[quote:r14ry6g6]50. Lykke Li – “Love Out of Lust”
If you’ve ever seen Lykke Li live, you’ve seen her demonstrate what the line, “dance while you can” means off her track, “Love Out of Lust.” The Swedish powerhouse knows how to make music for moving your body, and the mellow “Love Out of Lust” might be the best representation of her style from her new album, Wounded Rhymes.—Allison Ziemba

49. Lana Del Rey – “Video Games”
When “Video Games” first hit the web, people weren’t freaking out about Lana Del Rey or fake lips or Lizzy Grant. People were freaking out because they had stumbled upon a fresh voice and a beautifully written song and ultimately, does the rest really matter?—Luke Larson

48. Little Dragon – “Ritual Union”
The opener and title track off of Little Dragon’s third studio album, “Ritual Union” showcases the best of what this swedish electro-R&B outfit has to offer. Carefully selected synths, a thumping beat and Yukimi Nagano’s silky-smooth vocals form an infectiously catchy combo that’s hard to beat.—Kyle Smith

47. Chris Bathgate – “Salt Year”
In a year where Bon Iver will take home plenty of accolades for his sophomore full length, it’s fellow Midwesterner Chris Bathgate that has most noticeably created the year’s great cathartic record. Like the former’s For Emma, Forever Ago, Salt Year documents the inner emotion of a distraught individual. Bathgate’s title track exemplifies one chapter of his highly personal, widely relatable experiences.—Max Blau

46. Fitz & The Tantrums – “Moneygrabber”
“Moneygrabber” embodies the unique sound that brought Fitz & the Tantrums into the public eye. Unabashedly retro, singer Michael Fitzpatrick and company wear their influences on their sleeves, most obviously old soul and Motown but also David Bowie and even New Radicals. The song is driven by a soulful, falsetto-laden-chorus and a pounding flat-four beat.—John Barrett

45. Florence + The Machine – “Shake It Out”
Florence Welch’s booming voice over a pop-gospel piano and backing vocals is more than enough to fill the arenas she tours. Still, there’s something down-to-earth about a song Welch claims is the ultimate hangover cure.—Adam Vitcavage

44. Nicki Minaj – “Super Bass”
Minaj’s rap skills are better than most of the men in the game, but what really makes her stand out is the ability to turn into a beautiful-sounding R&B singer on her own choruses. She does it all and never gets outshined by guest artists—something that can’t be said for others when she features on a track.—Adam Vitcavage

43. Peter Bjorn and John – “Dig a Little Deeper”
Swedish three-piece indie-rock outfit Peter Bjorn and John is at its lighthearted best on “Dig a Little Deeper,” a great summer track off of Gimme Some. Poppy and catchy, the guys implore you with the chorus to consider that “All art has been contemporary.”—Kyle Smith

42. Surfer Blood – “Miranda”
This perfectly-crafted surf-rock hit from Surfer Blood’s followup EP would have been easy to gloss over. But in “Miranda,” Surfer Blood takes everything we loved about the band’s debut album and wraps it up in an irresistible chorus featuring just one word. —Luke Larson

41. Kurt Vile – “Jesus Fever”
Kurt Vile’s lo-fi dreamy sound hits its zenith with this stand-out track from Smoke Ring My Halo, as the Philadelphia artist’s simple, yet entrancing guitar riff plays over the fractured memories Vile leaves behind. It’s both personal and entirely relatable. —Ross Bonaime

40. Pistol Annies – “Hell on Heels”
Taking turns on the verses, Miranda Lambert, Ashley Monroe and Angaleena Presley each get a chance to showcase the unique quality of each of their vocals. And each voice is so lovely that the man-eating boasts they’re delivering just sound like sweet country seduction.—Josh Jackson

39. Battles – “Ice Cream”
When Battles lost founding member Tyondai Braxton, fans couldn’t have expected the group to throw a party. But that’s just what they did, following up 2007’s critically acclaimed Mirrored by borrowing some wacky vocal talent from Matias Aguayo. The track’s driving drums and keyboards makes “Ice Cream” Battles’ most fun and accessible release to date.—Tyler Kane

38. The Belle Brigade – “Losers”
This is perhaps the most overlooked anthem of the year. The sister-brother duo Barbara and Ethan Gruska pour a universal feeling into an uplifting song about competition, confidence and self-worth.—Adam Vitcavage

