Best Songs of 2015 – Part I

It’s been proven countless times. Music today is terrible, unlike music of the past. There’s no reason to listen to Enter Shikari’s experiments, Skrillex’s frantic energy or Martinez’s outcast pop when you can listen to Bowie’s outdated glam or Zeppelin’s pseudo-blues. Still, there are some good songs made today. This is the first part.

30. CHVRCHES – Leave a Trace

CHVRCHES’ first album was mainly songs about telling people to fuck off using cutsy synthpop. The new album is more varied but this song shows where their strength is. As always, it’s not explicit but Lauren’s harsh tone makes the line “Take care to leave a trace of a man” sounds so cruel. Lauren sounds hateful. She can barely view the guy who broke her heart as a man.

29. Barely Alive – Rough & Rugged

The Bass Music was scene was disappointing this year. The experimentation wasn’t as wide-eyed as before. Barely Alive still sound like it’s 2013, taking wobbles and mixing them in different types of beats. “Rough and Rugged” belongs in that unique house genre we don’t see enough of. It has a more complex, Hip-Hop influenced drumbeat. Plus, it’s full of tempo changes which gives a sense of structure. It’s a brilliant dance song, not just a DJ tool.

28. Of Monsters & Men – Wolves Without Teeth

This is the ideal music to play Skyrim to. ‘Glacial’ is the best word to describe it. Was playing Skyrim inspired them to switch to a colder sound? Everything sounds like icicles shivering in a cave. “Wolves Without Teeth” has the best melody of all the songs there. It helps it’s slightly warmer and less towards the epic side. It’s the perfect song to stroll in a snowy forest to.

27. Lana Del Rey – Music to Watch Boys To

Lana’s voice was always sexy as hell, but on this song she pushes it to the limit. It’s her sexiest song so far with the blunt statement on how she watches boys. There’s still an air of menace here, but the darkness in her music has been toned. Still, unlike a lot of singers who sing about sex Lana is actually being sexual.

26. Skrillex & Jauz – Squad Out!

I don’t know who’s most responsible for the brilliance of this. Jauz has been making great tracks and Skrillex has been moving away from wobbles. Still, he’s involved in a wobble-heavy song and the result is a throwback. It’s in the same style of Barely Alive but the wobbles are more vulgar now. The song is pure wobbles in a way that makes it border on a self-parody. It’s a trite expression, but it assaults the ears with wobbles more producers are killing for. It also changes as it goes on. Hopefully this trend will continue.

25. Insane Clown Posse – Mr. White Suit

They were never as bad as people said they are. They have a lot of horrible songs, but they also have a unique approach to Hip-Hop. No one sounds like them and no song by them sounds like “Mr. White Suit”. It’s a joyous song about a character who makes everyone’s life perfect. It has 3 hooks, all of which are incredibly catchy. The lyrics got no hidden messages about killing or kinky sex or bad humor. If this song was made by any other group, it’d get some acclaim.

24. The Prodigy – Medicine

The popularity of The Prodigy is baffling and obvious at the same time. They borrowed enough from Hip-Hop, Rock and Dance at an era where they all dominated the mainstream. Yet there’s something heavy about them. Their music is creative but it always takes a backseat to beating up the listener. “Medicine” is the best example of this from the new album. The vocals are what make the song. They sound wrong, like the singer is high on some drug and is probably talking to someone who isn’t there. I’m sure people have lots of great sex in their shows but songs like these make it feel like everyone just wants to beat each other up.

23. Faith No More – Cone of Shame

Thank God Patton discovered his voice again. He’s a brilliant musician who often gets caught up in being weird. “Cone of Shame” is an old-fashioned weird Nu Metal song with progressive elements. It builds slowly until it explodes into a climax where Patton alternates between screaming and singing in a clean, beautiful way. This isn’t weirdness for weirdness’ sake but an idea that changes and eventually concludes.

