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\n50. Youth Lagoon, \u201cGumshoe (Dracula from Arkansas)\u201d<\/p>\n
On \u201cGumshoe (Dracula from Arkansas),\u201d a standout cut from Youth Lagoon\u2019s Rarely Do I Dream, Trevor Powers poignantly strings together fragments from his youth into a yarn that reflects how children process the world and all of its darkness: \u201cIt was the world I had\/Scenes I wish I never saw\/The summer taught me that\/Life\u2019s a baseball bat to the jaw.\u201d Eric Mason<\/p>\n
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\n49. Jim Legxacy, \u201cFather\u201d<\/p>\n
Jim Legxacy\u2019s unexpectedly moving \u201cFather\u201d\u2014which doesn\u2019t reach two minutes and would be considered midtempo, if not outright brisk, by past standards\u2014is what passes for ruminative and introspective these days. Good thing Legxacy, who blends genres with ease and has a sneaky ear for melody, is at the helm, twisting a sample of George Smallwood\u2019s \u201cI Love My Father\u201d to bridge the gap between his fatherlessness and that of a girl. Maybe the only thing patriarchy is good for is taking care of someone else. Lyons-Burt<\/p>\n
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\n48. Sleep Token, \u201cCaramel\u201d<\/p>\n
Sleep Token\u2014a masked, cloaked metal act whose anonymous members stage \u201crituals\u201d rather than concerts\u2014isn\u2019t subtle, and \u201cCaramel,\u201d a sprawling suite fusing doom metal, reggaeton, R&B, and rap, is as audacious as it is bewildering. The track straddles the line between thunderous anthem and surreal fever dream, and by its home stretch, blastbeats surge alongside a confession that matches the song\u2019s newfound sonic force: \u201cI thought I got better\/But maybe I didn\u2019t.\u201d Paul Attard<\/p>\n
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\n47. Infinite Coles, \u201cDad & I\u201d<\/p>\n
Misread by some as an angry dis at Infinite Coles\u2019s father, Ghostface Killah, \u201cDad & I\u201d is a heartbreaking but remarkably gracious one-sided dialogue. \u201cYou never talk to me, said I\u2019m not living right\/You tell me to man up, yeah\/When I put on makeup,\u201d Coles sings over a midtempo beat and spare turntable scratches. The raw emotions at work here are enhanced by the smoothness of the music, which suggests a victory over his father\u2019s homophobia and rejection. Steve Erickson<\/p>\n
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\n46. Lady Gaga, \u201cAbracadabra\u201d<\/p>\n
A gloriously witchy soundtrack for the coolest Halloween party, \u201cAbracadabra\u201d revives the energy and popcraft of Lady Gaga\u2019s early years. She rides the groove with a Siouxsie and the Banshees interpolation, sawtooth synthesizers, and a theatrical hook comprised of her signature chopped-up syllables. A night at the club turns into \u201cdeath or love tonight,\u201d celebrating the transformational power of dancing. Erickson<\/p>\n
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\n45. Bad Bunny, \u201cDTMF\u201d<\/p>\n
Bad Bunny continues his steadfast mission of honoring his home of Puerto Rico on \u201cDTMF,\u201d a subtle, wistful combination of plena and reggaeton (pitched at a gentler pace than usual for the artist). When a chorus of other voices joins him on the song\u2019s hook, it feels communal and raucous, like a bar room singalong that happens to be led by one of the most skillful popsmiths currently working. Lyons-Burt<\/p>\n
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\n44. Clipse featuring Tyler, the Creator, \u201cP.O.V.\u201d<\/p>\n
Pusha T dices through his verse on \u201cP.O.V.\u201d like he\u2019s settling a score, his voice twisting against itself during the chorus so that it sounds like two narrators sharing the same deranged conscience. Tyler, the Creator drops in like the lifelong Clipse acolyte that he is, delivering the track\u2019s coldest verse. But besting them both is Malice, who crashes in on a beat switch that detonates beneath him to uncork some hair-raising bars. Kyle Kohner<\/p>\n
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\n43. Oklou, \u201cBlade Bird\u201d<\/p>\n
On the glitch-tinged guitar ballad \u201cBlade Bird,\u201d Oklou takes an obvious metaphor\u2014a restless lover as a bird\u2014and imbues it with menace: \u201cYou\u2019re so cute, my\/Blade is on the bird\/I\u2019ll be the one\/Who ends up getting hurt.\u201d The most obvious sonic touchpoint here is turn-of-the-millennium alt-pop, with the song inhabiting an emotional zone between Imogen Heap\u2019s romantic realism and the disaffected angst of Y2K alternative rock. Mason<\/p>\n
