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Justin Vernon’s Bon Iver cast a spell over alternative rock for only a brief period of time, but they have become a crucial piece to the decade’s musical mosaic. The ironically bubbly anthem, constructed around a swooning synth hook, sees lead singer Michael Angelakos step back from his piercing falsetto while still keeping his vigor intact, and we’re left with a bonafide anthem. Modern synthpop-ists, Passion Pit, were already a big name by the time they unleashed “Take A Walk,” but the track had all of the energy of an eager debut. The first track lifted from their flawless Modern Vampires Of The City album, “Diane Young,” was a pint-sized throwback with a hint of rockabilly, laced with a fearless modern boost of vocal effects that somehow works. This was a climax of sorts of Vampire Weekend, who have been inching closer and closer to an explosion of acclaim and attention since their debut. Cole exemplifies his ability to make something dazzling out of simplicity, and despite many distractions, he holds our attention. “Power Trip,” the first track lifted from his incredible Born Sinner, brings Miguel on board for little boosts of smoothness to balance out the raw grime. Cole is one of the few hip hop stars who have made a positive impact on the genre this decade.

When you hear that electro buzz echoing through the plunking piano, dainty chords, and yearning vocals, it’s easy to see why. In spite of continued controversy, “Blurred Lines” was one of the biggest moments in music thus far this decade. Setting aside a particular VMA performance, “blurry” lyrical content, and the likelihood that it took more than a little from Marvin’s “Got To Give It Up,” this Pharrell-produced masterpiece was the King of the Throwback Jams, and we’ll be listening to it forever.Īnd the “Little Engine That Could Award” goes to AWOLNATION’s “Sail.” This sleeper hit had a longer shelf life than anyone could have predicted, finding its way into the mainstream almost 2 years after it had come and gone from alternative rock radio. The title track and lead single, especially, solidified their importance with a commanding vigor we had yet to feel.

#Pyramids frank ocean producers full#

This go around, when Soldier Of Love was released, it had been a full decade, but boy was it worth the wait. His hardest hitting record yet, the track is built around a breathy loop with thundering nuances of distorted guitars and drum fills, but it’s his possessed vocal delivery and blunt lyrics that make this an amazing opus.Īs time has gone on, Sade has become more and more elusive of a group, with the gaps between albums growing wider and more unapologetic. With “Black Skinhead,” the proof is in the pudding. Kanye’s ideas seemingly get crazier with each new record, but it’s safe to argue that they also get better. The end result is undeniably goosebump-inducing. Once again venturing into new territory, this uplifting anthem swirls with spacey guitars and aching vocals, but all of the sudden sideswipes us with the addition of a climactic gospel choir. The Yeah Yeah Yeahs were already alt rock gods by the time they released “Sacrilege,” but this track was truly something special. Maybe there’s no edge to it, but you’re going to have a damn good time.

“Happy” is the kind of track you can’t help but like, with a dancy groove, beckoning handclaps, and the kind of infectious melody only Pharrell could pull off. As we reach the halfway point of the decade, let’s take a look back at some of the best musical moments of the last five years! From alternative rock’s surprising reign to R&B’s resurgence, to pop’s continued evolution, here are the 100 best songs of the 2010s… so far! 100-51 | 50-01 | PLAYLISTĪfter a year of basically winning pop music with a handful of legendary collaborations, Pharrell Williams rounded it out with a song all to himself.