Projecting strength in moments of extreme fragility feels like it’s become part of her routine more recently; a very public breakup with her Hollywood ex was followed by the discovery of a medical condition anchored in her uterus. But whether the song is country or rap is irrelevant; “Old Town Road” doesn’t just transcend genre, it transcends music altogether. Part of London singer-songwriter Nilüfer Yanya’s early appeal was her deadpan, detached cool. The video, however, looked more like a Y2K-era screensaver on a desktop computer: a steady, slightly pixelated flow of distant stars in an endless black sky. Ad Choices, The tracks that defined the year, starring Billie Eilish, Thom Yorke, Normani, Bad Bunny, and more, Kasper Marott, “Drømmen om Ø (Forever Mix ’19)”, Young Thug, “What’s the Move” [ft. Lil Uzi Vert], Young Nudy / Playboi Carti, “Pissy Pamper”, Mark Ronson, “True Blue” [ft. Angel Olsen], Lana Del Rey, “hope is a dangerous thing for a woman like me to have - but i have it”, Purple Mountains, “Snow Is Falling in Manhattan”, Megan Thee Stallion, “Cash Shit” [ft. DaBaby], Charli XCX / Christine and the Queens, “Gone”. To drive her point home, she offers up a chant that’s practically subliminal—one-word invocations of the ocean, starlight, pleasure, freedom, us. El Guincho, who co-produced this and much of Rosalía’s breakthrough album El Mal Querer, also adds a brief vocal, his contribution a reminder of his days as a solo star in the Iberian underground. But soon, the song’s steady groove and bright handclaps underpin a growing skepticism, as her perfectly intact heart begins to strike her as its own worrisome condition. Luckily, with “Caro,” urbano shapeshifter Bad Bunny offers a more practical solution to embracing your worth. –Sasha Geffen. Thank goodness that sample cleared. The band’s ambition clearly shines through. in May, Big Thief seemed content to spend 2019 suspended above Earth. But when the drums kick in for the final 45 seconds, they introduce an explosive wall of sound that’s as urgent as an air raid siren. Honestly, I love this song more than the dance, but knowing the choreo is probably better than standing there and not knowing what to do with your hands!!! On “New Apartment,” Lennox conveys this particular sense of freedom with a delightful string of images. So there’s a delightful sense of frisson when, on his first Caribou single in five years, we hear the sampled voice of ’70s soul singer Gloria Barnes declare, “Baby, I’m home.” It’s a statement that suggests a return to one’s roots, but “Home” doesn’t so much sound like Snaith’s earliest music as it does an alternate 2001 where he embraced the crowd-pleasing collagist aesthetic of the Avalanches and DJ Shadow instead of the cerebral beats of Four Tet and Boards of Canada. The resulting mood is placid but tense, like a flame meandering down a fuse. –Thea Ballard, Listen: Mount Eerie, “Love Without Possession”, From Kraftwerk’s “The Model” to David Bowie’s “Fashion” to Right Said Fred’s “I’m Too Sexy,” pop music has always looked to the runway with an arched eyebrow. “I push you down, I drink, you drown, I am alone,” she sighs, as her other side boasts, “Everyone, gather ’round, I have the answer now.” “Drunk II” expresses the push and pull of love and hate, and how we’re all surrounded by other people just trying to figure it out. –Evan Minsker, Listen: Deerhunter, “What Happens to People?”, For their latest warning about the end of the human race, relentlessly self-aware genre agnostics the 1975 turn to a style that many—including the band itself—have deemed extinct: rock’n’roll. The finished product is a weird-as-hell blast of serotonin. In this pair’s hands, love is an infinitely unruly concept, however concise their words and simple their musical arrangement, which doesn’t thicken much beyond the yawn of an organ and some distorted guitar. These gonzo escapades lack the teeth-chattering urgency of Brown’s previous music, but ultimately, his dirty-uncle act comes across as relief. Olsen intones ominously about lost beauty, being buried alive, and repeating the past, building to the kind of cathartic climax that demands to be shouted from a windswept cliff in a fierce rainstorm (preferably while wearing the elaborate bejeweled headpiece