37. Rubblebucket – “Came Out of a Lady”
The best use of horns of the year, fuzzy guitars and kitchen-sink percussion propel the catchiest track from bandleader Alex Toth, singer/saxophonist Kalmia Traver and the other six Brooklynites. Recorded at DFA studios with Eric Broucek (LCD Soundsystem) at the helm, it keeps the dance party going long after James Murphy left the building.—Josh Jackson

36. Seryn – “We Will All Be Changed”
Denton, Texas’s multi-talented, multi-instrumentalist five-piece Seryn creates soaring, affecting folk music that’s sure to please. “We Will All Be Changed” builds and swells powerfully, reaching emotional heights not often attained by folk-pop acts, or really musicians of any genre, for that matter.—Kyle Smith

35. Yuck – “Georgia”
Yuck, a U.K.-based group of newcomers that wowed audiences with a self-titled debut, shows that there’s nothing wrong with borrowing from the greats on “Georgia.” Recalling some of indie’s best fuzzed-out moments, “Georgia” feels as familiar as your old Sonic Youth and Pavement albums. —Tyler Kane

34. Adele – “Rolling in the Deep”
Everyone knew that Adele had an incredible voice; she had the Grammy for Best New Artist to prove that. But like she sings on “Rolling in the Deep,” “there’s a fire starting in her heart.” With the power of Amy Winehouse and the passion of old-school Alanis Morissette, she’s crafted a song that’s stayed at the top of the charts (and nearly every radio format) all year for good reason.—Ross Bonaime

33. Reptar – “Blastoff”
Reptar blasted their way straight into our hearts with this lead track off of their Ben Allen-produced debut EP, Oblangle Fizz, Y’all. It’s perfect for busting a move or two and a must-listen for anyone wondering what it’d sound like if David Byrne fronted Vampire Weekend.—Bonnie Stiernberg

32. Foster the People – “Pumped Up Kicks”
Mark Foster wrote his band Foster the People’s breakthrough song “Pumped Up Kicks” when he was a jingle writer. You know he’s good at what he does when he’s able to sell a song about a psychotic child going on a shooting spree for some shoes as one of the happiest, catchiest songs of the year.—Ross Bonaime

31. Dawes – “A Little Bit of Everything”
If the title hadn’t already been taken, Dawes’ “A Little Bit of Everything” could have easily been called “Helplessness Blues.” The song focuses on three different perspectives all linked by their complicated worries, whether those lead them to happiness or staggering depression. The stresses of modern life have never sounded so good.—Ross Bonaime

30. James Blake – “The Wilhelm Scream”
With a minimalist, bedroom-sound stroke, James Blake coolly covers his own father’s “Where to Turn.” The result is a haunting, sparse piece of downtempo music; icy robotic production wrapped around a muted but warm, soulful center.—Kyle Smith

29. Givers – “Up Up Up”
Dance-y with a Cajun twist, this is one of the most infectious songs of the year. So many indie-pop efforts fall short of a catchy refrain, but Givers do it damn well.—Adam Vitcavage

28. Wye Oak – “Holy Holy”
Jenn Wasner’s gnarled, messy guitar intro contrasts everything else in Wye Oak’s standout Civilian track, which includes reverb-heavy drums and dreamy, inspired melodies.—Tyler Kane

27. The Antlers – “Rolled Together”
The Antlers followed up their heartrending 2009 masterpiece Hospice by trimming some of the overarching epicness and lightening up. But the dynamic post-rocker “Rolled Together” incorporates the best of both worlds.—Max Blau

26. My Morning Jacket – “Circuital”
All of My Morning Jacket’s albums have had at least one barn-burning epic, and it’s the title track of new album Circuital that once again delivers the goods. Driven by an airy, triumphant guitar pattern, “Circuital” beckons like an open road on a clear, sunny day.—John Barrett

25. The Head and The Heart – “Down In The Valley”
The Head and The Heart may be newcomers, but songs like “Down In The Valley” make the band feel more like an old friend. It’s one of the most downright listenable songs of the year.—Luke Larson

