As if the writing wasn’t already on the wall in years past, 2018 was the year that streams and singles officially overtook the album as the preferred music delivery method of choice for consumers. This was the year that many artists, especially those with mainstream aspirations, took to releasing a single track that would blow the masses away. Across all genres, this was one of the best years for music in recent memory. While guitar-driven indie rock has seems to have reached or is reaching a nadir, other ugenres have risen up to claim its stake among the most impressive releases of the year.
From the bombastic hip-hop of the Black Panther soundtrack and Childish Gambino’s eye-popping “This Is America,” to all-time great metal releases from bands YOB, Sumac and Skeletonwitch, 2018 was an incredible year for music, whether you’re a singles-based or albums-based consumer of music. Here are the best songs of 2018.
50. Jay Rock – “King’s Dead” feat. Kendrick Lamar, James Blake and Future
Dynamic production meets confident and brash attitudes in this fusion of three great musical minds. – Griffin Boyle
49. The Pains of Being Pure at Heart and Linda Carbone – “The Flowers Beneath Your Feet”
Tender, vulnerable vocals are paired with melodic guitar swells for a beautiful ambient sound, building slowly to a full-on rock crescendo. – John Coakley
48. John Kaada – “Home In The Dark”
A world unto itself with minimalist structure and mythical creatures in a redeeming and heartwarming fable. – Brian Furman
47. Dead Cross – “My Perfect Prisoner”
“My Perfect Prisoner” is an onslaught of blast beats and left of center thrash. With Mike Patton’s unmistakable growl, the song is at once hammer and nail. – Brian Furman
46. Screaming Females – “I’ll Make You Sorry”
A fuzzy bass tone and tight, pop-punk chord progression make this song impossible not to jump along to. Guitarist and vocalist Marissa Paternoster vibrato-heavy vocals shine, especially during the chorus as she sings, “I was once in love before I knew you / But I’ve given up.” – John Coakley
45. Silk City – “Electricity” feat. Dua Lipa
A return for Silk City to piano trance plus Dua Lipa’s powerful vocals makes for an uplifting, almost gospel-like house track bound to energize nights for years on end. – Francisco Martinez
44. Chvrches – “Outta My Head”
Featuring Japanese group Wednesday Campanella, electro-pop and indie-rock worlds collide in “Outta My Head.” – Ally Tatosian
43. HEALTH and Soccer Mommy – “Mass Grave”
In their team up with Soccer Mommy, HEALTH delivers an achingly beautiful interpretation of their typical industrial sound. – Andrew Pitt
42. Thou – “The Changeling Prince”
Thou delivers a message of acceptance that will leave fans headbanging at home with “The Changeling Prince.” – Erin Winans
41. Anna Calvi – “Hunter”
On this liberating anthem, Calvi’s lyrics challenge binary gender norms, and her soaring vocals dance through a primal, pop-rock tune. – Adrianna Fujii
40. Sumac – “Attis’ Blade”
Sumac makes a sixteen-minute song feel fresh all throughout. One minute the guitar is the highlight, and the next, the vocals are. One minute it’s loud, the next soft. The song is unpredictably enticing. – Erin Winans
39. The Internet – “Come Over”
“Come Over” is the classic cat and mouse game between one lover and their hard-to-get crush. Smooth soul, R&B vibes spill in as heavy bass lines meet heavenly vocals. – Ally Tatosian
38. YOB – “The Screen”
You can always count on Yob for a good, chugging riff. On Our Raw Heart, “The Screen” is one of their more glaring examples of that yet. Scheidt shines with cosmically dynamic guitar playing, and it’s just all around goddamned delightful. – Cervante Pope
37. Beach House – “Dark Spring”
“Dark Spring” comes out of the gate swinging with a smooth synth progression, tremolo-laden guitar riff and soothing vocals. The song makes use of interesting, slightly dissonant chords as it transitions to the chorus, grabbing the listener’s attention. Beach House’s minimalist lyricism allows the instrumentation and vocal melody to become the focal point. – John Coakley
36. Iceage – “Painkiller” feat. Sky Feirerra
“Pain Killer” masterfully blends hard rock elements–distorted guitars, eclectic drums and a driving bass line–with blues and funk by featuring a prominent horn section. The song explores how relationships can quickly become toxic. “Praying at the altar of your legs and feet / Your saliva is a drug so bittersweet” sings lead vocalist Elias Bender Rønnenfelt. Later in the chorus, he repeats the refrain, “You became my painkiller.” – John Coakley
35. Fucked Up – “Torch to Light”