from the song’s striking music video). Wouldn’t that feel like cash printed on demand? A whisper of a beat propels an inquisition into self-doubt, longing, and regret—her voice aches, soaring with resolve before a gravitational pull brings it back down. Some pointers to help you improve your smeeze😇🥰#fyp #foryoupage #smeeze #dance #tutorial #smeezechallenege #bayarea #sydney. –Anupa Mistry, “Old Town Road,” inarguably the most popular song of 2019, might not have reached such a level of cultural saturation were it not for the commotion around its expulsion from Billboard’s country charts, a dubious move that sparked warranted accusations of racism. As he sits by the titular airplane’s window, “flying through some stock footage of heaven,” he compares the celestial sight to an infant’s purity. Buoyed by an infectious hook, a sugar-cereal beat, and Tecca’s Auto-Tuned verses, “Ransom” is two glorious minutes of playing pretend. It probably won't take you more than, like, three minutes to learn, tbh. Thank you for being there. Release Single. There are no balloons, no condolence cards here; Vick knows that as bad as it feels, she can’t stay around to comfort someone who hasn’t treated her well. #fyp #memphis #jook #foryoupage #👖. On “Bags,” the lead single from her debut album, Immunity, the Gen Z pop songwriter sings with the kind of bittersweetness that could either herald the beginning of a new romance or signal its smoldering end. For a remedy, they delve deeper into Youngian psychology, unleashing a series of pained fretboard squeals that sound like the guitar-solo equivalent of screaming into your pillow. Take “If I Can’t Have You,” a sparkling single propelled by gargantuan Elton John piano chords and a glorious descending vocal line that should squeeze stress sweat out of Justin Timberlake. –Philip Sherburne, When you listen to a great punk song, you should be holding your breath a little, fearing for its survival. Healy wrote the lyrics while touring the American South earlier this year, around the time Alabama signed a draconian anti-abortion bill into law, and he shows the most desperate kind of gallows humor: “The economy’s a goner, republic’s a banana, ignore it if you wanna.” The song is both a wake-up call and an admission of defeat—a balls-out strut to be played for the indifferent masses as the world burns. ceo of teaching my friends dances even when they dont want to learn @_oliviarouyre. His talky flows scan as bar-heavy despite most of his raps being filler, simply because their ferocity can raze beats to cinders. Elsewhere on the well-named Outer Peace, Bear says he’s “bad with the words,” but the lyrics here are worth chewing over. She knows the paradox of being a teen is that it’s all over soon, but it will stay with you forever. Gus Dapperton) - BENEE, ♬ Something New (feat. Chairlift singer-songwriter Caroline Polachek, one of the first ’00s indie rock musicians to move into mainstream pop songwriting, surely knows this. “Click click click click click/Makes me fucking sick.” A highlight of their Covert Contracts album on Get Better Records—company slogan: “for the queers, by the queers”—“Office Rage” employs a network of guitar lines more tangled than a messy router and drums like someone kicking a vending machine to liberate a trapped bag of chips. Like Hurston, the namesake of the album’s first single, Woods is something of a polymath: a singer-songwriter, poet, teacher, and activist. Because when you’ve aimed a spotlight at yourself, perhaps all that matters is knowing you’re worthy of its glow. With a reporter’s sense for detail and a matter-of-fact delivery, the rapper tells of lives marked by crime and poverty with gut-punching pathos and bleak humor. This is just a cute trend where all you gotta do is put your phone on a skateboard (or something with wheels) push it back and move your hips to the rhythm of the music. On “bmbmbm” (pronounced “boom boom boom”), they are puckish and aloof, stacking oblique lyrics and a warped sample of a wailing woman over a calm bass riff and steady drumming. On “Capacity,” singer Eva Hendricks questions her tendency to put other people’s needs before her own while remaining empathetic towards her anxious, overachieving younger self. California residents can opt out of "sales" of personal data. “Sympathy” is the surprise highlight. Tryin to hit 10 mil before TikTok get banned 😅 #drafts. The AOL.com video experience serves up the best video content from AOL and around the web, curating informative and entertaining snackable videos. Ironically, the song sounds more like the brief, intoxicating respite that comes after scream therapy than the dyspeptic fury you’d expect of anything associated with the NFL. 