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\n42. Julien Baker & Torres, \u201cSugar in the Tank\u201d<\/p>\n
A standout cut form their collaborative album Send a Prayer My Way<\/a>, Julien Baker and Torres\u2019s \u201cSugar in the Tank\u201d could have been released at any time in the last six or seven decades. Dripping with passion and sincerity, the song is a joyful, romantic paeon that yearns with catharsis: \u201cI hate just watching through the window when you pull up\u2026Sitting outside with the engine running.\u201d Jeremy Winograd<\/p>\n After a three-year hiatus, K-pop juggernaut Blackpink returned this summer with a wildly leftfield, club-ready single about hopping about, executed with the machine-like precision that only a team of eight credited songwriters and five producers could provide. With the throbbing hardstyle kick that closes things out, it\u2019s hard to imagine anyone hearing \u201cJump\u201d and not obeying the group\u2019s command. Attard<\/p>\n The breezy \u201cGirl Feels Good\u201d is an ode to the simplicity of female pleasure whose sonic palette falls somewhere between Madonna\u2019s Ray of Light<\/a> and that Dust Brothers song from the opening credits of David Fincher\u2019s Fight Club<\/a>. It\u2019s a testament to FKA twigs\u2019s singular vision that she manages to synthesize the track\u2019s \u201990s reference points into something sublimely contemporary. Lyons-Burt<\/p>\n S.G. Goodman spends nine slow-burning minutes escorting her dog to the afterlife in an old Chevy Malibu. Along the way, she encounters a bevy of allegorical characters, from Love and Sin to Jesus himself, that could have only come from the mind of a Southern Baptist-raised songwriter. It wouldn\u2019t be surprising if the song\u2019s ecstatic crescendo is exactly what it sounds like when one enters the pearly gates. Winograd<\/p>\n There\u2019s an airy lift to Geese\u2019s \u201cHusbands,\u201d a gospel-like quality to the vocals, and a rolling groove that lets the tune swing high enough to make you really feel the vague aches that burden frontman Cameron Winter\u2019s troubled heart. He sings the song like a riddle, dodging explanation even as he spills a kind of lonely truth. It\u2019s one of those rare tracks that expands what a band can be without shedding what makes them unforgettable. Kohner<\/p>\n Dark, dense, and hypnotic, Sudan Archives\u2019s \u201cNoire\u201d feels a little dangerous and absolutely massive. \u201cAssertiveness, yes it turns me on\u2026There\u2019s nothing wrong with a little chase,\u201d she teases atop a thunderous beat, orchestral swells, and ominous piano dyads. This is dance-floor claustrophobia as seduction. Sal Cinquemani<\/p>\n \u201cFirst It Was a Movie, Then It Was a Book\u201d bottles everything that makes Florry great: looseness, humor, and the spontaneous crackle of a jam session. The song veers from rambling Neil Young-esque guitar solos to the cheeky fantasies of an underachiever daydreaming herself into stardom. The kicker is the song\u2019s sincerity: The whole thing radiates a refreshingly reckless optimism that makes its self-mythologizing feel less like a joke and more like rock-\u2018n\u2019-roll destiny. Nick Seip<\/p>\n Soft, sad, and undeniably soul-bearing, Robert Forster\u2019s \u201cSuch a Shame\u201d follows a middle-aged rock star taking stock of his life and the quiet dissatisfaction that comes with it. \u201cYou can look into a mirror you don\u2019t recognize yourself\/So you keep on going as somebody else,\u201d the Australian singer-songwriter observes at one point, a prime example of the many gentle, rueful moments that make this subtly devastating track linger long after it ends. Attard<\/p>\n Ethel Cain has long had a talent of making earworms out of slowcore story-songs, and on \u201cDust Bowl,\u201d she creates an unexpected hook in the lilting way she sings, \u201cViet-nah-ah-ah-ah-ah-am,\u201d from inside what sounds like a tidal wave. The engrossing track distills the tragedy of the love story at the center of Willoughby Tucker, I\u2019ll Always Love You<\/a>, with Cain reminiscing on a doomed relationship with her \u201cPretty boy\/Consumed by death\/With the holes in his sneakers\/And his eyes all over me.