“Torch To Light” is a song built on dynamics. The band expertly transitions back and forth between a soft, withdrawn, low-dynamic sound to unleashing their full hardcore sound, complete with screaming vocals. The build-up around 3:00 takes a page out of Rage Against The Machine’s book, pulling in the audience with hypnotic guitar riffs and floor tom-heavy drums. But instead of building back to a big final chorus, the song ends with soft vocals accompanied by a piano. “Have you got a torch to light / To guide you through the coming night?” asks bassist/vocalist Sandy Miranda, as the track slowly decays. – John Coakley
34. Richard Russell – “She Said” feat. Obongjayar & Kamasi Washington and Damon Albarn
A song that feels as yellow and as warm as the album cover, “She Said” by Richard Russell is bright and beautiful, with each instrument in the back shining on its own, thanks to instrumentation by Damon Albarn. It’s an amalgamation of old and new and feels fresh as ever. – Zaina Haobsh
33. Amanda Palmer – “Mr. Weinstein Will See You Now”
Amanda Palmer paints an image of a woman in turmoil as she is faced with her own Me Too moment. It’s powerful, emotional and raw. She makes a statement that is both political and personal. – Caitlin Wills
32. Robyn – “Missing U”
A modern break-up song for today’s seemingly disconnected generation that is masked by the upbeat production creates a dance club anthem that you can cry and dance to at the same time. – Francisco Martinez
31. Karen O & Danger Mouse – “Lux Prima”
“Lux Prima,” a single track from the Yeah Yeah Yeah’s Karen O and Danger Mouse, begins slowly, dramatically and beautifully. It’s a song within another song, which appears only at the beginning and end. – Stephanie Sosa
30. boygenius – “Me and My Dog”
On “Me and My Dog,” the 2018-born supergroup of Julien Baker, Pheobe Bridgers and Lucy Dacus show off their lyrical chops and flawless harmonies to a catchy, folk-infused tune. – Adrianna Fujii
29. Jorja Smith – “I Am”
The 21-year-old English singer continues to climb the ranks in 2018. “I Am,” coming off the soundtrack for Black Panther, is an alternative R&B gold mine. The track is a stylish version of Smith’s most vulnerable voice combined with layered harmonies, crazy beats and a visit from Kendrick Lamar. – Ally Tatosian
28. Marissa Nadler – “I Can’t Listen to Gene Clark Anymore” feat. Sharon Van Etten
On this dreamy folk ballad, Marissa Nadler laments the loss of a lover or friend. Using an original and quite effective method of expressing her sense of loss, Nadler sings in a fragile tone about a change in her music listening habits after a specific person has left her life. – Daniel Davis
27. Failure – “Dark Speed”
The first single from what would become Failure’s year-long project In The Future Your Body Will Be The Furthest Thing From Your Mind, this song is the perfect blend of the group’s ’90s roots and their current experimental direction, with trippy lyrics, subdued vocals and a great bass line throughout. – Caitlin Herrera
26. Spiritualized – “Morning After”
Depression and disillusionment take center stage for Spiritualized’s “The Morning After.” The song screeches with lo-fi ’70s rock sounds, while lyrics like “Janey had a revelation on the way to school / Said she gonna hang herself up the bathing pool” give the track a dark edge. The song fizzles out with minutes of static jamming and wailing saxophone. – Ilana Tel-Oren
25. Pusha-T – “If You Know You Know”
Enjoying what has perhaps been the biggest year of his career, Pusha T has yet to adjust to anyone’s standards. 26 years into his career, the emcee’s cocaine metaphors are as airtight as ever. “If You Know You Know” is Pusha T’s mission statement. The song unabashedly showcases that he has nothing to hide. – Griffin Boyle
24. Wye Oak – “The Louder I Call The Faster It Runs”
The title track from Wye Oak’s latest record, “The Louder I Call, The Faster It Runs” feels like a journey. The song is bright and feels brooding at the same time. It takes its time, yet has a sense of urgency as well. The many layers and contradictions make the song so great. – Zaina Haobsh
23. A Perfect Circle – “Hourglass”
A song about the current state of the world, “Hourglass” is filled with lyrics that reference society’s refusal to work together to fix the problems at hand. This complex message, along with a variety of styles in the song, and a great drum beat from Jeff Friedl tie the song together. – Caitlin Herrera
22. Hookworms – “Negative Space”
