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10

MAKE ME FEEL

Janelle Monáe (2018)

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When in Make Me Feel we feel a immediate connection to Prince's "Kiss", it's because it was the pop royal himself who was in charge of the synth line of the track. But beyond the sound, Make Me Feel is uniquely a Prince tribute thanks to the unchained sexuality that it displays. Monáe's electric personality matches for a new musical sex queer revolution like the one Prince fronted 30 years ago, but now adding a statement of feminism where the only limit for sex is consent.

 

Make Me Fell represents the empowerment of enjoying and assuming our own sexuality as a way to free ourselves, instead of as a tight box where we need to fit. For Monáe this freedom makes her feel "like I'm powerful with a little bit of tender; an emotional sexual bender". And indeed, owning herself has allowed Monáe to deliver performances with such strength and self-security that bring the best of the emotional soul legends and the electric rock idols. Make Me Feel is funky, fun and a joyous pop moment with electrifying guitar riffs. 

Also listen: Drake - Hotline Bling /// Kelis - Acapella

9

LET IT HAPPEN

Tame Impala (2015)

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Probably what gives Let it Happen it greatness is the contradicting elements that make us analyze how pop it is. The band has never sounded as festive and pristine, and yet this might be one of the most complex and less accessible tracks in their discography. On one side, the synths are sparkling and are there's a bouncy sound that has a kaleidoscopic effect that sparks joy and propulses you to move your feet. On the other, it is a track of nearly eight minutes that has constant breaks in structure and tempo and with so many layers and effects that it is quite hard to think of it as radio-friendly.

Kevin Parker redirected the sound of the band to border the limits between rock and synthpop, and yet no one would argue that Let it Happen still retains the psychedelic qualities that identifies it as a uniquely Tame Impala track. He strips the song of a lead guitar, but when it does make a guest appearance, it still distill the trademark retro vibes that made us fell in love with their sound.

Also listen: MGMT - Me & Michael /// Unknown Mortal Orchestra - Can't Keep Checking my Phone.

8

PEDESTRIAN AT BEST

Courtney Barnett (2015)

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When Barnett released her first single ever in 2013, she was quickly tipped by every music outlet as the new promise of indie music and the hype created around her before even releasing a full LP was huge. But for an introvert like Barnett, the prospect of a sudden rise to fame generated more anxiety than pride, and Pedestrian At Best is a reflection of those conflicting emotions of self-doubt.

Yet, for a track that is all about the feeling of not being able to fulfill expectations, it possess a raw energy that we might be mistaking for full confidence on a first listen, but the fast pace delivered lyrics and the strong riffs are more a symptom of overwhelming anxiety. The track itself proves her fears wrong, showing not only the clever songwriter that she proved to be from her first singles, but a revelation in her fresh rendition of grunge rock. One of the most quotable songs of the decade ("Give me all your money and I'll make some origami, honey"), Pedestrian at Best is witty, catchy, electrifying and very reactionary to Millennial trends.

Also listen:
Jack White - Sixteen Saltines /// Savages - The Answer

7

SPANISH SAHARA

Foals (2010)

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During the 00's, bands that played witty and irreverent post-punk were everywhere and were so ubiquitous that it was becoming very hard to tell apart your Kooks from your Wombats. Foals' first album fully embraced that trend, and with a few distinctive touches it could have very well been a Franz Ferdinand or a Vampire Weekend album. Then it came Spanish Sahara, the song that changed the history of the band, the one that highlighted all the qualities that set them apart from other acts and cemented their place in the new decade's rock music.

Spanish Sahara starts slowly as a tender confession, Yannis Philippakis' falsetto whispering voice paints a sad shoreline landscape as the background for the love story, but then the weather changes and suddenly we're trapped in a maelstrom of passion and sexual force. The chord progressions bring gossebumps, and when Philippakis declares that he's the fury in your head and in your bed, we've reached a milestone of eroticism in indie rock music.

Also listen:
Warpaint - Undertow /// Laura Marling - Devil's Spoke

6

ROLLING IN THE DEEP

Adele (2011)

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Adele is iconic. She is the generational voice of heartbreak, and her potent contralto timber is commonly associated with strong dense feelings that range from ire to melancholy, but also with empowerment. All her work carries that trademark, but in no other song of hers, all of these ideas are as clear and powerful as in Rolling in the Deep. 

Opening with an unsettling metronome pulse that reinforce the opening lyrics warning that there's a fire starting. The voice always to the front, showcasing her range and depth, takes its time to build the emotional foundations; it's clever enough to add and subtract instrumental elements to generate tension, with a bridge that is as the calm before the storm, and then an explosive "We could have had it all" that is lacerating by how much emotion it contains. It is almost a pop gospel that burns abrasively with the fire of rage, that we can't imagine any other voice reaching. Adele showed us how you can masterfully turn pain into art.

Also listen: Adele - Someone like You /// Alabama Shakes - Don't Wanna Fight

5

FORMATION

Beyoncé (2016)

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Ten years ago, it would have been impossible to have a song like Formation. Pop divas were aspirational dolls that were stripped from a personality to create a desirable product for massive consumption. Over all, they were apolitical, having a Britney or a Christina voicing their concerns about police brutality, sexual harassment or social inequalities would have ended their careers. Even an early Beyoncé wouldn't have get away with a song like this, one that is not designed for the charts, and celebrates black female pride while calls for political action. 