22. Bring Me the Horizon – Oh No

Listen to this and then listen to their debut. How many bands did such a radical change? Most of the new album is still rock, but this detour into gentle EDM is the complete opposite of their beginning and makes perfect sense. They borrow more from Nu Metal now anyway. There’s a unique class of break-up songs that sound both triumphant, accepting, sad and angry at the same. Sykes mourns the end while telling his lover to fuck off with a beautiful chorus that, hopefully, won’t be remixed in an Avicii song.

21. Papa Roach – Gravity

By this point, Papa Roach are a stadium rock band. That’s okay, because Shaddix is a good vocalist and they know how to write a hook. This attempt at making Hip-Hop again (And it’s their most Hip-Hop orientated song yet), like Horizon’s aforementioned track, is weird but they sound comfortable in it. Shaddix was one of the weaker rappers of the scene but here his voice is clear and he sounds like he missed rapping. The chorus is beautiful, too, sounding more tender than anything they made recently. It’s both a moment of tenderness and experimentation in the middle of an ordinary stadium rock album.

20. Carly Rae Jepsen – I Really Like You

Carly shouldn’t be a big thing. She makes simple, joyous Pop music about liking boys. Since now every Pop artist has a statement to make, her simple take on Pop is a statement on its own. Now that we forgot the endless parodies of “Call Me Maybe” we can enjoy this music for what it is. Until I heard this, I didn’t realize how much we needed this type of music. Carly sounds so happy as she repeats the word ‘really’ over and over. It’s a break from the Pop singers who are fine with misogyny to be with the cool guys and the messy personalities of Del Rey and Martinez. Now, I love the latter (the former can die) but we need this, too. Carly won where Swift lost. Unlike Swift, she sounds human, confused and excited about love.

19. Excision – Live Wire

Exicison used this as the final track for his mix. It’s not just because it’s brilliant, but because it disposes of all build-ups. The previous Bass Music tracks on this list still have breaks between the dros. Once “Live Wire” kicks in, it switches tempos constantly and proves how such a tiny change makes the same sounds feel different. “Live Wire” doesn’t add anything new, but it shows a producer perfecting his genre.

18. Primitive Race – Long in the Tooth

I’m glad someone decided 90’s Industrial Rock needs to come back. Everything that made that scene great is here. Raymond Watts is still an arresting personality with his vocals – menacing, badass and sexual in a way that sounds antisexual. The formula remains the same. Write a rock song and find enough bizarre mechanical sounds to stretch it to 5 minutes. Some genres are confining, but Industrial Rock isn’t.

17. Melanie Martinez – Dollhouse

I don’t get how Martinez isn’t bigger. Most Pop stars, even the sad ones, are personalities that society loves. Del Rey and Tove Lo have their troubles but if they were outcasts, they couldn’t complain about sex with bad guys. Martinez is an outcast, and just that makes her more original than all the rest. “Dollhouse” isn’t her best song but it’s the definitive one. It captures her aesthetics its themes. Her obsession with things having a nice cover to hide the terrible is here. The melody sounds like a nursery rhyme and the lyrics talk about a family which is dysfunctional underneath their perfect exterior. She could be more subtle, but there’s enough venom even in her worst lines to make them effective.

16. Fall Out Boy – Centuries

If you’re a rock band who fills up stadiums, songs about heartbreak start becoming less believable. You got groupies in the back. “Centuries” is a stadium anthem that sounds sincere. It’s the cockiest Rock song since Kid Rock’s Rap-Rock album. It makes most rappers sound humble. Stumpg goes on and on about how we will remember him for centuries and then others they’ll disappear soon. If I made a song as good as this, I’d be cocky too.

15. Crazy Town – Lemonface

Yes, they returned. They got critical backlash mostly for being in a genre that didn’t have a loty of mainstream bands. Their brand of Rap-Rock was closer to the wide-eyed approach of PWEI and Urban Dance Squad. “Lemonface” sees them going Industrial Rock, which they always flirted with anyway. You’ll hate it if you hate that brand of cocky angst rock that was big in the 90’s, but there’s something fun about how aggressive and happy it is at the same time.