“Negative Space” leads off Hookworms’ revelation of an album Microshift. The song has incredible dynamics, building upon itself with layer after layer until reaching an ecstatic climax of psychedelic post-punk sound. – Matt Matasci
21. The Black Queen – “Your Move”
Greg Puciato’s vocals feel as distant as you can get in this track, which is fitting for a cryptic and demoralizing look into heartbreak and mistrust. It’s his vocals combined with the production’s atmospheric ambiance that create one of the most heartbreaking and lonely tracks this year. – Francisco Martinez
20. Kids See Ghosts – “Kids See Ghosts” feat. Yasiin Bey
In what was a needlessly tumultuous year for Kanye West, Kids See Ghosts, with its spaced out production and clear message of hope, stood strong amongst the chaos. The title track, in particular, sees a perfect marriage of West’s and Kid Cudi’s artistic vision. – Drew Pitt
19. Lana Del Rey – “Venice Bitch”
There are certain expectations that come with turning on a Lana Del Rey track: her signature sultry vocals and a nostalgic, somber tune to back her up. Yes, “Venice Bitch” has these, but it delivers so much more. The track was released in September as a single in advance of Del Rey’s highly anticipated 2019 album Norman Fucking Rockwell. Along with Del Rey, the song was written and produced by the legendary Jack Antonoff. Clocking in at nearly 10 minutes, “Venice Bitch” is the longest track in Del Rey’s discography and is packed with plenty of surprises.
The track starts off as a delicate, acoustic guitar-driven ballad with Del Rey’s tender vocals. The dreaminess eventually builds into a sea of fuzzy guitars and plucking synth. The sonic atmosphere is ominous and psychedelic as the synth, drums and electric guitar intertwine and Del Rey’s vocals dance through the distorted layers. The intensity ebbs and flows before eventually dissolving and closing out with Del Rey’s gentle musings. – Adrianna Fujii
18. Christine and the Queens – “Girlfriend” feat. Dâm-Funk
France’s queer electropop queen, Héloïse Letissier, who goes by the stage name Christine and the Queens in her magical solo effort released one of the best singles of 2018, with “Girlfriend.” She has the exquisite help of Dâm-Funk’s keytar solo on it. “Girlfriend” marks the first release from Christine since her debut album, and she made sure to return with a bang with her luscious funk record. The song fully embraces sex and allows her to play into a “macho culture” and tell her partner she doesn’t feel like a girlfriend, but will definitely be a lover, playing with the line between love and lust. It’s sharp, funny and fluid. – Zaina Haobsh
17. Skeletonwitch – “Fen of Shadows”
Skeletonwitch knows how to capture fans from the start because their opening song “Fen of Shadows” from Devouring Radiant Light is a blackened melody. The band’s almost eight-minute long track has so many different elements to it, people are entranced to keep note of the shifts throughout. As soon as the lyrics start around the two-minute mark, you feel chills of excitement travel throughout. The American extreme metal band knows how to create a song that is engaging throughout and keeps the listener entertained until the last second. – Erin Winans
16. Andrew W.K. – “I Don’t Know Anything”
In a year that seemed defined by pessimism, Andrew W.K. provided a welcome dose of positive vibes on his wildly entertaining album You’re Not Alone. On “I Don’t Know Anything,” he delivers an upbeat acknowledgment—celebration, even—of human cluelessness. Using simple guitar riffs that blend with synthesizer and universally-relatable lyrics which he delivers in a theatrical, shouting vocal style, Andrew W.K. magnifies all of the widescreen, anthemic qualities of classic rock. “I Don’t Know Anything,” in confronting basic human insecurities, exorcizes negative energy with an infectious “let’s party” attitude, which is equal parts corny and uplifting. – Daniel Davis
15. Robyn – “Human Being”
Robyn’s second track of her 2018 album Honey is like the modern day calling to Sylvia Plath’s “I am, I am, I am,” but to a slightly more erratic beat than the heart. Her declaration of humanity is juxtaposed robotically against the electronic background as she expresses a yearning to be seen and frustration for control. The lyrics are simple over single-struck chords, letting an emptiness linger between the beats, echoing the sentiment of the words. As one of the first tracks on such a raw album, the song works to prepare listeners to connect with Robyn as a “human being,” not a brand or product – that connection being the most valuable and human thing to do. – Allison McLellan
14. Janelle Monae – “Make Me Feel”