Formation is ferocious and empowering, her "OK ladies now let's get in formation" resonates as a threaten to elites of privileged white males that won't be able to get away with oppression any more. But also, Formation is a complex piece of avant-garde pop music, just like her revolutionary persona, her music has moved outside of the convention and is reinventing the ways that pop is structured and instrumented, making it a powerful tool for revolution and counterculture. 

Also listen: Beyoncé - Sorry /// Beyoncé - Countdown

4

VIDEO GAMES

Lana del Rey (2011)

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Over a decade, Lana del Rey worked non-stop to reach a spot among the best contemporary songwriters, but the moment we first listened to Video Games is still indelible in our minds. Indie rock was dying and EDM was booming, but in between all that chaos, a voice that seemed to come from our parents' youth gave us a ballad about imperfect loves that happen in between backyards, pool, beers and video games. 

Soft and delicate, the use of harps and bells made the instrumentation different from everything that was produced at the time, the lo-fi production reinforces the idea of gazing at a faded picture from the 50's, and Lana's languid voice, detached and depressed, makes a great contrast for the passionate lyrics. It was very telling of the sexism of the time that the media focused on her image as a marketing strategy, as if a beautiful woman couldn't be able to create such a beautiful piece by herself. She has proved them wrong time and time again.

Also listen: Lana del Rey - Summertime Sadness /// Lana del Rey - Blue Jeans

3

OBLIVION

Grimes (2012)

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For most of the 10's (we'll omit her last singles of 2019, and above all, the interviews and tweets of that time), Grimes was one of the individuals that pushed pop music in the most interesting directions. If we deconstruct Oblivion in its individual parts, we'll find that it has all the elements that make a bubble-gum pop track: the predominance of synths, the use of loops and shiny kaleidoscopic sounds, a falsetto voice of a Barbie doll, and even the inclusion of some "la-la-la-la". Yet, it is a song that couldn't be less suitable for the commercial charts.

The opening synth loops are crammed together in a way that they almost jump in before the preceding one has finished, setting the disorienting tone for a track full of dark atmospheres and nihilistic lyrics about an assault that Boucher experienced herself. But by tying her dark ambient inclinations with cutesy pop elements, she creates a piece full of creativity that lands on uncanny valley, it is sweet glossy pop, but with a sinister subtext and atmosphere.

Also listen: Grimes - Genesis /// Grimes - Vanessa

2

DO I WANNA KNOW?

Arctic Monkeys (2013)

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Arctic Monkeys was an important band already, they earned a spot headlining the biggest festivals in the world with a solid career that kept the band evolving and securing their survival once all the indie rock bands that started around their time were fading into oblivion. Do I Wanna Know? is the song that turned an important band into a legendary band, the one that will be remembered for generations to come as the most relevant millennial rock band, just as Nirvana was for Gen-X's.

The track on point is, at the same time, a stadium anthem and a personal drunkenness hymn. Adapting classic rock to their own garage indie style, the strength and consistency of the riffs, the power of Heldres' drums, the smart lyrics about unrequited love, and Turner's seductive performance, come together in a suave track that exudes technical confidence, even when it's a song about uncertainty. It is the sound of a band at the top of their maturity, far away is the irreverence of youth, and now we're left with all grown-up rock legends.

Also listen: The Black Keys - Lonely Boy /// My Morning Jacket - Holding on to Black Metal

1

DANCING ON MY OWN

Robyn (2010)

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There are hits that invade the radio stations in a couple of months and then disappear forever, but there are other kind of hits that slowly build their legacy and are destined to live forever. When Dancing On My Own was released, it was largely ignored beyond the indie circles that already were aware of Robyn's potential as a pop diva, but as the decade advanced, the viral power of the shared content, plus the right inclusion in some shows like Girls, Gossip Girl and Orange is the New Black, propelled the track to the canon of pop hits. By the end of the decade, a good party without Dancing on my Own is unthinkable.

This effervescent heartbreak track about never losing our energy and style even when the tears are smashing on the dancefloor defined the 10's approach to being single of the "forever alone", no more secluding ourselves at home eating ice cream, it is time to dress up, go out, dance until we can't keep standing, and post in social media for everyone to know how broken we are in the corner of a club, with images of stilettos and broken bottles. Like Freddie Mercury before her, Robyn claims that make up may be flaking, but dancing must go on.

It is not a banger in the usual way, there is no big explosion or energy release, the beat is somewhat calm for a dance track, there's a bridge where we can only hear tingling bells behind Robyn's lament. Yet, the bubbly broken synths in the baseline pump with stamina and the drums act like energizing pistons, while the chirping accents work as a kaleidoscopic lights show. It is a bold and revolutionary track that paved the way for many artists, both commercial and alternative, that came after her, and redefined dance and disco music for a new decade.

Also listen:
Robyn - Hang With Me /// Röyksopp & Robyn - Do it Again

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