24. Those Darlins – “Be Your Bro”
An ode to gender relations for the ages, “Be Your Bro” features some irresistibly catchy hooks and cutting vocals delivered with the utmost sincerity. “I just wanna run and play in the dirt with you,” frontwoman Jessi Darlin explains. “You just wanna stick it in.”—Bonnie Stiernberg

23. Radiohead – “Lotus Flower”
You either love, hate or still can’t get over your indifference for The King of Limbs, but you can’t deny that “Lotus Flower” taught us that it’s fun to dance (or flail) like Thom Yorke. Tripping on In Rainbows and Kid A pills, the album’s first single sets you free, just as Radiohead promises to do in its lyrics. —Nicole Anegon

22. The Decemberists – “This Is Why We Fight”
The Decemberists have always been great at lyrical metaphors, and with “This Is Why We Fight,” love becomes war. Even though there are losses, bloodshed and maiming, love is worth fighting for, regardless of the ultimate cost.—Ross Bonaime

21. Middle Brother – “Blue Eyes”
In “Blue Eyes”, the Middle Brother boys’ ode to a dream woman are dive-bar gritty and Whisky smooth. A wonderful bourbon-barrel-aged love song to make you pine for lost loves.—Sean Doyle

20. The Black Keys – “Lonely Boy”
The Black Keys are still hot from the breakout success of last year’s Brothers, and “Lonely Boy” from the upcoming El Camino proves that the band’s still got a handle on crafting amazing hooks. —Tyler Kane

19. TV on the Radio – “Second Song”
TV on the Radio’s fourth studio album Nine Types of Light begins with the beautiful confusion of a man who won’t give up on his love. Tunde Adebimpe sings of finding the light while struggling against the darkness.—Ross Bonaime

18. Real Estate – “It’s Real”
Real Estate doesn’t make urgent music. Nor do they worry about all the accompanying specifics that come with being a rock band. It’s the kind of music that’s approached in passing, to describe a feeling or to capture sense of place. In a day and age where all the minute details mattered yesterday, “It’s Real” slowly burns with the kind of authenticity that falls into the cracks and crevices comprising each one of our days.—Max Blau

17. Childish Gambino – “Heartbeat”
Donald Glover has said the last verse on this track was one of his favorites he’s ever written. Gambino attacks the focused and concise clublike beat with equal precision. “Heartbeat” easily lands him the top spot of the freshman rap class.—Adam Vitcavage

16. Beirut – “East Harlem”
Three albums into his cosmopolitan career, Beirut mastermind Zach Condon has created The Rip Tide—his most cohesive record to date. The Santa Fe songwriter brings it all back home with “East Harlem,” a four-minute homecoming anthem for his worldly project.—Max Blau

15. The Civil Wars – “Barton Hollow”
With all the acoustic-folk duos on this list, The Civil Wars’ rise to fame was the most memorable of 2011 and the song “Barton Hollow” is among their very best. The title track effortlessly mixes John Paul White’s southern rock/bluegrass with Joy Williams’ sweet pop inclinations to form something that manages to insatiably catchy without losing its edge.—Luke Larson

14. Dale Earnhardt Jr. Jr. – “Nothing But Our Love”
Detroit’s Dale Earnhardt Jr. Jr. manages to layer electronics over a steady, processed beat to achieve a dream-like effect for It’s a Corporate World’s “Nothing But Our Love.” The music and lyrics meld together until the track ends, and like waking up from a great dream, you feel somewhat refreshed.—Nicole Anegon

13. St. Vincent – “Cruel”
Annie Clark’s subjects range from marriage to body image on Strange Mercy’s opening single, “Cruel.” But we have a feeling that its weird, buzzing solos and off-kilter video won’t land it in a Dove commercial anytime soon. The simple lyrics about how hurtful and painful the pressure of looks can have on a person are accompanied by a Talking Heads-like progression. It is difficult to be upset when this song gets stuck in your head.—Clint Alwahab

12. Blitzen Trapper – “Fletcher”
With American Goldwing, Blitzen Trapper continue to refine their knack for clear-eyed, earthy Americana, and “Fletcher” is a testament to the group’s surprising breadth of influences and knowledge of Americana’s roots: It’s a sun-kissed, earnest tune built for the highway that channels The Grateful Dead as much as The Band.—John Barrett