Since the start of her career, it’s been hard to peg just who Janelle Monae is. Her style has always paid homage to the greats of African American music so it’s no surprise that on “Make Me Feel,” not only was Prince the inspiration but the purple king was actually in studio and helped with the mixing of the track before his tragic passing. The upbeat, high tempo, ’80s dance track is the epitome of expressing yourself in 2018. The highly sexual tone of the lyrics is paired nicely with Monae’s bone-chilling vocals, heavy use of synthesizers and keys and crazy noises. – Ally Tatosian
13. Idles – “Danny Nedelko”
For many across the world, the Trump Administration and the Yes vote on Brexit felt like a stunning regression from the building globalism over the previous decades. In America at least, the rise in bold nationalistic hate crimes rose to a crescendo with a citizen being killed by a white nationalist in Charlottesville, VA last year. Clearly, Idles singer Joe Talbot has seen much the same in England, and the result is one of 2018’s most politically and socially relevant songs, and an absolute banger at that. The song bobs along in typical Idles fashion, guided by a strong bassline, before rising into an anthemic chorus with a seriously killer guitar tone. While they might be rewording some wisdom from Yoda, Talbot adds a touch of sympathy for this wayward Populist movement, with cries of “Fear leads to panic, panic leads to pain / Pain leads to anger, anger leads to hate.” Though don’t get it twisted, Idles have no time for hate, as they spell out in the conclusion to the song, “C – O – M – M -U – N – I – T – Y – S – O – F – U – C – K – Y – O – U.”
– Matt Matasci
12. I’m With Her – “Overland”
“Overland” is one of the highlights of See You Around, the fantastic debut album from bluegrass supergroup I’m With Her. This trio of talented musicians and songwriters create a beautiful sense of melancholy on this soft, contemplative folk song. The subtle vocal harmonies unfold among sparse, precise instrumentation, giving the song a perfectly absorbing atmosphere. The lyrics, centered around a move from Chicago to San Francisco, express feelings of disillusionment from a jaded, resigned point of view. On “Overland,” I’m With Her capture both the heartbreaking nostalgia of leaving a familiar place and the desire for improvement that drives people to move on. – Daniel Davis
11. Mastersystem – “Old Team”
Scott Hutchinson will likely go down in most music fans’ memories as the troubled lead singer of Frightened Rabbit and a man who ultimately succumbed to his mental illness. However, the last work he released before his tragic death earlier this year was via the powerfully fun indie rock band Mastersystem, which featured his brother Grant and another pair of brothers, Justin and James Lockey (of Editors and Minor Victories, respectively). 2018 was a year in which we grew even further away from the early 00s peak of guitar-driven indie rock, but Mastersystem pay no mind on “Old Team.” The guitars churn away, breaking just in time for Hutchinson to deliver his heartfelt (and eventually, heartbreaking) lyrics. It’s in the chorus when the reality of Hutchinson’s death comes into focus: “I’m a worn-down animal face to face / One last time, I might get it right.” – Matt Matasci
10. First Aid Kit – “Rebel Heart”
First Aid Kit’s “Rebel Heart” showcases the Söderberg sisters’ powerful balladry. The song begins softly and gently, with just the keys and single vocal part that introduces the verse melody. Strings come in and add some richness to the song while the steady, pounding drum grows more and more determined as the song progresses. Their harmonies are present throughout the song, weaving in and out and complementing each other’s vocals. “Why do I keep dreaming of you / is it all because of my rebel heart?” they ask repeatedly in the chorus. The instrumental-driven bridge about three-quarters of the way through the song changes up the pace of the track in a slightly unexpected way. “Nothing matters, all is futile / And it’s in the past” are the final verses of the track, evoking feelings of sadness for their broken hearts while the trumpet enters hopefully in the background. – Ilana Tel-Oren
9. Tove Lo – “bitches” Feat. Charli XCX, Icona Pop, Elliphant, ALMA
