Can it really be the end of 2015 already? Yup, the year that was is now practically at its end. For annual readers of the site, they know that this is the time for yearly mania that we know as Song and Album of the Year. Each year, we pool our thoughts, scour our submissions and ponder what were truly the best songs and albums of the year. Along with our Album of the Year feature (which we hope you’ll read next) here are the 40 songs we believe represent the best in new music in 2015. Content here for this piece by 20+ members of the mxdwn writing team. Agree? Disagree? Tell us in the comments below.

Feature image photo credit Marv Watson

40. Jamie xx – “Alba”

The short sweetness of “Alba” is carried by an innocent sounding, melodious tune. It has an overall light-heartedness about it that made it an easy going song.

– Megan Huffman

39. Tyler the Creator – “Deathcamp/Fucking Young”

A guilt-introspective ballad reminiscent of the best of 90s R&B with its smooth harmonies and golden Biz Markie-esque vocals, Tyler the Creator’s “Fucking Young” is the perfect juxtaposition to the ego driven, guitar-heavy rap, “Deathcamp” that ends the track.

– Cristina Pimental

38. The Black Dahlia Murder – “Vlad Son of the Dragon”

With its infectiously neoclassic chord progression, call-and-response vocals and no-nonsense lyrics (“I am the Devil’s son… Kill them all / My righteous hand), “Vlad” is a straight shot of hot, dark adrenaline.

– David Sano

37. Meg Myers – “Lemon Eyes”

Intoxicating, intense, fearless. With refreshing promise, “Lemon Eyes” brazenly marks Meg Myers’ evocative transition from a pensive singer-songwriter to a dominant alternative rock influence.

– Cayla Bleoja

36. Ghost – “From the Pinnacle to the Pit”

Dropping at number 36 on our list of Songs of The Year, Ghost deliver us from the “Pinnacle to the Pit”. What. A. Tune. Another heavy hit from Ghost. That bass riff is basically what will be playing in my head forever. Satan never sounded good! Hail the Mighty Ghost!

– Brian Adler

35. Boots and Deradoorian – “Aquaria”

Has anyone ever wondered what outer space sounds like? Or what good electronica should be? Well, this song sounds like it could definitely provide an answer to that question.

– Lauren Doyle

34. Ryn Weaver – “Octahate”

Pop’s songbird Ryn Weaver delivers a catchy, yet anthemic hit with “Octahate.” Perfect for singing in the shower or car, this song can strike a chord with any girl’s experience and is worth adding to the heartbreak playlist.

– Rachel Zimmerman

33. Lana Del Rey – “Serial Killer”

Most Lana Del Rey fans know of her fascination with dark and taboo subjects, so a song titled “Serial Killer” should come as no surprise. The track contains her signature crooning set to an electronic, percussion-heavy instrumental and a rhythmic tune based on a nursery rhyme – altogether an interesting combination that works.

– Jackie April Ruth

32. Amanda Palmer – “Bigger on the Inside”

Breathtaking and painful lyrics, a ukulele, and a vulnerable musician; this song has everything an intelligent music lover could ever ask for, just be sure to have tissues on hand.

– Lauren Doyle

31. Primitive Race – “Acceptance of Reality”

Primitive Race’s single is everything emotionless. The song may be about the absence of self-pity, but “Acceptance of Reality” is delusional, a speed and blur of noise, that makes it the attention to our senses.

– Heather Elizabeth

30. Corrections House – “Superglued Tooth”

In this lurching behemoth of glitchy electronics and doomy, dissonant guitars, Eyehategod’s Mike IX Williams goes full Naked Lunch with apocalyptic wordplay before setting off the drum laden finale like a bomb.

– Bill Washburn

29. Major Lazer featuring Mo and DJ Snake – “Lean On”

This union between these three powerhouses came out this past summer and quickly became a favorite amongst the festival favorites. Major Lazer’s collaboration projects always do well, and this one delivered. With its dance hall inspired beats and MØ’s voice carrying through, “Lean On” was exactly what this last summer needed.

– Megan Huffman

28. Miike Snow – “Heart is Full”

Oh, how we have missed Miike Snow for the last few years. With frontman Andrew Wyatt taking on so many side projects and collaborations recently, the idea that Miike Snow as a group has seen its final days became a fearful possibility. Thankfully, their soulful return this year with “Heart Is Full” is everything we waited for and so much more.

– Rachel Zimmerman

27. Florence & The Machine – “Delilah”

The lyrics in this song say it all. “It’s a different kind of danger,” the danger of something being so fantastic and entertaining that the only thing a person can do is play this song on repeat and dance and sing along to it around the house, in the car, with headphones on, etc.

