Originally posted by thecptz looking forward to your country list omg i love country i love alex! and i love lorde!

Sia - Cheap Thrills
8.0/10



Sia's humility makes her the perfect person to write and sing an ode to frugality, and on Cheap Thrills she sounds like she's truly enjoying herself. The song's informal, bouncy rhythms make it sneakily catchy, and its hook–minus the cameo from the children from every Galantis song–is enthralling. She is efficient and direct with her message, though she delivers the chorus with a cautious confidence, like someone looking for acceptance. That vulnerability she so willingly displays enables her to avoid sounding artificial or inauthentic during Cheap Thrills (which could well have been a problem had Rihanna recorded it). The result is a song that never strays too far from the mainstream but is quirky enough to stand out.

This position in 2015: Elle King - Ex's & Oh's
This position in 2014: Tove Lo - Habits

Rachel Platten - Stand By You
8.2/10



Stand By You is a perfect example of a song whose quality stems principally from its execution rather than its originality or creativity. It is immaculately structured, Rachel moving from a hushed, fragile tone at the beginning to a sweet, rising pre-chorus that bursts into a positively exuberant hook. The optimistic piano chords and dramatic, booming drums are a near-perfect fit for the inspiring lyrics of the song. It is an exquisitely written song, sticking to charming metaphors rather than corny similes. She is a most convincing performer, her heartfelt vocals both captivating and stirring. While Stand By You is a very conventional adult-pop song with regards to its subject matter, it resonates loudly and beautifully in a way most tracks of that genre can only dream of doing.

This position in 2015: Hozier - Take Me To Church
This position in 2014: Aloe Blacc - The Man

Originally posted by alexanderao Except for 7 Years

Originally posted by alexanderao I just wish they sent Say It to radio when it was at its peak on Spotify, not 3 months after when it had left the top 200.

Charlie Puth f/Selena Gomez - We Don't Talk Anymore
8.3/10



Charlie Puth and Selena Gomez are more like actors than singers in this low-key track, but they play their roles well. The classy, smooth instrumental suits the former's traditional style well, and the wistful melodies that are prominent throughout the track are quite pleasant. Meanwhile, the hook is mellow and succinct; though I cannot attest to its relatability, I must admit that I find it to be a big earworm. As a whole, We Don't Talk Anymore is loose and relaxing, making it an unintentionally great antidote to stress, if not an incredibly realistic breakup tale.

This position in 2015: Meghan Trainor - Dear Future Husband
This position in 2014: Ed Sheeran - Don't

The Weeknd f/Daft Punk - Starboy
8.5/10



Starboy doesn't pack the sharpness of Earned It or the emotion of The Hills, but it is nevertheless a very well-made pop song. Daft Punk do a better job at watering down his persona and sound for top 40 radio than Max Martin did, and they provide a dark background dimly illuminated with subtle electronic synths for him to ruminate over. He doesn't try to do anything ridiculous, cleanly gliding over the vaguely haunting verses, his voice as smooth as ever, a little subdued to go along with the vibe of the song. The titular line is instantly catchy, and the fast-paced percussion sets the tone nicely. Critics who claim that he has sold out are missing the point: we have become so accustomed to The Weeknd's idiosyncrasies manifesting themselves in his music that we are taken aback when he simply releases a damn good mainstream pop track.

This position in 2015: X Ambassadors - Renegades
This position in 2014: Clean Bandit f/Jess Glynne - Rather Be

Ariana Grande f/Nicki Minaj - Side To Side
8.6/10



Who knew Ariana Grande could pull off reggae-pop so well? I was hooked on this track from my first listen, her sensual delivery and the irresistible guitar combining to create an incredibly captivating song. The unambiguous theme of the track is neatly covered up, and I appreciate that she and Max Martin weren't looking to shock with this single. She works alongside Martin's inviting production rather than trying to sidestep or overshadow it. He throws in a superb bassline and layers her vocals really well during the chorus. Nicki Minaj's verse is unnecessary, but it fits the vibe of the song, so it's not worthy of complaints. By the time the second "it's the new style / with the fresh type of flow" rolls around, I've usually been bobbing my head for a good minute and a half. Side To Side is sizzling and infectious, the ideal blend of charm and coarseness.

This position in 2015: Major Lazer f/DJ Snake & MØ - Lean On
This position in 2014: Bastille - Pompeii

twenty one pilots - Stressed Out
8.8/10



Stressed Out never figures out what kind of song it wants to be, which makes it seem a bit overambitious on the surface, but it turns out that the irregular nature of the song illustrates Tyler Joseph's personality more astutely than any of his lyrics do. That's saying something, because his writing is excellent, ranging from comedic ("I wish I didn't have to rhyme every time I sing") to sardonic ("out of student loans and tree house homes, we all would take the latter"). He is always wonderfully candid without sounding like he's trying hard to be edgy or eccentric. The sleepy piano and rainy-day synths that accompany him enhance the contemplative atmosphere of the track, and once you understand the prechorus it fits in seamlessly. Stressed Out is absolutely fantastic; it is simultaneously a biting millenial commentary on society, a thorough (and thoroughly entertaining) self-examination of the man singing and rapping it, and an innovative, out-of-the-box pop song that effortlessly and effectively draws from three different genres.

This position in 2015: The Weeknd - Earned It
This position in 2014: Charli XCX - Boom Clap