford's vocals. The appealing opening guitar is quickly dominated by the rest of the instrumentation. However, the accessibility of those first seconds manages to stay afloat in this dynamic track as "Where I'm Going" showcases Cut Copy's sun-baked enthusiasm perfectly. The track never shies away from adding more when it could use less, and although the end result may be a little unfocused, it is a lot of fun. —David Ruiz

96. Carter Tanton "Murderous Joy"
Tanton is formerly the lead singer of the band Tulsa, whose "Shaker" was a Top 20 selection here in 2007. Through his progression as a solo artist, he has found the power to gently speak his warm thoughts through a passionate, soothing voice. "Murderous Joy" is an exceptional display of his vibrant approach to folk music. This combination of peacefulness and vivaciousness makes for a stimulating, refreshing song and in due course sets Tanton apart from the rest. —Max Simon

95. Dale Earnhardt Jr. Jr. "Skeletons"
Soft. So soft you can hear the contact of a thumb on an acoustic guitar's strings. But quickly an incredibly rhythmic drum sets the pace for this melancholy ballad. Reverbed vocals paint the picture of a beautiful yet chilly walk with an old friend that builds to a climax, right as the song ends. Just how the best part of a conversation often brings its closure, because to keep it going would only do it an injustice. —Sam Sklover

94. Gang Gang Dance "MindKilla"
Danceability isn't something that's heavily emphasized in today's indie scene, but Gang Gang Dance's "MindKilla" at least flirts with the idea. The track is constantly shifting, at any given time being driven by the powerful bassline and shuffling drums, Lizzi Bougatsos' vocals, or the glitchy energy of the electronic instrumentation. —David Ruiz

93. Strange Boys "Me and You"
This feel-good number from the Strange Boys tugs on your heartstrings with perfectly wailed vocals, and a keyboard line that would make all of New Orleans raise their glasses. This is truly "long highway drive" music. The bar-room feel of this masterpiece keeps the listener ebbing on the emotional builds it provides. —Sam Sklover

92. Iron and Wine "Tree By the River"
I can't really put my finger on the emotion this song gives off. It's somewhere between "everything went better than expected" and "kinda bittersweet." But in classic Americana fashion, ex-University of Miami film professor Sam Beam uses insanely perfect imagery to place us in the middle of a story from the depths of his memory, or the collective memory of all the great folk singers. I guess the real name for the emotion this song gives is "finally perfect." —Sam Sklover

91. Tapes 'n Tapes "Badaboom"
Roll the tape. Again. Again. You'll find that the "Badaboom" explodes with faded madness, driving us to a faint feeling of lunacy. In addition, we uncover nothing about ourselves in this song yet we end up craving something electrifying. The concurrent paradoxes represent the track's complexity as we are challenged to configure our emotions and consider our next move. —Max Simon

90. Lykke Li "Love Out of Lust"
Something about the quality of Lykke Li's voice paired with steady drums and organic sound waves make this seem boundless and free. It's not like someone singing at you, but for you. Beautiful and serene, the words float through precious musical space to reassure that it's worth the risk to take chances with love. —Azaria Posik

89. Gardens & Villa "Black Hills"
The wavering vocals and fuzzy keys can't slow the driving rhythm of "Black Hills," and the song thrives from this disconnect. The track coolly saunters through soft-spoken instrumental breaks and chanted choruses, seemingly disaffected with all of it. "Black Hills" is tepidly brilliant; the song's unassuming pieces build up to a whole that is definitely more than the sum of its parts. —David Ruiz

88. Chad VanGaalen "Sara"
The acoustic resonance, steady pace, and peaceful message epitomize "Sara" as VanGaalen's remedial love. Corny metaphors get cliché at a certain extent, but his expressions like "you can soothe my mind with your silence" resemble nothing but adoration and desire. With this, listeners are given a channel for escape. And given a serene setting and the right mindset, this song will gently color your world with an array of warm feelings. —Max Simon

87. Peter Wolf Crier "Settling It Off"
Peter Wolf Crier's simplicity here is what solidifies them as a folksy pop band. They're not trying to be too ambitious with this song, and in doing so they accomplished a pretty empowering sound. Yes, the harmonies will be left echoing in your mind, but the drumming beat pushes you to imagine an entire stadium of fans simultaneously clapping the beat. That image, especially for such a calming song, is enough to give any music fan the chills. —Erica Matlin

