TwistedElegance's Top 50 Singles of 2015

[TwistedElegance™]

Welcome to my annual write-up of the year's 50 best singles. I've decided to do things a little differently this year by unveiling five songs each day as I countdown to No. 1. I hope you enjoy it.

 

"Here"

Alessia Cara

The prevailing mood of Alessia Cara's debut single could be gleaned from the ingenious sample of Isaac Hayes' Ike's Rap II, previously used to otherworldly effect on Portishead's trip-hop classic, Glory Box. Following a familiar template - personal lyrics sung over tightly drawn R&B - the newcomer characterised her brand by drifting dreamily between bittersweet bashfulness and self deprecating killjoy, while the ghostly tones of the production gave everything a delectable, unified feel. A sensuous design beautifully executed.

 

"Can't Deny My Love"

Brandon Flowers

It's something of a surprise that Brandon Flowers doesn't have a string of solo hits to his credit. The promise hinted at on his first outing, Flamingo, was showcased spectacularly on The Desired Effect, which saw the Killers frontman sticking to what he's known for while at the same time experimenting with '80s trimmings further than ever before. Without resorting to gimmicks, Flowers draped Can't Deny My Love in crisp new wave influences from the decade including heavy percussion, distorted guitars and a guilt-free pop chorus with as much genuine hit potential as any Top 10 record in 2015.

 

"WTF (Where They From)"

Missy Elliott feat. Pharrell Williams

Even though ten years have passed since The Cookbook, Missy Elliott is still regarded as one of the most dependable brands in hip-hop. Following several false starts she looks to have finally committed to a fully-formed comeback, accomplishing the first step with swaggering ease after WTF's glowing reception among music critics and consumers alike. Proving she still knows her way around a precision club banger, the song also made it clear that absence has done nothing to diminish her wit or attitude, and its accompanying video reintroduced her trademark creativity that's thankfully untarnished by a decade spent languishing in obscurity.

 

"Can't Keep Checking My Phone"

Unknown Mortal Orchestra

Reinforcing their psychedelic rock conviction, American/New Zealand outfit Unknown Mortal Orchestra here proved themselves experts on how to fuse tumultuous melodic expression with DIY beats. Saluting a raw musical spirit, there was a frivolous energy that drove Can't Keep Checking My Phone, from the pared-back rhythm and blitzing synth stabs to the out-and-out illegibility of the verses. Such oddball lyrics on most other songs would incite a dislocation between the music and the words, but it only made this venture all the more compelling.

 

"Ex's & Oh's"

Elle King

Mining her own relationship history for material, Elle King's tough but tender tales are delivered in a variety of styles. The sense of honesty and the bluesy barroom texture of her voice was a shot in the arm to the current brand of sensitive singer-songwriters, coincidentally arriving as Alanis Morissette was celebrating the 20th anniversary of her confessional masterpiece, Jagged Little Pill. On Ex's & Oh's, King's vocals were earthy and expressive, conveying lived-in passion and battered vulnerability, brilliantly backed by a chunk of thigh-slapping country rock. Impressive stuff.

 

Edited December 3, 2015 by TwistedElegance™

[bu.]

Yas! Can't wait for the full list. Are you doing an albums one too?

[RedSimba]

I always look forward to your year-end lists! It's also a chance to discover some artists I may have overlooked.

[Aquaria]

I like this format, less overwhelming, I would normally skim the list for Lady Gaga (  ) but now I can really get into everything you so beautifully write. 

"drifting dreamily between bittersweet bashfulness"

Like this, what kind alliteration? When will your faves?  

[Bailey]

I look forward to his lists because I hear about artists with good music I may not have without these lists...and Matt puts a lot of effort into them

[Rock & Roll Hall of Game]

Matt. A simple Thank you is not enough.. These lists open my ears to new artists or artists I played dust to. 

[TwistedElegance™]

Wow, guys. These comments mean a lot to me. Thank you for reading.

 

Yas! Can't wait for the full list. Are you doing an albums one too?

No, just singles. I would love to do one for albums (and movies, too!) but honestly this one nearly broke me this year. I actually started writing some of them back in August and I've only just finished.

[TwistedElegance™]

"I'm a Ruin"

Marina and the Diamonds

Since her arrival in 2009, Marina Diamandis has tenaciously pursued her vision of striking sophisti-pop perfection. Whether flirting with the subtler shades of gothic rock on I'm a Ruin's opening verse, or casting loose a glossy new wave groove on its pouty chorus, this was a record that wielded as much effortless fervor as any it competed against. At times she can sail too close to novelty territory, but when she applies sincerity to her afflictive lyrics as she did here, the results are stirring.