\u201d Mason<\/p>\n With its jazzy filigrees, including a lengthy sax solo, the eight-minute \u201cCataract Time\u201d would fit nicely on Destroyer\u2019s 2011 album Kaputt<\/a>. But it stands out on Dan\u2019s Boogie<\/a> for how uncommonly direct it is, as singer Dan Bejar confronts the indignities of aging and approaches criticism by strangers by seeing the virtues of simply living past them. Erickson<\/p>\n On \u201cUnconditional,\u201d Jade\u2019s undying devotion manifests in technicolor synths and melodramatic turns of phrase: \u201cI will hold your hand forever\/Even if my heart explodes.\u201d For all of the singer\u2019s promises of constancy and security, though, there\u2019s an off-kilter sense of unease in the breakneck tone shifts from tenderness to \u201ckickin\u2019, shakin\u2019, and screamin\u2019\u201d and back. Mason<\/p>\n Drawing on the quiet despondency of Bruce Springsteen\u2019s \u201cStreets of Philadelphia\u201d and the bald-faced rage of Bj\u00f6rk\u2019s \u201cArmy of Me,\u201d Miley Cyrus\u2019s \u201cPretend Your God\u201d pairs the distinctive drum loop and hushed backing vocals of the former with the latter\u2019s grimy bassline to construct a haunting backdrop for the singer\u2019s howling desire. Cinquemani <\/p>\n If you took the last half-decade of hyperpop and internet culture and distilled them into just over three minutes, the end result would resemble Food House\u2019s hyperactive \u201cNow 2.\u201d The track is self-aware to a fault, yet it\u2019s pure bubblegum with an abrasive edge and absurdist charm. Where else will you hear \u201cDoompy\u201d rhymed with \u201cpoopie\u201d and have it all somehow land without being totally cringeworthy? Attard<\/p>\n \u201cPick Up That Knife\u201d plays like Wednesday\u2019s entire catalog in miniature, as harsh blasts of distortion assert themselves between calm arpeggios before the push and pull eventually builds to a triumphant climax bursting with Southern rock-style guitars. It\u2019s a rich gumbo of a song that doesn\u2019t sound like any other band on Earth could have cooked it up. Winograd<\/p>\n At first glance, \u201cThey!\u201d\u2014like much of self-described \u201cserious person\u201d Corook\u2019s output\u2014seems straightforward: brightly melodic, instrumentally stripped-back, structurally simple. But appearances can be deceiving: The artist\u2019s emotionally direct yet layered lyrics and seamless command of songcraft reveal talents well beyond their years. That these gifts are deployed in service of such a humane, celebratory\u2014and, depressingly, much-needed\u2014message of acceptance is a welcome bonus. Attard<\/p>\n \u201cBaile Inolvidable\u201d is a spine-chilling collision of old and new\u2014the kind of classic Puerto Rican salsa you might hear spilling from a colmado or a car passing by. Bad Bunny balances mournful, cerebral reflection against horns that erupt with carnal celebration, turning the dance floor into a metaphor for life itself: as a party that must end, and the past lovers who linger long after the music stops. Seip<\/p>\n On the soul-bearing \u201cCurrent Affairs,\u201d Lorde and producer Jim-E Stack flip a bawdy Dexta Daps sample into a melancholic meditation on the grotesque vulnerability of the body and the lines people cross when they\u2019re lonely and overcome by desire. \u201cMy bed is on fire\/Mama, I\u2019m so scared,\u201d Lorde sings, lust having mutated into something shameful and aching. The song\u2019s cavernous electronics, which slowly tease each masterful deployment of the Daps sample, are a seductive whirlpool drawing us right to the edge. Mason<\/p>\n With its memorable, unhurried synth progression\u2014the track clocks in at over seven lingering minutes\u2014Tame Impala\u2019s \u201cEnd of Summer\u201d comes close to the ecstatic highs of 2015\u2019s Currents<\/a>. The longing and the procrastinatory habits singer and multi-instrumentalist Kevin Parker describes\u2014\u201cI waited \u2018til the end of summer and I ran out of time\u201d\u2014are reflected in the sense of indefiniteness conjured by the soundscape as mechanical drums knock away. Lyons-Burt<\/p>\n There\u2019s a jarring moment halfway through Caroline\u2019s Caroline 2<\/a> where the boundaries of what a song is and what it\u2019s supposed to do start to dissolve. The misleadingly titled \u201cColdplay Cover\u201d begins with half of the London eight piece playing in a living room and then, midway through, the engineer picks up the mic and walks into the kitchen, where the other half begins to