Originally posted by shelven Wait at that almost PERFECT Worst Songs list (the only one I don't actively dislike on there is Hands To Myself, but I'm not completely against its inclusion) Amazing Top 2 for the non-hits list (Also my MC's impacT! )

Mike Posner - I Took A Pill In Ibiza (SeeB Remix)
9.0/10



This song is full of contrasts; it features regretful lyrics yet an upbeat breakdown and a vulnerable vocalist despite an incredibly polished production. These juxtapositions work a lot better than you'd think they would, especially because remixers SeeB took note of the quieter tone of Posner's original and didn't try to overwhelm it. Their instrumental feels like a smoother, more engineered Lean On, and I really like it. In fact, the vocal effects during the breakdown do DJ Snake better than DJ Snake does DJ Snake. It is an efficient song, and luckily it has addicting melodies galore, because otherwise I would have tired of it within weeks. Instead, I finished the year having played it almost 200 times. The song's abnormality captivates me, but so do its loopy, hypnotic drop and über-sleek synth line. Turns out, it's a damn solid effort.

This position in 2015: Ed Sheeran - Thinking Out Loud
This position in 2014: Disclosure f/Sam Smith - Latch

twenty one pilots - Heathens
9.3/10



The opening piano notes were an instant hook for me, but it was those bare, haunting kick drums and Tyler Joseph's perfect vocal delivery that really sold me on this song. Heathens has to be one of the most impressive displays of songwriting for a movie in recent memory– the lyrics are concise, clever, and able to be applied to a plethora of situations completely unrelated to the movie. The track maintains a dark, brooding vibe throughout, never going out of its way to emphasize it. Joseph half-deadpans the entire thing, which enhances the eerie mood. I am also a fan of the slightly wavering melodies during the verses, as they give the song that feeling of perpetually being on-edge, an appropriate atmosphere considering the acute focus of the track. Heathens is brilliantly executed, from the riveting beginning to the hectic ending.

This position in 2015: Maroon 5 - Sugar
This position in 2014: OneRepublic - Counting Stars

The Chainsmokers f/Halsey - Closer
9.6/10



Closer might not be the intimate love story I expected based on the title and the fact that it is a duet, but it is nevertheless one of the most impeccably constructed pop songs of the year. Filled with tantalizing moments, like its dramatic intro or the massive buildup to the final beat drop, it is an enthralling track through and through. Drew Taggart's simple vocals accompany the loose, bouncy first verse perfectly, and his pre-chorus is ridiculously catchy if not technically impressive. The breakdown isn't exactly an adrenaline rush; instead, it's a downtrodden groove with hints of yearning and sadness. Halsey is a fantastic addition to the song, her increasingly desperate tone adding fragility to the understated harmonies. Closer is a strikingly informal collection of mixed emotions that seem like they should feel superficial but are actually real; I cannot think of a song this year that better encapsulates the experiences of teenagers, which is perhaps one of the factors behind its remarkable ubiquity. Really, though, what made me fall in love with Closer was that final chorus, an utterly riveting climax to an incredible pop song, a song quite calculated yet amazingly effective.

This position in 2015: WALK THE MOON - Shut Up And Dance
This position in 2014: Paramore - Ain't It Fun

The Chainsmokers f/Daya - Don't Let Me Down
9.8/10



Don't Let Me Down is melodramatic in the best possible way, with Daya blossoming in her role as the angst-filled lover trapped in a suddenly uncertain relationship. The verses feature muted bass and an oddly appealing artificial-sounding guitar; it's an innocent construction compared to the hectic breakdown, and this contrast adeptly fits the narrative of the song -- her gradually coming to a revelation and opening up about it. The urgency increases as the song progresses, culminating in a frantic bridge that briefly restrains itself with thoughtful guitar chords before transitioning to the climactic final chorus. Whenever I listen to this song, I am fully attentive throughout the entirety of the track. Every aspect of the song feels necessary to get its emotions across -- there's zero fat. At its core, we can all relate to Don't Let Me Down, which perfectly captures the chaos of doubt. Daya turns in an inspired performance, throwing all of the emotion she can muster into that last hook, belying her juvenile image yet adding a layer of innocence to the track with her naïve character. And it is simply–for lack of a better a word–a BANGER.

This position in 2015: Ellie Goulding - Love Me Like You Do
This position in 2014: Pharrell Williams - Happy

twenty one pilots - Ride
9.8/10



Ride is probably the catchiest philosophical exploration I have ever listened to. It is impassioned, provocative, and candid while expertly drawing from three genres that don't typically go together. The whole song is infused with an awesome reggae melody that ensures it never sounds forlorn or nihilistic despite the many mentions of death during the stream-of-consciousness second verse, which I love for its legitimately interesting thoughts regarding friendships. The one-line chorus is almost poetic, and it is possible for it to have endless connotations depending on the context you place it in. Really, though, I have come to think of it as a message of acceptance; this idea that sometimes you can't control life and just need to improvise and to appreciate your circumstances. Such resonant thoughts are simply impossible to derive from the vast majority of mainstream music. Besides the emotional depth of Ride, I adore its sound. On paper, it sounds makeshift, like twenty one pilots were trying too hard to be edgy by sticking a rap into a pop-rock song and adding reggae to it. But it functions really well as a thrilling, energetic summery anthem with a one-of-a-kind vibe to it. Ride is truly a standout pop song, remarkable both lyrically and sonically.

This position in 2015: Taylor Swift - Style
This position in 2014: Lorde - Team

The Chainsmokers f/ROZES - Roses
10/10



There is a common adage that the purpose of music is to provide an escape from reality. Roses accomplishes this, effortlessly whisking me away into a different state of mind every time I listen to it. From the moment those heavenly synths and booming, assertive drums kick in, it is an unbelievably pretty track. Rozes' vocals are exquisite, tender and comforting yet mature and composed. There are so many wonderful intricacies to the song, like Drew Taggart's beautifully subtle backing vocals, Rozes' soft third "ahh" as the breakdown unravels before her, and the ecstatic melody that kicks in just as the song finishes. Its unconventional structure -- one expository verse followed by a series of breakdowns, all slightly different -- makes listening to it feel like a singular experience, immersive unlike any other pop song I have heard this decade. It has an equally marvelous set of lyrics; they so concisely paint a vivid picture of love using gorgeous metaphors in the process. The breakdown is the single most exhilarating moment I found in music this year; it brilliantly conveys the unadulterated euphoria of love with its blissful metallic synths and touching melodies. Occasionally interspersed with a simple, powerful plea -- "say you'll never let me go" -- it is at once elegant and sophisticated. Roses is a transcendent celebration of love, an exceptionally pure and joyful effort whose timelessness is owed to its sheer beauty.

This position in 2015: Mark Ronson f/Bruno Mars - Uptown Funk!
This position in 2014: MAGIC! - Rude

I would like to extend a big thank you to everyone who has paid attention to and commented on my Year-End Event.

This was the most fun I have ever had doing one, and I'm immensely satisfied with how it went. I cannot wait to do it all over again in December!

Once again, thank you!