 

"Want To Want Me"

Jason Derulo

Less suave and too forced would be the best way to compare Jason Derulo to just about any of his peers. His voice is polished and his dance moves are faultless, but there's something almost offputting about his cleanliness and niceguy demeanour. Thankfully my cynicism is penetrable. At a time when many R&B artists are still playing around with dance pop, it's not surprising given his prior success in the field that he too thought to keep at it. Want To Want Me's old school funk accents and punchy chorus were far removed from his earlier attempts at playing it cool but ultimately coming off cheesy. A rare perfect collision of disco posturing and pop savvy.

 

"Style"

Taylor Swift

Arguably the biggest star in the world, Taylor Swift chose to celebrate her tenth year in the business and some 30 million album sales by branching out. Teaming with the ever-present Max Martin on the majority of 1989, she mapped a worthy route into classic Top 40 tunes and succeeded in capturing the general public's imagination. While not everything worked for me, there was no denying Style. Superbly executed, it not only reflected her country influences but also her current ones, and recalled the highlights of primetime Madonna. Like everything else this era it offered simplicity in its lyrics, but musically it stood tallest amongst her recent output with distinctive rolling harmonies, carefully strummed bridges and a big, shout-out-loud chorus.

 

"Counting Sheep"

SAFIA

Few genres in Australian music right now are running on the same steam as indie electronica. With its crunching chorus and menacing strings, Counting Sheep set itself apart from broody predecessors Listen To Soul, Listen To Blues and Paranoia, Ghosts & Other Sounds with its melancholic, clownish sound. The lyrics were wacky and the beat was dense, but the trio's real strength emerged on its marvelous bridge, slipping into a contagious groove that mirrored the highlight of fellow Canberrans Peking Duk, whose Say My Name was another of 2015's darkly entrancing dancefloor beasts - and coincidentally featured SAFIA's Ben Joseph on vocals.

 

"Pray To God"

Calvin Harris feat. Haim

In contrast to the bulk of Motion, Calvin Harris's collaborations with Haim and Ellie Goulding thrived as a result of them giving him actual songs to engineer, with tunes built not just from beats and crescendos but soaring melodies. Pray To God found both parties playing to their strengths: Harris's propulsive beat and thunderous keys giving prominence to the sisters' sky-scraping hook and Edge of Seventeen mimicry. No great leap forward, however it did signal a DJ coming to terms with his capabilities and opening himself up to a new audience without causing hostility among the old.

[jarrylf]

These lists really are everything, Like even if I don't agree with who's on the list or the ranking, I like reading what you have to say about what you enjoy.

[TwistedElegance™]

"Distant Past"

Everything Everything

Since formation in 2007, Everything Everything have garnered fair praise for their charismatic brand of falsetto rock. Third album Get To Heaven signaled their greatest musical development thus far, taking a chance with esteemed producer Stuart Price at the helm. From its pulse-racing first verse, Distant Past was a shot of manic energy and trance-like rhythms that conveyed their comical charm perfectly. The fundamental appeal of the song pivots around the exceptional vocal ability of Jonathan Higgs, stretching from Dizze Rascal-like rapping to furious howl in the space of just a few seconds. The result was a disorientating delight, performed with a confidence and coherence that several of their contemporaries might envy.

 

"Used To Love You"

Gwen Stefani

It seems an age has passed since Gwen Stefani was an irresistible force, integrating electro, new wave and hip-hop into some of the most thrilling pop music of the mid-2000s. The singer's super cool persona and platinum blonde coiffure made her one of the most recognisable stars alive. Then she stopped. Three children, one No Doubt album and two misfiring solo singles later, Stefani returned a newly-single woman with something to sing about. The failure of Baby Don't Lie and Spark the Fire prompted a radical re-think, and if a marriage breakdown can be described as good for anything, it was surely in her case, inspiration. Heavily loaded with fresh emotion, Used To Love You recaptured some of her best qualities - accessibility, sensibility and melody - reminding us that when she seeks overemotional candor, she usually finds it.

 

"Hotline Bling"

Drake

Suddenly, it was everywhere. The extensive hype surrounding the release of Drake's Hotline Bling video and the overabundance of memes it inspired was an entertainment in itself. Luckily, the record lived up to the weight of its accumulated notoriety. Everything - music, mood and lyrics - worked in perfect unison to form an unlikely blend of soul with a sparse, trap backing. The song had the most basic of plots, but remarkably the result was R&B with individuality and even depth, a rare thing indeed at the top end of today's charts.