– Lauren Doyle

26. The New Pornographers – “Champions of Red Wine”

Neko Case is mostly known as a vocal powerhouse, but this track demonstrates her quieter side. Surprise, surprise – it pairs alarmingly well with the dreamy arpeggiated synth and bass heavy sounds of The New Pornographers. The music zips to and fro while the rhythm section holds down the foundation. Exceptionally tasty track on an excellent album.

– Mason Sams

25. Faith No More – “Cone of Shame”

Faith No More’s triumphant return was highlighted by this moody and impeccably paced slow-burn. Patton’s vocals, the band’s flawless control over tone, mood, melody, and groove are on full display and one might be fooled into thinking they’d never been away.

– Matthew Landis

24. Prince – “hardrocklover”

In many ways, “hardrocklover” showcases all of Prince’s hallmarks in one song. Falsetto vocals, a funky slap bassline and piercing guitar leads are all here in spades. Yet there are distinct moments that sport a minimalist R&B edge that has Prince acknowledging a modern aesthetic. It all works swimmingly, especially at the end as The Artist breaks out (briefly) one of his signature outro guitar solos.

– Patrick Smith

23. Kanye West/Rihanna/Paul McCartney – “FourFiveSeconds”

This acoustic pop and hip-hop crossover track was almost inescapable in 2015, but that’s bound to happen when three popular and talented artists are working together. Rihanna’s vocals, McCartney’s guitar work and Kanye’s lyricism all blend to make a one-of-a-kind hit, proving each of the artists to be a living legend.

– Jackie April Ruth

22. Lamb of God featuring Chino Moreno – “Embers”

Lamb of God’s thrash meets sludge meets alt-rock reminds us that nü-metal is not necessarily old news. Chino Moreno (Deftones) also graces the proceedings and provides relief from the throat shredding and provides his keening melodicism. It plays perfectly off of the otherwise compellingly brutal affair

– Matthew Landis

21. Between the Buried and Me – “Famine Wolf”

Between the Buried and Me’s “Famine Wolf” traverses many song elements, at times diving into a “math rock” approach to its structure, while at other times coming off as a spoken word, metal version of Hedwig and the Angry Inch. There are blast beats, soul-consuming guitar sweeps and a varied vocality that make this track infectiously addicting.

– Cervante Pope

20. Grimes – “Flesh Without Blood”/”Life in the Vivid Dream”

Not only is Grimes an incredible instrumentalist, she’s a wunderkind behind Ableton software. This track shows not only her musical prowess, but her ability to cut it into pieces and create a new picture. She’s the daring, albeit odd sister of mainstream pop music, but there’s a beat that clicks louder, deeper in the outskirts.

– Mason Sams

19. Tame Impala – “Let It Happen”

The lead track on Tame Impala’s Currents comes in at just under eight minutes for the full album version, and lasts about half that time for the radio edit. The song has alternative loud and quiet segments, but it never gets boring. The different sounds the band experiments with on this track show a clear step away from the 2012 hit “Feels Like We Only Go Backwards” while remaining true to their psychedelic rock and pop sound and keeping the cool vocals for which they’re known. With a heavy emphasis on electronic beats both mellow and danceable, “Let It Happen” sets the tone for the rest of the album.

– Jackie April Ruth

18. Silicon – “Burning Sugar”

Coming off of Silicon’s album, Personal Computer, “Burning Sugar” is a quick and poppy tune that has its own sugary sweetness about it. Drawing on funk and disco influences, the retro-futuristic song is calculated and yet still has a bit of a sensual side. Alongside the clean cut bass lines and jagged guitar riffs, the lyrics offer something that everyone can draw on from some point in their lives: the disengagement from anything that feels too steep. “Burning Sugar” sums up what it means to be acting reckless and burning out too quickly.

– Megan Huffman

17. Joy Williams – “Woman (Oh Mama)”

With three-dimensional fire and energy, Williams diverges from the rich folk artistry of The Civil Wars through an empowering track that fuses spirited traces of reggae with soulful pop. With vibrancy and control, Williams proves her musical growth. Her reemergence surges to the heights of raw and resilient expression. The resonant complexity of the lyrics of “Woman (Oh Mama)” dynamically echoes the intimate experience of beauty, power and passion within each individual. Authentic and diverse, the uplifting song does not shy from subtlety, but champions the potency and artistry of the feminine spirit.