play. Footsteps creak, distant voices blur, and what began as one song thrillingly fractures into two happening at once, mind-bendingly bleeding into one another. Seip<\/p>\n For years, Alex G has been contorting his sound into strange shapes, but the heartwarming \u201cJune Guitar\u201d cuts through with an almost startling clarity. The track doesn\u2019t need his usual aural tricks or wacky vocal distortion to knock listeners flat\u2014just an accordion that wheezes like it\u2019s carrying years of dissolution in its lungs, each labored breath widening until the song breaks wide open. Kohner<\/p>\n Why bother with just one chorus when you can have three? \u201cStraight Line Was a Lie\u201d is Elizabeth Stokes\u2019s latest power-pop masterpiece\u2014a kinetic torrent of blissful melodies riding a wave of fuzzy guitars. Even though it\u2019s a song about falling prey to the same patterns over and over again, the hooks are so intoxicating that one can\u2019t help but wish that the band would bang through them just a few more times. Winograd<\/p>\n The bones of Blood Orange\u2019s \u201cThe Field\u201d may be built from the Durutti Column\u2019s \u201cSing to Me,\u201d but the result is a complete reinvention. Bathed in reverb and restraint, this fragile song has no true lead vocal, but rather a constellation of singers working together in a masterclass of restraint. Seip<\/p>\n The six-minute \u201cWalk of Fame,\u201d which features a blistering backing vocal from Alabama Shakes\u2019s Brittany Howard that nods to Bronski Beat\u2019s \u201cSmalltown Boy,\u201d marries the operatic bluster of Lady Gaga\u2019s Born This Way<\/a> with the disco splendor of Donna Summer\u2019s Bad Girls. The song conjures neon-tinged snapshots of a \u201970s-era Sunset Strip so vivid that even the musical film that accompanies Something Beautiful<\/a> can\u2019t live up to them. Cinquemani<\/p>\n Few songs sit so calmly with the vastness of being as Big Thief\u2019s \u201cGrandmother.\u201d Over delicate acoustics and looping samples, the band creates a wide-open space where big questions can land gently. The track feels infinite and unhurried, unfolding like someone thinking out loud about a life that refuses to make sense, sitting right on the edge between bittersweet reflection and hopeful acceptance. \u201cGonna turn it all into rock and roll,\u201d Adrianne Lenker sings. What else can you do with feelings that big? Seip<\/p>\n Jane Remover\u2019s Revengeseekerz is laden with sudden sonic pivots, but \u201cDreamflasher\u201d is particularly agile. From trappy rage rap to shriek-riddled noise music, the song is always imploding on itself, like a looped YouTube video of some poor soul crashing through drywall. Somehow, across all the electronic pyrotechnics and busy wave space crammed with sounds, it stills seethes with emotion: the overstimulation of being young, horny, intoxicated, micro-famous, and not broke. Lyons-Burt<\/p>\n Simultaneously alien in its production and comfortingly familiar in its melodic construction, Dijon\u2019s \u201cYamaha\u201d moves with a clarity that, to its credit, the rest of Baby refuses to indulge. It\u2019s as if Dijon momentarily brushes away the album\u2019s ecstatic unruliness to uncover the bones of a beautiful lost \u201980s slow jam. \u201cI\u2019m in love with this particular emotion,\u201d Dijon sings. And so are we. Seip<\/p>\n Justin Bieber\u2019s \u201cYukon\u201d seems to sway gently in the breeze, set only to sparingly strummed guitar. In a choice that rubs fascinatingly against the would-be naturalism of the music, the singer\u2019s voice is pitched way up while his less altered vocals can only be heard in the background and on the second chorus. This sly modulation is one of several reasons that \u201cYukon\u201d is more than its modest first blush. Lyons-Burt<\/p>\n Ethel Cain\u2019s \u201cFuck Me Eyes\u201d stands out among Willoughby Tucker, I\u2019ll Always Love You<\/a>\u2019s slow-burning, more heavily atmospheric compositions. A sweeping six-and-a-half minutes of unsparing observations about a young woman who likes to \u201cshow off her ass,\u201d the song isn\u2019t exactly Top 40 fodder, but its pulsing synths, preponderance of f-bombs, and lyrics that blur the lines between hate and envy make it feel like Kim Carnes\u2019s \u201cBette Davis Eyes\u201d by way of Taylor Swift\u2019s \u201cYou Belong with Me.