🚨 if u use my dance tag me so i can see🤗 @theestallion #writethelyrics #PlayWithLife #foyou #fyp #foryoupage #newdance #savage. His was a swagger that couldn’t be imitated, though people tried from every rooftop, apartment window, and car door. Until three minutes in, it’s a wiggly little thing, its cha-cha beat working double-time as frontman Ezra Koenig coos like a sexy villain. As always, Harding fashions her own unique mythology but remains evasive about its precise meaning; perhaps she doesn’t write to confess, but to pose uneasy questions. As a lyricist, Adrianne Lenker captures even the most abstract observations with profound precision. S/o to everybody that did my dance to this song ft @honeybthatsme ❤️😍 #fyp #foryoupage #keigang. The words might sound unsettled and unspecific—something about waiting outside, going into a room, learning the truth—but he’s always made a virtue out of impressionistic lyrics. It's MUCH harder than the TikTok Renegade, but if you can learn it, that's quite impressive! If 2019 was the year that louche trap and hyper-emotional pop blew up, what can we expect from 2020? That sense of savoring small, perfect snatches of sun breezes through the song’s sax-flecked groove. Nudy is a perfect sidekick, Carti is a born star, and Bourne is the most daring rap producer working now. The central refrain lulls like gentle ocean waves: “We will always sing,” Paul murmurs. She sounds positively serene. Though the song may be tongue-in-cheek, it highlights one of dance music’s core truths: Even a great beat can’t shield you from self-doubt. It’s unclear if anyone’s listening, but that makes it all the more tragic. Something for everyone interested in hair, makeup, style, and body positivity. Including Chuck Berry, the Beatles, Michael Jackson, Queen, Madonna, Prince and more. I get it, it seems like nothing special, but IDK, everyone on TikTok's doing it, so you might as well! –Noah Yoo, It’s been two long years since Lil Uzi Vert’s Luv Is Rage 2, and all we’ve had to hold us over is leaks, label drama, and the occasional Instagram fit pic. @kltkatnat #wap #dance #cardib. On paper, Mendes is pining after the girl who got away with the obsessiveness of an Instagram stalker—and yet his effervescent delivery, and shameless cheesing in the video, make it clear that this winning rom-com of a song has a happy ending. –Sheldon Pearce, At first, Powder’s “New Tribe” looms ominously. –Matthew Strauss, Listen: Bruce Springsteen, “Hello Sunshine”, Four Tet’s “Only Human” started life as a dancefloor edit of Nelly Furtado’s “Afraid,” the opening track from her now-iconic 2006 album Loose. –Ben Cardew. Eventually, Gretel pushes the evil creature into an oven, frees her caged sibling, and the pair escape. But Keed is more than just another Young Thug clone. Pulling double duty as both a body-positive banger and a party bop, “Juice” obliterates inhibitions to the point that listeners’ insecurities become as insignificant as the not-so-single men sliding into Lizzo’s DMs. The sparkling, Pi’erre Bourne-produced oddity has spawned countless freestyles and remixes, becoming a little phenomenon on its own. Apart from the occasional deliberately unsubtle effect, like the juddering digital croak on the chorus, it’s an artfully crafted illusion of intimacy. The song’s punky disco bounce is less an invitation to pose for the paparazzi than the soundtrack to a daily drill of skincare routines and make-up applications. “People” is powered by a screeching lead guitar line that pierces like a nuclear alarm, drums loud enough to rev up a bloodthirsty gladiator arena, and frontman Matty Healy’s panicked screams, seemingly delivered from the center of a rapidly melting ice cap. –Alphonse Pierre, Ari Lennox had to fight to put “New Apartment” on Shea Butter Baby because, she