– Cayla Bleoaja

16. Speedy Ortiz – “The Graduates”

2015 was a big year for Northampton, MA based noisey garage rockers Speedy Ortiz, dubbed Boston’s best band this year by Fader magazine, and with it came the release of their third album, Foil Deer. A fun and catchy evolution from the hazier days of The Death of Speedy Ortiz, it will be on plenty of year end lists, and a perfect example of that is “The Graduates.” Highlighting Sadie Dupuis’ bright and enchanting voice and catchy instrumentals it’s impossible not to fall in love with this song and want to know what comes with the rest of the record.

– Laura Ansill

15. Major Lazer and Mo – “Lost”

Major Lazer and MØ come together once more (something that will hopefully continue on happening into the New Year). This time, it was to cover the soulful hit, Frank Ocean’s “Lost,” with of course an added Major Lazer twist on it. The original R&B beats are now replaced with the sounds of steel drums and other dance hall inspirations that Major Lazer is always drawing on. With the new cover, it does become a more upbeat song but still holds the original feel that Ocean created, developing more contrast than before. And, of course, MØ delivers in terms of keeping the soulful crooning alive.

– Megan Huffman

14. HEALTH – “Stonefist”

HEALTH’s song “Stonefist” is everything magical about making music. The song carries as osmosis effect each time the volume keeps increasing. The single also makes mockery of the style of both Rhianna and Katy Perry, although sincere, but rather very playful. HEALTH turns a song into a spell of alchemy, bodies twisting into metal and the words become nothing but the wind. The single is everything like a Nine Inch Nails single, gritty, animal and even hypnotic in the essence of the way in which one person or even a band could transform the slightest sound into something blindly creative and inspirational.

– Heather Elizabeth

13. The Gentle Storm – “Heart of Amsterdam”

“Heart of Amsterdam,” the first single from duo The Gentle Storm’s double album/concept album The Diary is a truly unique achievement. It’s a confection based in ambitious elements that never falls into the pit trap of corniness. Yes, here violin, cello and flute all comingle with keyboards, drums and metal guitars. Devoted metal heads might consider this music of the “Pagan metal” variety, but the group’s primary members musician Arjen Lucassen and singer Anneke van Giersbergen have accomplished something refreshing and fun in its unusual approach. Lucassen has a knack for taking complicated disparate elements and boiling them together without the arrangement coming off as a cacophonous mess. Meanwhile, Giersbergen (who has contributed stellar vocals to Devin Townsend’s albums for years) floats above it all with angelic grace singing lovingly on the beauty of The Netherlands ancient capital city.

– Raymond Flotat

12. The Weeknd – “Can’t Feel My Face”

If 2015 was anyone’s year, it was The Weeknd’s. Abel Tesfaye first broke onto the scene with his sultry R&B crooning, and his fame has only skyrocketed since, gathering a fan base so monumental that he is currently the number one most played artist on Spotify. “Can’t Feel My Face” is a smash hit for good reason; not many songs can boast an alternatively funky beat and still reach the Top 40. The incredibly prominent bass line of the track permeates throughout the chorus, creating an atmosphere not unlike a toned-down version of “Uptown Funk”. The lyrics were made for singing along to, and the kind of toe-tapping beat that’s so prominent in “Can’t Feel My Face” is one that practically forces you out of your chair.

– Natalie Cahill

11. Big Grams – “Goldmine Junkie”

As the brain child of Big Boi and the Phantograms, Big Grams is the trio’s debut departure from their characterizing genres and into the realm of creative risk. On “Goldmine Junkie”, Sarah Barthel takes a fair shot at being the Andre 3000 to Big Boi’s raps. And even though it falls a bit short, the song recovers seamlessly through her hauntingly beautiful vocals and the instrumentals, making me a music junkie for Big Grams and has me, too, asking for me!

– Cristina Pimental

10. Father John Misty – “Ideal Husband”

Like most of the tracks on I Love You Honeybear, the raucous, stompy, barroom cadence of “The Ideal Husband” comes so very close to distracting you from its profoundly cynical and self-deprecating lyrical content. The unhinged dissonance of the organ chords work to remind listeners that Father John Misty isn’t bragging when he lists “Every woman I have slept with / every friendship I’ve neglected.” A honky-tonk piano cheerily plinks along over the top of the depression-fueled ruckus to keep the tune from sinking too deep into the trench of self-loathing, even though there’s feedback and sirens and substance abuse and maybe a baby in an oven in there somewhere. Joshua Tillman may not have the steadfast moral values of the archetypical folk hero, but it’s not like we need another one of those anyhow.