\u201d Winograd<\/p>\n Over stately strings that give way to an electronic breakdown, Rosal\u00eda projects a heavenly tranquility as she lists the sacrifices she\u2019s made for art and love. She sings, \u201cMi coraz\u00f3n nunca ha sido m\u00edo\/Yo siempre lo doy\u201d (\u201cMy heart never has been mine\/I always give it\u201d) casting herself not just as an artist or celebrity, but as a vessel for her divine inspiration. Mason<\/p>\n A midtempo dream-pop ballad\u2014replete with crisp, teary-eyed guitars\u2014that finds Chappell Roan achingly pining for the one that got away, \u201cThe Subway\u201d was almost the hit that got away. The singer was reportedly hesitant to record a studio version for fear that she wouldn\u2019t be able to replicate her live vocal performance, but those concerns are largely assuaged, especially during the track\u2019s cathartic outro: \u201cShe\u2019s got, she\u2019s got a way\/She got, she got away,\u201d Roan declares, the lilting crack in her voice recalling that of Cocteau Twins\u2019s Elizabeth Fraser. Cinquemani<\/p>\n On \u201cStriptease,\u201d FKA twigs\u2014a gifted dancer\u2014sings in an almost shockingly mush-mouthed cadence about her \u201carched spine\u2026eyes [and] sternum stretched wide.\u201d The way her vocals soar and drag against the track\u2019s closing twitchy breakbeats recall her closest peer in R&B-electronic fusion: Kelela, someone also interested in the relationship between beats and body. Lyons-Burt<\/p>\n The two-and-a-half-minute \u201cIllegal\u201d plays like a glorified intro for PinkPantheress\u2019s mixtape Fancy That<\/a>. Kicking off with a familiar 2-step rhythm and a sample of the sleek synth pads from Underworld\u2019s iconic \u201cDark & Long (Dark Train)\u201d before building to a 4\/4 beat for a succinct but sublime 30 seconds, the track serves as a delicious primer for what follows. Cinquemani<\/p>\n Like M.I.A.\u2019s early work, Baalti\u2019s endorphin-boosting \u201cLoose Leaf\u201d synthesizes South Asian sounds with Western dance and pop styles to make euphoric, unruly bamboo bangas. Reportedly tipping their cap to rural Indian soundsystem raves, the duo deploys a whirling, curving synth between each drum clatter that both accelerates and disrupts the groove. The song takes you down a number of detours to get your legs moving without forfeiting an ounce of vitality. Lyons-Burt<\/p>\n Annahstasia\u2019s \u201cBeliever\u201d is a slow-burning storm. Across the track\u2019s six-minute runtime, the singer\u2019s voice runs the spectrum from whispering to wailing, as guitars flare and pianos float around her. On the chorus, she drops the question driving the song\u2019s tension: \u201cMaybe where I go, I can\u2019t take you all the way\/Does that mean I\u2019m only loyal if we stay the same?\u201d It\u2019s the panic of wanting to grow but fearing what it might break. Seip<\/p>\n With \u201cLike Weezy,\u201d Playboi Carti pulls off the rap trick of constructing a track\u2019s architecture against, on top of, and in relation to a number of cultural precedents, with the song still emerging as its own unique creation. In this case, producers Ojivolta and Kelvin Krash sample Rich Kidz\u2019s \u201cBend Over,\u201d and Carti\u2019s single manic verse and two choruses nod to the riotous unholy trinity of Lil Wayne, Justin Bieber, and 2Pac. Tonally and temperamentally, it\u2019s one of the sweeter and poppier tracks on Music<\/a>, but at its core, the track proves that Carti is just as debauched and unhinged as ever. Lyons-Burt<\/p>\n On \u201cFame Is a Gun,\u201d TikToker turned pop prodigy Addison Rae infuses her flirtatious and self-aware lyrics with flashes of poeticism: \u201cDo I provoke you with my tone of innocence?\u201d Feathery lines about the glamor of fame flutter up against more visceral imagery\u2014\u201cCrash and burn, girl, baby, swallow it dry\u201d\u2014as Rae stands defiantly at the center of a storm of public scrutiny. Like fame itself, the song is as enticing as it is foreboding. Mason<\/p>\n Caroline\u2019s lyrics have a sense of fluidity, often taking on a mantra-like quality\u2014repeated, reshaped, and recontextualized until their meaning begins to shift. On \u201cTell Me I Never Knew That,\u201d featuring Caroline Polachek, the chant \u201cIt always has been, it always will be\u201d subtly mutates into \u201cIt always happens,\u201d then \u201cThis always happens,\u201d and finally back to \u201cIt always will be.