86. Yuck "Get Away"
If you're a fan of Sonic Youth, then you've probably caught on to this band, and if you haven’t then now is the time. The lyrics on "Get Away" give off that attitude of teen angst ("So the sun says get out now, I want you") and the electric guitar offers that feeling of young romance. The strength of the bass also aids in keeping this song afloat, although no help is necessary. "Get Away" reminds us why this band is disgustingly good. —Erica Matlin

85. Cults "Abducted"
Cults nailed the theme song for dating life with this modern tune. It is an indie-pop love-angst song at its truest and finest. The age-old story of girl loves boy, boy doesn't love girl back, but they hang out, drink PBR, and make out anyway. The group is known for their upbeat xylophone and glimmer sounds (such as last year's "Go Outside"), but here Madeline Follin's massive vocal performance shows grit and hard truth alongside the glimmer. —JoAnn Schinderle

84. Youth Lagoon "Montana"
With this much reverb, the sound in this song really does connote Big Sky country. A vastly open piano is the medium throughout this track from Youth Lagoon's debut, The Year of Hibernation. That medium gets cut across by terse synth and bell sounds, but a gathering sense of uplift catches you as the sounds blend in a towering, near "hallelujuh" moment for the song right before its satisfying close. An artist this young ensures his spot on future lists for years if he keeps churning out pieces like this one. —Sam Sklover

83. Beirut "East Harlem"
One of the many reasons "East Harlem" is worthy of praise is because it perfectly carries us through the changing seasons; it premiered in summer and is still playing on our fall and winter playlists. The rich accordion gives the song an old world, folk sound that is familiar and reminds us that we don't have to be in Manhattan to know what it's like be so close while still so far from someone we love. —Azaria Posik

82. Radiohead "Codex"
Nearly all instrumental, "Codex" takes you off the cliff, plunging into the ocean. The brief riffs of electric echoes, somewhat resembling the call of a whale, is what lets us soar off on our own. With just three verses, Radiohead leaves the setting of the song to our own imaginations. With peace and simplicity, "Codex" gives us the extra push to just let go and daze off. —Erica Matlin

81. Black Lips "Modern Art"
In case you forgot what a great rock song could be like, "Modern Art" will remind you. Lyrically it's somewhat confusing yet satisfying, which is probably appropriate for a song set in the modern museum of K-hole. Get caught up in the electric riffs and crazy snares and briefly wonder if this is a commentary on the relationship between artists and mind-altering substances. Then forget that and have fun, just as the Black Lips intended. —Azaria Posik

80. Wye Oak "Holy Holy"
Named for what was the largest white oak tree in the United States, Maryland's Wye Oak has the ability to invoke an earthy feeling of morose in their music while capturing the listener's imagination in the process. "Holy Holy" is a frantic song that features dynamic guitar riffs combined with the beautiful swoon of Jenn Wasner's voice. The track beckons the listener to discover the unknown ahead while simultaneously reminding them that there is no time like the present. —Nick Crow

79. Bon Iver "Towers"
Justin Vernon's ability to mesh naïveté, naughtiness, and obsession all in the midst of a tranquil tun is what makes "Towers" bound to invoke goosebumps. Love, often a cliché topic, feels brand new when this Bon Iver masterpiece blends nature's pure chill with the wrongful reliance on fairy tales. Thumbs up as a sequel to For Emma, Forever Ago, and with a distinctly new sound, it will be on repeat until Bon Iver is at it again. —Max Simon

78. TV on the Radio "Caffeinated Consciousness"
If Rage Against the Machine were less pissed off they would've made this song. Hard-hitting Brooklyn mainstays TV on the Radio are no surprises when it comes to critically-acclaimed music, and rightfully so. This song is going to be right up your alley if you like great music and don't mind being punched in the face—in a good way. —Sam Sklover

77. Hooray for Earth "No Love"
Hooray for Earth's "No Love" starts like an '80s gem, but once the bridge rolls around and the horn section makes itself known, it's obvious that this song resists easy classification. The backing instruments grow bolder as the song picks up steam, and the vocals respond with a restrained energy of their own that is reminiscent of Sufjan Stevens. "No Love" is a dense, uplifting, infinitely enjoyable track. —David Ruiz

76. The National "Think You Can Wait"
Moviegoers may recognize this soothing, rhythmic piece as the theme song from Thomas McCarthy's film Win Win; those who did not catch this excellent dramedy will still feel a keen sense of ease while listening to lead singer Matt Berninger. The distinctness of this talented baritone is heightened, lyrically and musically, by the background vocals of his band mates that echo softly throughout the chorus. The words offer a combination of sadness and hope, while the gentle tempo makes it the perfect song to drift off with into a dream world. —Erica Matlin