– Conor Fagan

9. Kendrick Lamar – “King Kunta”

Kendrick Lamar’s “King Kunta” is a triumphant return to the music sphere. From the funky back beats to the lyrical mastery targeting several oppressors of both the Black community and Lamar’s career, all the elements make this song eclectically masterful. It hits so hard it is well worth giving more than one listen. The hook highlights his references to the Roots series character Kunta Kinte as he creates lyrical parallels between the slave character’s experiences with owners punishing him for trying to break free to his own personal experiences with other artists in the industry trying to hinder his rise to the top as well. He digs even deeper proclaiming his love for the art when he says, “And if I got a brown nose for some gold then I’d rather be a bum than a motherfuckin’ baller,” emphasizing that he is not in this business for the money, but rather purely for the love of music and creativity. His passion is palpable throughout. Well done, Kendrick Lamar. Well done.

– Rachel Zimmerman

8. Tame Impala – “‘Cause I’m a Man”

Australia’s Tame Impala has certainly mastered the concept album, and the first official single of the band’s third record Currents was precisely indicative of the album’s psychedelic-rock vibe. “Cause I’m a Man” is somewhat of a relaxed lament; the slow drums at the beginning give way to the waning guitar melody for Kevin Parker’s apology narrative. The song explores downfalls of masculinity but overall points out the weakness of all human beings, attributing mistakes to human’s inability to “always think before [they] do” and dealing with “a greater force [to] answer to.” The video perfectly does the song justice: it features the same trippy graphics that are featured on the album’s artwork, as well as headless men in suits that are also probably attempting to apologize for their past mistakes.

– Kristina Kokkonos

7. Laura Marling – “Gurdjieff’s Daughter”

Off of her highly successful new release, Short Movie, Laura Marling’s most standout track, “Gurdjieff’s Daughter,” is everything we love from her wrapped in just about 4 mins. She takes a more light hearted approach to her singing on this track and takes the listener by the hand while she dances around on different aspects of life. A lyrical symphony for anyone looking for a guardian angel through their stereo, this track gives any wandering mind something to think about. With lyrics that can resonate through anyone’s life such as “Don’t be alarmed / Darkness can’t do you harm / Fear will hurt you.” Marling has made this entire album a more intimate release without the concentration being on her life and this track in particular shows her intent for her listeners. Spoken through the eyes of obvious experience but sang to be heard as a friendly reminder, Marling takes her song writing to whole new plane with this one.

– Ryan Fricke

6. Faith No More – “Superhero”

After teasing that their “Second Coming” tour would be the end of their reunion, Faith No More roared back in 2015 with several inspiring singles. “Superhero” in particular was an amazing offering in an already overcrowded year. The band has always excelled at making amorphous music combining numerous styles and melodic approaches. On “Superhero,” several elements point to a refined and mature approach from the five-piece. The song chunks into place with a simple piano line and then a driving rhythm from bassist Bill Gould and drummer Mike Bordin. Mike Patton snarls into the first verse “Superhero / I’m tugging on your cape” before the chorus becomes a solemn refrain of “Leader of Men / Get back in your cage / Will you be one of them?” It all builds to a voluminous swell, piano building on top of lead guitar until starts a ferocious chant of “Go / go / go / go” bringing the solemn chorus back until the song’s final notes.

– Raymond Flotat

5. Kurt Vile – “Pretty Pimpin'”

Though pretty “Pretty Pimpin’” spins the all-too-relatable yarn of an existential wanderer in the midst of a dissociative daze, Philadelphia bard Kurt Vile has never sounded more sure of himself than on the lead single of 2015’s b’lieve i’m goin’ down…. Fully divorced the wiry, tiny guitar tones that filled out Childish Prodigy classics like “Freak Train” and “Blackberry Song,” “Pretty Pimpin’” is pure 70’s FM in the spirit of Neil Young, Paul Simon and Jim Croce. Kurt’s songwriting has finally caught up with the atmosphere of thick, tube amp-induced warmth that Vile ventured toward with Wakin’ on A Pretty Daze cuts like “Gold Tone”. He’s not a new man, just a man with a newly refined set of expectations; the Philly native has rendered the level of irony in his insistence that “All I want is to just have fun / Live my life like a son of a gun,” nigh impossible to assess from and audience perspective. The lyrics of “Pretty Pimpin’” are like Camus’ The Stranger: you can turn them over in your hand until your hair grows as long as Vile himself, but no two people will ever be able to reach a meaningful consensus about either opus.