11. Girls – “Honey Bunny”
Girls achieved fame with their psychedelic take on pop, distilling influences as diverse as Elvis Costello, The Beach Boys and Pink Floyd and dominated by ’50s- and ’60s-style melodies. “Honey Bunny” is the most memorable track on this year’s Father, Son, Holy Ghost, featuring a hazily upbeat chorus.—John Barrett

10. Bon Iver – “Calgary”
“Calgary” starts with a lone synthesizer under Justin Vernon’s voice, and the track shows how great a careful, deliberate approach to songwriting can be. The progressions are hooky and clever, every added instrument has a purpose and Vernon’s imperfect falsetto is as charming as it gets.—Tyler Kane

9. Cults – “Go Outside”
Even though it was originally released in the dead of winter, “Go Outside” became the ultimate summer anthem when Cults dropped their self-titled debut in June. Manhattan-based duo Brian Oblivion and Madeline Follin re-introduced us to the precision of noise pop, which the song perfectly exemplifies. There’s nothing downbeat about the track and it really does make us want to go outside and just experience everything life has to offer.—Adam Vitcavage

8. Wilco – “Art of Almost”
Over the past several years and handful of Wilco albums, some have admittedly questioned the Chicago sextet’s musical direction and fade into a relative sense of complacency. Jeff Tweedy disproves any such doubts, recapturing our attention at a moment’s notice. “Art of Almost,” their intricate seven-plus minute album opener, is standing proof that the generational rock group can seemingly do whatever it wants whenever it wants.—Max Blau

7. Tom Waits – “Bad As Me”
Tom Waits’ gravel-and-sandpaper voice has always evoked images of things that go bump in the night, and on his latest album’s title track, he uses it to perfectly craft an anthem for those all us sinners. “You’re the letter from Jesus on the bathroom wall, you’re mother superior in only a bra. You’re the same kind of bad as me,” he snarls, reminding us all we’re not as high and mighty as we like to think we are.—Bonnie Stiernberg

6. Generationals – “Ten-Twenty-Ten”
Writing catchy pop songs has always been The Generationals’ strong suite, but “Ten-Twenty-Ten” takes their craft to a whole other level. Their lead Actor-Caster single is a more focused cut, stripping back the over-the-top horns from their earlier albums. It makes all the difference as the New Orleans duo Ted Joyner and Grant Widmer have created one of the year’s best pop songs.—Max Blau

5. Phantogram – “Don’t Move”
Self-described street-beat, pysch-pop duo Phantogram’s “Don’t Move” is a beautiful and haunting piece of electronic trip-hop. Sarah Barthel’s airy, ethereal vocals swell over thick, fuzzy beats as she pleads with her subject, “Keep your body still / Keep your body still.” Addictive and hypnotic, to say the least.—Kyle Smith

4. tUnE-yArDs – “Powa”
There are, quite obviously, a number of different factors that influence our picks for song of the year, but if you’re looking for pure technical prowess—the kind of vocal feats of strength that make the hair on your arm stand up—look no further than the last 40 seconds or so of “Powa.” After tearing her way through most of the sultry track over a ukelele that sounds like a mean electric guitar, Merrill Garbus slips into a falsetto that would make Prince proud, capping it off with a high note that probably has Mariah Carey nervously lying awake at night.—Bonnie Stiernberg

3. Typhoon – “The Honest Truth”
Sometimes more really is better. Even with a dozen or so members, Typhoon made a song that isn’t overbearing on any level and the right amount of everything: horns, strings, drums and a chorus of gorgeous vocals. Kyle Morton has orchestrated a song on par with an Arcade Fire classic. It’s epic. It’s honest. It’s the truth.—Adam Vitcavage

2. M83. Midnight City”
The lead single off of M83’s monster double album Hurry Up, We’re Dreaming sees Anthony Gonzalez at his spacey, dramatic best. “Midnight City” paints a vivid picture of neon-lit drives through dark cityscapes, capturing both the beauty and isolation of modern urban life.—Kyle Smith

1. Fleet Foxes – “Helplessness Blues”
If there was one track this year made you question your place in the world, it was probably Fleet Foxes’ “Helplessness Blues.” Frontman Robin Pecknold’s near-paranoid lyrics ask the big questions. The singer even touches on the meaning behind creating music itself in the loaded five-minute track backed by the band’s breathtaking arrangement and harmonies.—Tyler Kane[/quote:r14ry6g6]