Knife Party – Trigger Warning

TRIGGERWARNING
Famous artists disappear up their own ass, but Rob Swire’s disappearance is unique. When artists’ ambitions get to their heads, we get things that are plain weird. Maybe it’s the whole Advanced Genius Theory. Whatever they do, though, they never sound like they’re trying to avoid being something.

These are artists who were ‘underground’ not because they wanted to avoid the mainstream, but they don’t care about appealing to their core fanbase. That’s why Skrillex has no problem producing a song for Justin Bieber. He also a little later drops a loud, wobble-heavy banger with JAUZ. He cares for neither fan base.

If Skrillex always looked for new things and tried to make the best of them, Rob Swire is the opposite. He’s been moving away from the loud Bass Music for some time, but he used to have things to replace it with. It’s not the lack of wobbles or even heaviness that’s the problem. “Begin Again” was actually good. Their experiment with Disco was great. The problem is that they sound like they care more about sounding the opposite of their past, rather than making good music.

It wasn’t like this on their LP. It had the old heaviness with “404” and “Give It Up”. It found new way to sound like a siezure with “Micropenis” and that deep house track had a sick bassline. Knife Party were always derivative, but they knew how to take every style they jacked and make it work. This time, they’re not jumping into any particular. It’s your typical, faceless Electro House that has some Big Room and some Melbourne Bounce, but is generally afraid of being fun.

I know that most parties are filled with people who hate music. They came to hear the drums banging, take drugs and hopefully fuck someone. I don’t see how catering to these people leads to good music. I’m not even sure it’s a good startergy to get people to come in your shows. No one is going to spread these faceless tracks. Nothing here is as catchy as “Internet Friends” or sounds like the perfection of its style like “LRAD”.

For two tracks, Knife Party just give us the ordinary horn stabs for the drops. I’m serious. “PLUR Police” and “Kraken” have a very similar sound and don’t do anything with it. These horn stabs always sounded bad. They’re a less rhythmic version of the typical Big Room popcorn. They create a half-assed melody that can also pass for rhythm if you’re high on drugs at a rave.

There’s no rhythm to them, any inventiveness, anything catchy. Even when wobbles had no direction they at least constantly changed to catch your attention. It’s astounding that it took Knife Party around a year to produce these tracks. Get a random compilation from Spinnin’ Records, and you’ll fine at least 5 tracks that sound like “PLUR Police”.

It’s sad to see how far down they went. Inventive moments are still here. “Kraken” has some cool sounds that would’ve been easier to hear if Tom Staar didn’t shit on it. “PLUR Police” has good build-ups, both of them. As for the other track, it’s fantastic. “Parliament Funk” is everything you’d want in a Knife Party song. It has the same aggression, it’s focused more on aggression and the guitars in the build up give it some structure. For a change, it sounds like Knife Party borrowed ideas from all kinds of genres to create a catchy banger.

The JAUZ remix is fantastic. This guy has been making waves and hopefully he’ll re-ignite the scene. He doesn’t add anything but it’s been a while since I heard wobbles these powerful. The wobbles sound unhinged and organic. It’s like they happen on their own. Why is it here, though? I thought Knife Party weren’t into this style anymore. Maybe JAUZ will wake them up.

I love this band and I don’t want to see them jump the shark this way. I didn’t mind the lack of Brostep in their LP because they had enough to make up for it. They could still experiment and they still knew how to distort every style to make it their own. Here, they jump on a tired bandwagon and don’t sound so ethusiastic themselves. If Rob Swire isn’t into EDM anymore it’s best to call it quits now. Let them be remembered for their classic EP’s. If only the Tom Morello collaboration was released here.

Also, I can’t believe these guys didn’t release Zoology. It’s their best track and one of Skrillex’s bests, too.

2.5 dubstep remixes out of 5