Saturday, December 29, 2012

Top 50 Best Songs of 2012: #15-11

#15. "It Feels Like We Only Go Backwards" - Tame Impala
This swaying anthem from Australian psychedelic rock band Tame Impala is like stepping into a 1970s time machine.The fuzzy guitars and hypnotic melody, paired with trippy layered vocals and long hair, is wise beyond its years - and magically manages to sound like the musical equivalent of a rainbow kaleidoscope.

#14. "I Will Wait" - Mumford and Sons
One criticism of Mumford and Sons is that their sound might be formulaic; not varying much from one anthemic banjo solo and romantic ode to the next. Some praise I have for Mumford and Sons is that their music doesn't vary much from one anthemic banjo solo and romantic ode to the next. On this triumphant Billboard-topping folk ballad from the Americana Londoners, the same great ingredients are offered - and surely no one's complaining.


#13. "Oblivion" - Grimes
Straight out of Montreal, this tapping keyboard beat and Grimes' tinkerbell vocals are simple and unadorned - truly hitting the spot as one of the year's most addictive and quirky electro-indie hits.There isn't much to be said about Grimes' breathy vocals and eerie keyboard effects, but whatever she nailed down on her runaway debut, I hope she reignites on her sophomore.


#12. "My Blood" - Ellie Goulding
As the Brit singer's admitted favourite track off her overwhelmingly stellar collection of new songs bundled into Halcyon, "My Blood" has more pop power, vocal exuberance and chorus magic than any of the singer's other infectious songs. The combination of the chorus thump, her piercing howl and confident lyrics is moving - and has solidified Skrillex's lady love as this year's top female contender in the industry.

#11. "Do You?" - Miguel
A Marvin Gaye-reminiscent, sex-laden groove is always welcome on mainstream radio, as far as I'm concerned. Adding quite a bit of spice and flavour to the airwaves this year, breakout R&B crooner Miguel did good work in reviving this sultry and honest kind of balladry ("Do you like drugs? Do you like love? Me too.") on what I would consider to be an instant contemporary slow jam classic. With this tasty treat as foreplay, the rest of Kaleidoscope Dreams is equally explicit and never dull.


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