When pop artist do remix or redux versions of their songs with new contributions from celebrity collaborators, usually it’s a slapped-together mess that feels more like a hodgepodge of dreck than any inspired confection. Tove Lo’s reimagining of her album cut “bitches” turns an excellent song into a smash, career-defining hit. Featuring a murderer’s row of modern pop talent (Charli XCX, Icona Pop, Elliphant, ALMA) this song bursts with dance-worthy confidence and oodles and caboodles of unforgettable melodies. Tove Lo frames this song as a manifesto of everything her career has been about to date, delivering a rare concoction of true confidence, sex appeal and vocal skill in line with Madonna in her glory days. It also serves as a defiant statement of female empowerment wrapped in an ode to oral sex. The song’s final verse puts it perfectly, proudly proclaiming, “It’s a new day of bitches that no man can tame.” – Raymond Flotat
8. LUMP – “Late To The Flight”
The animal unconsciousness that LUMP portrays is a combined effort from both Laura Marling’s and Mike Lindsay’s inner thoughts. “Late to The Flight” is an acid trip that took a detour into a lucid dream. The song takes twists and turns through the idea of being caught inside your own persona. Marling’s vocals become fluid as they float from one high point to the next. The soundscape of the track is that of a rollercoaster with its heavy and delicate notions mixed together. Eerie guitar strums, layered vocals and keys that wither away within your ears are just the beginning on this journey. “Late to the flight / Take your seat next to the woman in white / By candlelight / Don’t wear your smiley face t-shirt tonight.” This track is a moving experience from its first note to its last as it leaves you thinking and appreciating the art of music. – Ally Tatosian
7. Ministry – “Twilight Zone”
Following many temporary dissolutions of the project, Al Jourgensen is back with a vengeance with Ministry’s latest album AmeriKKKant. Proving that Jourgensen is most energized when an unethical leader is in command of the USA, the lead single “Twilight Zone” is one of Jourgensen’s best assembled songs in the last twenty plus years. Featuring his unparalleled knack for infectious song construction, “Twilight Zone” is a polemic aimed firmly at President Donald J. Trump. Entering with a hypnotic array of strings, the song introduces a dystopian present with Trump’s own arrogant bellowing used in samples by the incredible DJ Swamp as the backdrop. (e.g. “How stupid can you be?” and “We will make America great again.”). Effectively, it paints our current daily Trump-filled reality as the pure insanity most people not obsessed with autocracy truly know it to be. It’s sad and imposing, but this forward-facing attack is the most appropriate response to a corrupt administration, using Trump’s own words against him illuminating the obvious lie behind the words while weaving a sinister and amazing song. – Raymond Flotat
6. Emma Ruth Rundle – “Light Song”
Emma Ruth Rundle has been making her own impressions within this growing realm of broodingly dark folk metal for years now, but her 2018 release On Dark Horses is one for the considerably moody books. Rundle has had a lot of transitions in her life recently — an incredibly serious relationship with Evan Patterson (who appears on this track) and a big relocation because of that incredibly serious relationship — that have taken her out of her usual West Coast environment and thrown her into the arms of transplanted creativity. Now calling Louisville, Kentucky home, Rundle’s experience acclimating to her new surroundings were a large part of her new album and particularly “Light Song,” whose lyrics and accompanying music video are almost like an emotional roadmap to her development of comfort and ease. Rundle has always been one for embedding personal narratives into her lyrics and with just a few listens to “Light Song,” it’s very easy as the listener to get swept up her introduction to her home and new self. – Cervante Pope
5. Ghost – “Dance Macabre”
A song about the black plague may sound like a curious choice in 2018, but Ghost is able to take the historic theme and give it a modern twist. The song itself has an ’80s power rock sound to it, and the catchy chorus “Just wanna be / Wanna bewitch you in the moonlight” makes the song sound like any retro-influenced love song. However, lead singer Tobias Forge told Revolver earlier this year that the lyrics are inspired by how everyone was living like it was their last night during the black plague in the 1340s. The title of the song “Dance Macabre” as well is a reference to danse macabre, an allegory from the middle ages of death leading people to the grave. Beyond the deep title and lyrics, the music throughout helps solidify the song’s daring theme as the framework for a fantastic song. The guitar riff during the musical interlude around 2:18 showcases the musical talents of the group and the additional personnel on the album. The album as a whole has a medieval theme, and considering the prominence of the tragedy that is the black death during that time, it makes sense that this song is defining point of the album. – Caitlin Herrera