 

"Fire and the Flood"

Vance Joy

Two years on from his breakthrough success with Riptide, Vance Joy revealed a slightly more ambitious side of himself with Fire and the Flood. Equally as fetching, the song sits somewhere between the intimacy of his signature hit and the familiar structures of big FM rock, achieving an almost giddy effect in the course of the horn-playing midway through. But it's his lyrics that really counted, proving he could carry conviction as well as a tune. Sensitive but robust, Fire and the Flood was as deliciously winsome as the male singer-songwriter got in 2015.

 

"Cool For the Summer"

Demi Lovato

Sporadic evidence suggests that Demi Lovato is probably capable of writing more catchy Top 10 tunes than she actually wants to. Instead, she seems content with each era counting on one solid hit to do most of the talking. The pounding Cool For the Summer is her most recent example, crammed with fuzzy synths, sexual insinuations and a strapping Max Martin chorus. Unintentionally camp, it maybe wasn't the guarded pop we've come to expect from the ex-Disney star, but it's hard to imagine this won't represent her career-high.

 

[bu.]

I hope Bad Blood doesn't make this list. 

[TwistedElegance™]

I hope Bad Blood doesn't make this list. 

It doesn't. There is only one artist with two entries.

[Rock & Roll Hall of Game]

It doesn't. There is only one artist with two entries.

like  

[RedSimba]

It doesn't. There is only one artist with two entries.

Hmm.. *makes random guess* The Weeknd

(You don't have to deny or confirm tho )

[TwistedElegance™]

Hmm.. *makes random guess* The Weeknd

(You don't have to deny or confirm tho )

It is! How did you do that? :lol:

[RedSimba]

It is! How did you do that?

Oh wow, lucky guess!  I actually have 3 on my personal top 50 so far

[TwistedElegance™]

Oh wow, lucky guess!  I actually have 3 on my personal top 50 so far

He had a string of perfect singles this year. I really like him.

[TwistedElegance™]

"Hello"

Adele

Somewhat alone among her peers, Adele survived the steamrolling era that was 21 with dignity intact. Few artists have ever been tasked with following up on a juggernaut of that scale, but there is enough history to teach us that it doesn't necessarily breed inspiration. It proved to be the case with the first offering from 25, and it was only the singer's immense voice and sheer presence that let her get away with playing it so safe. But scepticism aside, Hello was a barefaced belter that instantly joined the roll-call of Adele classics.

 

"Come Find Me"

Emile Haynie feat. Lykke Li & Romy Madley Croft

Flirting with intense theatrics and fluffy melodies, this year saw the revered Emile Haynie defect from a half-decade of producing artists like Kanye West, Lana Del Rey and Bruno Mars for a studio release of his own, the wide-ranging (and quietly brilliant) We Fall. A proud and undying respect for the "great heartbreak album" was easily detectable, reaching its apogee with the agonisingly delicate Come Find Me. Both Lykke Li and Romy know a thing or two about torch songs and as such they were obvious choices to infuse the song's mere handful of lyrics with turmoil and tune, elevating things to a shiver-down-the-spine level whilst remaining careful not to oversell it. And all in under three minutes.

 

"Nothing Left"

Kygo feat. Will Heard

Over the course of just a few singles, Norwegian DJ Kygo has carved himself a niche as the face of tropical house music. The concept of marrying elegant harmonies to rolling mid-tempo beats has served him well, even if it's already starting to feel a bit samey. Bucking the trend of the producer's small catalogue, Nothing Left ditched the familiar tones of his three biggest hits and injected some emotion, strengthened by soul singer Will Heard and his command of the introspective. It was nothing new for a dance act, but its eerie lullaby effect made for a gem of slowly unfolding delights.

 

"Daffodils"

Mark Ronson feat. Kevin Parker

When you bear in mind that his 2003 debut was a rap-heavy jumble of disco samples and largely forgettable tunes, Mark Ronson has undergone a tremendous evolution as a solo artist. The shuffling hippy rock of Daffodils was restrained in comparison to the astronomical Uptown Funk, built from clean lines, breezy vocals and a subtle rhythmic framework. The spellbinding greatness of Kevin Parker's voice helped to re-create the sound of psychedelic pop's golden age, while Ronson's mastery of production made certain the whole thing flowed with a relaxed, celestial air. The sound of both artists hitting their stride.