said, Dreamville label head J. Cole didn’t quite “understand” it. –Alphonse Pierre, In his instantly famous Genius “Verified” video for “Ransom,” teenage rapper Lil Tecca detailed what he made up while writing his not-so-humblebrag of a breakout hit: He has never gone to Europe, he doesn’t wear designer clothes, and he can’t mentally handle being a player. Like we hit the lottery 🆙🔥🥳 @addisonre @charlidamelio. On “Daylight Matters,” from her delightfully eccentric fifth album Reward, she spins repetitive, circuitous speech patterns into delicate bridges and euphoric choruses. This dance is pretty cool, and once you learn it, you'll kinda feel like you're in one of the Step Up movies. –Jazz Monroe, After decades of owning the age of 17, Stevie Nicks finally passed the torch. “Binz” is a banger, a sunny break from the self-serious mood of When I Get Home. The word “relief” implies a temporary state, a short break from a more permanent condition, but Tamko’s statement can also be seen as an acknowledgement of what creativity in 2019 looks like: at its best when untethered from the exhaustive rituals of self-promotion. They came crashing down with “Not.” The standout lead single from Two Hands, the quartet’s second incredible record of the year, is driven by carnal desperation. What started out forbidding and impenetrable becomes a bubble you live inside. While much of Callahan’s earlier catalog is tied to specific, isolated characters, “747” casts a wider glance, marveling at the splendor of birth and parental love. There's contentment in her voice as it floats over Jack Antonoff's sour guitar chords and soft keys, as if she’s savoring her just desserts. Atop a bed of 808s and bird calls, Thugger’s yearning melodies set his Philadelphia counterpart up for a captivating (if all-too-brief) guest verse. The pair delivers some of the year’s most-recited lyrics: Megan’s capitalist-feminism (“Yeah I’m in my bag but I’m in his too”) was inescapable, both as a club staple and as a trending social media philosophy. As for Eilish’s jaded goth-pop schtick? The hyper-specific details—he makes it sound so easy that credit scams probably quintupled in the wake of this song—are what makes his music both seedy and improbably exciting. –Amy Phillips, “Running” opens like a dream: Ambient noise buzzes into focus, as singer-songwriter Roberto Carlos Lange’s soft, layered croon fades in and holds us close. “True Blue” is the sound of taking your heartache out for a night on the town—you might be able to sedate it with booze and loud music, but you will wake up in its arms the next morning. Because that album aspires to abstraction through repetitive loops and vocals, when you listen to the tracks sequentially, “Binz” feels like a respite. Most acts don’t mature this well. The Tokyo electronic musician is famous for lengthy, off-kilter DJ sets that disorient and envelop in equal measure. In the piano-ballad closer of Norman Fucking Rockwell!, she offers a few clues: She finds inspiration from Sylvia Plath and photographer Slim Aarons. It’s nearly impossible to separate the physicality of FKA twigs’ work from her voice—she moves with the trained precision of an athlete, changes costumes as if she’s shedding skin, and carries herself with the dramatic flair of a Shakespearean thespian. The imagery is familiar, yet the New Zealand-born/Wales-based artist deploys it in a way that makes these everyday objects sound off-kilter and foreign, like signs held askew to point in a direction few have traveled. “Drømmen om Ø (Forever Mix ’19)” may hit like a shock of tropical color against a gray city exterior, but it takes the length of an early-morning dream to achieve its blissful effects. 100 gecs seem to ask, What if you took everything you hated about yourself—all your insecurities about not being good enough or whole enough—and melted them down, jammed your boots in the sticky pit, and headbanged about it? The marching, Honorable C.N.O.T.E.