4. Kendrick Lamar and SZA – “All The Stars”
A record-breaking blockbuster like Black Panther needs a soundtrack just as grand and cinematic to accompany it, and the Kendrick Lamar-produced soundtrack does just that. “All The Stars” is no exception. The SZA and Lamar-helmed track is grand and tightly produced. It begins with a drum sequence that feels very organic and goes into distorted vocals from Kendrick, and then SZA comes in with her unique voice for the chorus. Lamar brings a nice laid-back edge to the track questioning if “Love is anything and everything you hoped for” with his delivery. SZA also gets her own verse, her voice taking many twists and turns. She brings a beautiful quality to the song, helping it peak at #7 on the Billboard Hot 100 and go double-platinum. This isn’t the first time Lamar and SZA have teamed up, as they come from the same label TDE, and hopefully, it won’t be the last. – Zaina Haobsh
3. Neko Case – “Curse of the I-5 Corridor” feat. Mark Lanegan
Neko Case is a seasoned solo artist but is also known for her time with the Canadian indie band The New Pornographers, with whom she’s collaborated recently. Unsurprisingly, she successfully teamed up with Mark Lanegan in “Curse of the I-5 Corridor.” This track is featured on Case’s latest album, Hell-On, which was released five long years after her previous album. A video with NSFW graphics was released for the song in August, with both Case and Lanegan in it but consisting of only a short seventeen seconds of the track. Though only featuring standard instruments and two vocalists, the seven-minute ballad finds itself complex and enticing. The lyrics detail a tough past and an emotional present, repeating throughout the song, “Baby, I’m afraid.” “Curse of the I-5 Corridor” doesn’t sound unlike a typical Neko Case track, but the vocals perfectly team up with the instrumentals to take you on a journey. In a new world of electronic music, peace can be found in the natural sound and human lyrics of this song. – Stephanie Sosa
2. Poliça and s t a r g a z e – “Music For The Long Emergency”
It begins with a roar and is soon drowned by strings, the long emergency has begun and life will never be the same. This track excellently communicates the stakes at hand before dragging in an angelic voice to accompany the already phenomenal arrangement. Yet this track refuses to settle for mere excellence; over the nearly ten-minute runtime, the track ebbs and flows through chaos and ecstasy. Huge thrums of synth rattle eardrums and whining strings form a backbone, while angels sing serenades in other parts. This track encompasses all that is right with music. – Drew Pitt
1. Childish Gambino – “This Is America”
Rarely does a pop song so succinctly and powerfully hit upon the national psyche in four minutes. “The Is America” is a one-off single from Donald Glover’s musical project, Childish Gambino. Along with its stylish, provocative, minimalist video, it’s our choice for the best song of 2018. Glover has had a massive 2018, with his show Atlanta receiving rave reviews winning several Emmy awards, as well as the late-to-the-game radio attachment to his single “Redbone” from last year’s Awaken, My Love!. The song begins on an uplifting note with lilting finger-picked acoustic instrumentation and a light lyrics like “We just wanna party / Party just for you / We just want the money / Money just for you” setting some misdirection for the dramatic juxtapositions to come.
Once the verse beat drops and Glover enters MC mode, “This Is America” suddenly takes on a sinister tone. While Glover doesn’t deliver a powerhouse performance lyrically, it’s all about the mood he creates and how it relates to the status quo – a direct commentary on outside perception versus reality of being a black person in America. These points are hammered home even further in the video with a glorious 12-member choir belting out the gospel-inspired bridge, only to be viciously and thoughtlessly massacred by Glover as he transitions into another part of the song. It’s not the most complicated song, it’s not the most technically-dazzling, but it’s the most relevant song of 2018 and the song people will remember most in the future when they think of this year.
– Matt Matasci
Photo Credit: Sharon Alagna
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