 

"New Americana"

Halsey

It's funny how Lana Del Rey's much-maligned take on baroque pop has now acquired a favourable, almost nostalgic glow. It certainly enchanted Halsey, whose New Americana immediately brought to mind the superstar's alluring National Anthem. Aided by producer Lido's electronic ornamentation and vigorous percussion, the New Jerseyan's voice was the unifying thread, from the tremulous melody of the bridge to the pulsating wall-of-sound chorus. Her harsh emotionalism and raw, understated delivery cut through like an icy wind.

[Rock & Roll Hall of Game]

Hmm Halsey made the list beating Adele!! This list is legit af!!!! 

[jarrylf]

YAAAAS @ MARK RONSON MAKING THE LIST!!! 

[TwistedElegance™]

Hmm Halsey made the list beating Adele!! This list is legit af!!!! 

I love her album. I'm stuck on Ghost lately.

 

YAAAAS @ MARK RONSON MAKING THE LIST!!! 

I was addicted to that song.

[Escapade]

Thank you so much! You need to start writing for music publications .

[Rock & Roll Hall of Game]

I love her album. I'm stuck on Ghost lately.

 

I was addicted to that song.

Gasoline is my fav... Drive.. Control.. So many great songs 

[TwistedElegance™]

Thank you so much! You need to start writing for music publications .

Thanks for reading. I've never really thought of it as anything more than a hobby.

[TwistedElegance™]

"Evil Eyes"

Róisín Murphy

Eccentricity has consistently played a big part in the collage of sounds on all of Roisin Murphy's albums (solo and as part of Moloko), but where such an attribute can wear thin with other artists, the Irish singer's nonconformity has always been counterbalanced by her arresting melodic responsiveness. It continued on her first LP in eight years, where Murphy reconvened with longtime collaborator Eddie Stevens to effect more of the avant-pop stylings Lady Gaga was once accused of aping. Early highlight Evil Eyes showed her voice is still as versatile as ever, but it was the songwriting that really gleamed, principally during the glorious bridge. Despite her kooky reputation, musical aptitude won out again.

 

"How Could You Babe"

Tobias Jesso Jr.

Despite the popularity of a certain handful of songs, mainstream soft rock seems in need of a saviour who can sustain a long-term album career and carry others in their wake. Canada's Tobias Jesso Jr. might just be the man. His debut was a charming brew of dulcet melancholy and '70s adult contemporary played so effortlessly that it didn't merely sound inspired by the time, rather that it could actually have existed forty years ago. How Could You Babe's production and delivery were so restrained that you couldn't help but compare it to prime-time Randy Newman or Elton John. Dense, impassioned and rewarding.

 

"LSD"

A$AP Rocky

A$AP's third album slightly maneuvered away from his more astringent rap roots and saw him claim some of the PBR&B ground normally occupied by Miguel or Frank Ocean. The striking minimalist sound of LSD found the New Yorker at his richly evocative best, murmuring about lust and longing but always quick to point out that this was not a love song, even as the swell of the music pulled him into an instant atmosphere of sonic tenderness. Long term fans may have paused, but there was no denying this suited him. Should he want to, he's now perfectly positioned to capitalise on his newfound standing with neo-soul's fashionable society.

 

"Love Is Free"

Robyn & La Bagatelle Magique feat. Maluca

It feels almost implausible that Robyn Carlsson's discography now stretches beyond the 20-year mark. She has been a maverick presence in music for the past decade on account of seeking independence as an artist and truly delivering on her intentions. With the dust having barely settled on last year's joint venture with Röyksopp, Robyn sustained the intensity for a similarly vigorous mini-album, this time accompanied by keyboardist Markus Jägerstedt and the late producer Christian Falk. What resulted was muscular pop scattered with the Swedish singer's trademark vocal inflections. There was a startling beauty to the amped-up Love Is Free, thanks to an extraordinary sense of structure and a collective ear for both drum-n-bass wizardry and a giant galloping melody.

 

"Talk Me Down"

Troye Sivan

With his atmospheric dreampop pitched somewhere between Lorde and Sufjan Stevens, Troye Sivan has promptly perfected the balance of talent and personality lacking in several of the young Australian's peers. Bolstered by his placid yet effective vocal technique, he's emerged from YouTuber and bit-part actor and quickly taken up residence in a zone pretty much his own, making beauteous, enigmatic pop for those who find Ed Sheeran a bit too frothy. Instantly accessible, Talk Me Down was a fluid, weightless symphony to love, confusion and human contact, conveyed with a sense of integrity which belies his 20 years.