Bassnectar – Bass Head
Bassnectar makes a living defying genres and dropping the absolute heaviest bass lines in the business. “Bass Head,” off of the monumental Timestretch EP, is the best song of his career, and can only be defined as dubstep played through a turbine jet engine. Utterly filthy.
Punch Brothers – Rye Whiskey
Though Chris Thile and company have a penchant for merging classical and bluegrass, “Rye Whiskey” is a straight-ahead folk romp. Featuring a blistering fiddle hook, clever lyrics extolling the virtues of the title drink, and an irresistible shout-along chorus, this is a newgrass song for the ages.
Kanye West feat. Rick Ross, Jay-Z, Nicki Minaj and Bon Iver – Monster
Though I’m loathe to give Yeezy credit for much of anything, he’s created an aggressive, misanthropic classic in “Monster.” It’s got some of the best wordplay on the album—Nicki Minaj’s verse showcases some kind of schizophrenic genius—and its deep, driving beat makes it the true standout.
Yolanda Be Cool & Dcup – We No Speak Americano
Give Yolanda Be Cool & Dcup some credit—they’ve done more to bring Spanish-language music to the mainstream US than much of Shakira’s career. This ironically-titled dance hit has quite possibly the most addictive synth line…ever.
Far East Movement – Like a G6
Let me be clear, this is not challenging music. What it is, is unadulterated dance-floor brilliance, no more and no less. In 2010, Far East Movement had the entire country gettin’ slizzard.
The Love Language – Heart to Tell
Stuart McLamb pays tribute to his early-60’s influences on this year’s album Libraries, and no song is more indicative of the era than “Heart to Tell.” It’s got big drums, crunchy guitars, and soaring harmonies all condensed to a rollicking two-and-a-half minute pop song.
The Black Keys - Sinister Kid
Though the Black Keys have moved in recent albums toward a more polished sound, “Sinister Kid” signals a throwback to their early days as just two guys on guitar and drums playing the blues. This track is raw, driving garage-funk, like a locomotive about to derail.
John Legend & The Roots – Compared to What
A cover of Les McCann’s 1969 anti-war cut, John Legend and the Roots reinterpret “Compared to What” as a slick, gritty funk number. From ?uestlove’s understated snare groove to the punchy horn lines, this may as well be a lost track from Sly Stone’s There’s A Riot Goin’ On. And that’s a very, very good thing.
Massive Attack – Atlas Air
The trip-hop pioneers have outdone themselves with this nearly eight-minute tour-de-force. While not as unflinchingly dark as anything on Mezzanine, “Atlas Air” features one of the group’s most alluring grooves. The intense, incessant bass line will be stuck in your head for months.
Carolina Chocolate Drops – Snowden’s Jig
“Snowden’s Jig”, off the Grammy-nominated Genuine Negro Jig, is an “instrumental” in the term’s loosest definition. With only a fiddle, krakebs (hand percussion tools similar to castanets), and some stomping and clapping, the track is sparse yet immensely haunting. No song this year does so much with so little.
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