\u201d By then, it doesn\u2019t mean what it did before. The words have turned bitter\u2014or maybe they\u2019re actually hopeful? The track\u2019s use of Auto-Tune only heightens the disorientation, warping voices until their intent becomes a moving target. Seip<\/p>\n Abetted by Xandy Chelmis\u2019s honey-sweet pedal steel, the breezy \u201cElderberry Wine\u201d exudes such pleasant vibes that it\u2019s easy to miss that it\u2019s actually a bittersweet breakup song. \u201cSaid, \u2018I wanna have your baby\u2019\/\u2019Cause I freckle and you tan,\u201d Karly Hartzman sings with none of her usual acerbity. It may sound romantic, but sometimes the differences that draw us together can eventually prove too much to overcome. Winograd<\/p>\n This is hardly the first time the Haim sisters have written a song about being sick to death of \u201cfuckin\u2019 relationships.\u201d But while the vocals and lyrics may scan as weary or worn out, the answer to their woes, delivered over the fattest ass-shaking funk groove of their careers, becomes clear: Leave those guys in the dust and just dance. Winograd<\/p>\n Mike Hadreas has, in recent years, displayed a penchant for the baroque, and his lush and eclectic songs have conveyed a romantic grandiosity. When \u201cIt\u2019s a Mirror\u201d kicks off with acoustic guitar, it\u2019s not just a deft stylistic heel turn, but a shift from extravagance to a grungy groundedness befitting the song\u2019s claustrophobic lyrics. \u201cIt\u2019s a siren, muffled crying\/Breaking me down soft and slow,\u201d Hadreas sings of life outside his front door, finding both comfort and torture in existing as a recluse. Mason<\/p>\n Model\/Actriz puts some sleaze in dance-punk, and their \u201cCinderella\u201d seems to draw on a dark energy. \u201cI can see how my power\/Only was my fear of betrayal,\u201d Cole Haden whisper-howls, admitting that \u201cWhen I was five I remember clearly\/My want to have a Cinderella birthday party.\u201d He spends most of the song marveling at the gentleness and elegance of his object of affection, like he\u2019s on the other side of the glass. Lyons-Burt<\/p>\n In an odd twist of fate, the stickiest and steamiest hook of the year\u2014\u201cYou want sex with me? Uh-huh\/Come talk to me, come on\u201d\u2014wasn\u2019t written by Sabrina Carpenter, but by a former TikToker. Zipping between giddy excitement and quiet panic, with the ever-posh PinkPantheress coquettishly verbalizing every impish impulse darting through her head, the supercharged \u201cTonight\u201d is a glittering surge of heart-flip anxiety that hits like a spike of adrenaline. Great pop records can leave you breathless. This one rewires your entire nervous system. Attard<\/p>\n If you can, please consider supporting Slant Magazine.<\/p>\n Since 2001, we’ve brought you uncompromising, candid takes on the world of film, music, television, video games, theater, and more. Independently owned and operated publications like Slant have been hit hard in recent years, but we\u2019re committed to keeping our content free and accessible\u2014meaning no paywalls or fees.<\/p>\n If you like what we do, please consider subscribing to our Patreon<\/a> or making a donation<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"In an age of dwindling attention spans, songs are the most discrete commercial musical unit and thus the…\n","protected":false},"author":2,"featured_media":310281,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[96,128,56,54,55],"class_list":{"0":"post-310280","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-music","8":"tag-entertainment","9":"tag-music","10":"tag-uk","11":"tag-united-kingdom","12":"tag-unitedkingdom"},"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/posts\/310280","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/comments?post=310280"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/posts\/310280\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/media\/310281"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/media?parent=310280"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/categories?post=310280"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/tags?post=310280"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435515_582_hqdefault.jpg\")
\n41. Blackpink, \u201cJump\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435516_528_hqdefault.jpg\")
\n40. FKA twigs, \u201cGirl Feels Good\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435516_121_hqdefault.jpg\")
\n39. S.G. Goodman, \u201cHeaven Song\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435516_98_hqdefault.jpg\")