-produced “NCAA” is the album’s centerpiece, detailing the rapper’s rise from amateur baller to pro rapper while taking on corruption in the sporting world. “Lover” features a classically swooning, Swiftian bridge—one designed to soundtrack wedding vows in renovated barns until the end of time—but its most penetrating lines depict the unglamorous stuff: telling dirty jokes, saving seats, deciding whether or not to drag out the air mattress for your college friends. Riding a steady current of crisply picked acoustic guitar and rippling piano, the song is crammed with references to ferrets and eggs, doves and nuts, peaches freshly harvested and hands reaching out of barrels. Mark Ronson’s most recent LP, Late Night Feelings, is full of sad dance tracks that mix glitter with broken glass, and none cut as deep as the Angel Olsen feature “True Blue.” Olsen sings like the final patron at a bar, crooning just loud enough to tell her sob story over the blaring jukebox. –Braudie Blais-Billie. It is, quite certainly, the horniest song of said epoch. “Con Altura” invites the listener to admire the wonderful flex of Latin pop in the late 2010s: the way Rosalía’s flamenco inflection leans into the Caribbean pulse, how J Balvin takes on a larger-than-life, hip-hop bluster. It's a song perfect for 2019, but with a rock backbone that would go just as hard in any year. Empath’s “Roses That Cry” is so joyous and unsteady, so beautiful and compromised, that you feel compelled to pray for its existence immediately. Best music and artists to watch in 2020. You may have seen this ending before, but you’ll cry all the same. The opening track of her second album, At the Party With My Brown Friends, it is Pacific Northwest indie rock at its finest—all quiet humming and watery guitar, mist and cold air—but it retains the redemptive quality of gospel. On the title track of their stellar second album, L.A.-via-Albany indie guitar hero Meg Duffy—a.k.a. "Better Off Alone" was found to be the most repetitive of the songs analysed of the 2000s, and fifteenth overall. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast. Read about the latest tech news and developments from our team of experts, who provide updates on the new gadgets, tech products & services on the horizon. From Kurtis Blow to Pusha-T, here are the best rappers of all time. I know, this one is VERY intimidating to learn. –Philip Sherburne, Love and loss are twin pillars of songwriting, but there’s far less attention paid to the space in between: the relationships that last for three dates, the regrettable one-night stands, the rebound flings that never really had a chance. This one is perfect for those who have a background in dance, cheer, or gymnastics or are just super flexible. Once upon a time, listening to her music meant scouring all the references and layers to find the reasons for the apocalyptic dread in her voice, the slow-burning romance in her melodies, the nostalgic haze of her videos. Invoking 2000s nostalgia in a bid to create her own rap hit, Saweetie samples from a crunk classic: Petey Pablo’s Lil Jon-produced “Freek-a-Leek.” But instead of adopting Petey’s suave, come-hither vibe, Saweetie delivers “My Type” with bite: “That’s my type!” she yells, as if she’s just spotted a man at the other end of the club and she’s ready to take a swipe at any woman who dares approach him. But in June of this year, Paul re-emerged, releasing an official version of the leak and two new songs: “He” and “Do You Love Her Now.” “He” begins with fast strokes like “Bootylicious” before Paul’s signature funky guitar and pillowy whole notes emerge. “Bromley” is a perfect fusion of Joy Orbison’s atmosphere and the thudding, percussive style of Overmono, and the results are delirious. Hand Habits—gives voice to the lovers left behind by non-committal types on the hunt for something better, as the song’s slow, Neil Young gait sets the pace for their fellow walking wounded. But, Callahan argues, we are doing the best we can. Chicago rapper Polo G came up listening to local greats like Lil Durk and G Herbo, whose storytelling balanced titillation and tragedy. –Jayson Greene, Long Island native Jade Lilitri makes emo that could only exist in 2019. The images are breathtaking in their simplicity and beauty. “Respect is reciprocal,” he declares, encouraging and upbraiding us at once. But the music here is slower-paced, introspective. This is the original Renegade dance that was created by 14-year-old Jalaiah Harmon, which inspired the TikTok version.

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