– Conor Fagan

4. Courtney Barnett – “Depreston”

Barnett’s mellow, guitar-stripped “Depreston” off Sometimes I Sit and Think, And Sometimes I Just Sit is the perfect song for a long evening drive, which is why the video – a side-by-side, three-shot compilation of different rides down open and residential roads – is a wonderful adaptation of the track. Barnett has stated that the song is a literal interpretation of a depressing house-hunting trip in Preston, a suburb of Melbourne in Australia (“How’s that for first impressions? This place seems depressing”). At the end of the song, she sings that if one had the money, they could knock down the old house in Preston and start rebuilding, which introduces a picked-up and happier sounding version of the song’s melody; relatedly, Barnett has also stated, “But obviously I love Preston now. I go there all the time. I nearly bought a house there!” “Depreston” was at once indicative of a particularly sad drive through the suburb, but by the end of the song, hope has arrived.

– Kristina Kokkonos

3. Chvrches – “Leave a Trace”

Just when listeners thought that Chvrches would be unable to recreate the same intricate and sensational sounding songs from their first album, they surprised their fans and released Every Open Eye. If this band has managed to do anything, it would be that they went mainstream, but did not sacrifice their original and impressive sound to do so. Of the songs on the record, there are none more entertaining and refreshing than “Leave a Trace.” With its upbeat synthesizers, annoyingly catchy lyrics and the distinct vocals from Lauren Mayberry, this song stands out and leaves the listener pining for more. Just as Mayberry sings, this song makes any human being who is alive and possesses ears that transmit to their brains when something is fun and danceable, that they will “feel relief.” Not only is this song cathartic, it is also nostalgic, a journey back to when times were simpler and music was meant to be danced to in sweatbands and leg warmers. It is safe to say that the band is emulating the synth pop that was popular in the 80s, but if anyone does it well it is most certainly Chvrches. The only thing to do now is, forget about all the generic pop that is on the radio, stop what you are doing, and go and listen to this song.

– Lauren Doyle

2. Ghost – “Majesty”

Ghost doesn’t have throngs of followers for no reason. “Majesty” off of Meliora (the second Ghost song on our list), is the best example of what their new album and more importantly, what Ghost themselves, are capable of. Ghost never was the metal band that was about playing fast and hard, like their contemporaries. They are of a different breed.

“Majesty” exemplifies their dark, brooding, black metal roots while at the same time playing with these new prog-rock sensibilities that are starting to permeate into the Ghost sound. It starts out as simple as an AC/DC song and becomes a prog-metal hit until you realize it’s a song about Satan. Well done.

The riff in this song is incredible and will be stuck inside of your brain for weeks on end, chewing on every last nerve, until you have succumbed to its hookiness. People sleep on them all the time, but Ghost can write some incredible songs. Again, being of a different breed, speed doesn’t matter, song quality does – something that more metal bands should do. We all should take note – the next time we hear from Ghost we will all be in the pulpit.

– Brian Adler

1. Puscifer – “Grand Canyon”

As musicians go, Maynard James Keenan might be the most pure and devoted artist in the modern generation. He rose to fame in the 90s behind his main band Tool, and since, has rightfully earned almost as large a fan base behind his other projects A Perfect Circle and Puscifer. The latter of which, released this stellar gem “Grand Canyon” this from their new album Money Shot. In keeping with Keenan’s love of his relocated home in Arizona, the song on the surfaces seems a devoted ode to the great landmark of the Earth that shares its name. Like all artistic ruminations from Keenan, it hints at psychological exploration beyond mere geographical admiration.

In its lyrics the song features the narrator staring off its mighty cliffs and pondering deeply, seeking answers: “Lost as I may be / In the fog of my own noise and triviality / Grand Holy Mother, grant me clarity.” Frequent collaborator Carina Round joins Keenan in the chorus, an optimistic rumination reflected in the splendor of the location’s beauty. Together they chant, “One among infinity / Witnessing the majesty / Calm in this humility / Witnessing the majesty / Hope as far as one can see.” They end the mantra with the sighed relief of, “Standing on the edge of forever.”

The luminous spectacle, millions upon millions of years, ground out of granite, layers pushed up and down by ancient forces, is a solemn reminder to the fragility of life and the small place one human soul holds in the balance of cosmic eternity. In a world beset by confusion and in a nation fraught with indifference, arrogance and greed, what can one person do? What is one person worth? Millions upon millions scramble over another like crabs in a bucket, reaching for more without ever helping each other. And yes, face-to-face with a slab of Earth that has survived everything – literally millions upon millions of years, species come and gone, time itself a mere sneeze in the wind—there is hope. Hope beyond all hope. For a better tomorrow and a better world for us all. It represents a through line connecting the unending chain of life itself to our place as the baton holder for eons to come. There’s no better song to be mxdwn’s best song of 2015.

– Raymond Flotat