\n38. Geese, \u201cHusbands\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435517_580_hqdefault.jpg\")
\n37. Sudan Archives, \u201cNoire\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435517_40_hqdefault.jpg\")
\n36. Florry, \u201cFirst It Was a Movie, Then It Was a Book\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435517_491_hqdefault.jpg\")
\n35. Robert Forster, \u201cSuch a Shame\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435518_515_hqdefault.jpg\")
\n34. Ethel Cain, \u201cDust Bowl\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435518_285_hqdefault.jpg\")
\n33. Destroyer, \u201cCataract Time\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435518_291_hqdefault.jpg\")
\n32. Jade, \u201cUnconditional\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435519_217_hqdefault.jpg\")
\n31. Miley Cyrus, \u201cPretend You\u2019re God\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435519_103_hqdefault.jpg\")
\n30. Food House, \u201cNow 2\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435520_409_hqdefault.jpg\")
\n29. Wednesday, \u201cPick Up That Knife\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435520_810_hqdefault.jpg\")
\n28. Corook, \u201cThey!\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435520_137_hqdefault.jpg\")
\n27. Bad Bunny, \u201cBaile Inolvidable\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435521_973_hqdefault.jpg\")
\n26. Lorde, \u201cCurrent Affairs\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435521_433_hqdefault.jpg\")
\n25. Tame Impala, \u201cEnd of Summer\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435521_221_hqdefault.jpg\")
\n24. Caroline, \u201cColdplay Cover\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435521_302_hqdefault.jpg\")
\n23. Alex G, \u201cJune Guitar\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435522_689_hqdefault.jpg\")
\n22. The Beths, \u201cStraight Line Was a Lie\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435522_115_hqdefault.jpg\")
\n21. Blood Orange, \u201cThe Field\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435523_122_hqdefault.jpg\")
\n20. Miley Cyrus featuring Brittany Howard, \u201cWalk of Fame\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435523_447_hqdefault.jpg\")
\n19. Big Thief featuring Laraaji, \u201cGrandmother\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435523_838_hqdefault.jpg\")
\n18. Jane Remover, \u201cDreamflasher\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435524_187_hqdefault.jpg\")
\n17. Dijon, \u201cYamaha\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435524_894_hqdefault.jpg\")
\n16. Justin Bieber, \u201cYukon\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435524_651_hqdefault.jpg\")
\n15. Ethel Cain, \u201cFuck Me Eyes\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435525_361_hqdefault.jpg\")
\n14. Rosal\u00eda, \u201cReliquia\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435525_708_hqdefault.jpg\")
\n13. Chappell Roan, \u201cThe Subway\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435525_964_hqdefault.jpg\")
\n12. FKA twigs, \u201cStriptease\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435526_312_hqdefault.jpg\")
\n11. PinkPantheress, \u201cIllegal\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435526_90_hqdefault.jpg\")
\n10. Baalti, \u201cLoose Leaf\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435526_923_hqdefault.jpg\")
\n9. Annahstasia, \u201cBeliever\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435527_688_hqdefault.jpg\")
\n8. Playboi Carti, \u201cLike Weezy\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435527_162_hqdefault.jpg\")
\n7. Addison Rae, \u201cFame Is a Gun\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435527_98_hqdefault.jpg\")
\n6. Caroline featuring Caroline Polachek, \u201cTell Me I Never Knew That\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435528_613_hqdefault.jpg\")
\n5. Wednesday, \u201cElderberry Wine\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435528_289_hqdefault.jpg\")
\n4. HAIM, \u201cRelationships\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435528_757_hqdefault.jpg\")
\n3. Perfume Genius, \u201cIt\u2019s a Mirror\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435529_89_hqdefault.jpg\")
\n2. Model\/Actriz, \u201cCinderella\u201d<\/p>\n![\"YouTube](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/12\/1765435529_782_hqdefault.jpg\")
\n1. PinkPantheress, \u201cTonight\u201d<\/p>\n