We spent thousands of words last week appreciating the might of the album and its stay in the decade past, but the fact that this has been the era of the song cannot be escaped. In an age dominated by streaming platforms and single releases, listening to music became easier and perhaps cheaper than ever, and what’s easiest for the consumer is listening to a song or a playlist, not an entire record. Yes, yes, the record will always live on, we don’t doubt that. But to be fair now, what’s on that record is a collection of songs, tracks, tunes, whatever you wanna call ’em, and those are what we’re really bopping to. Here’s the best songs had to offer in the 10s.

Listen along with the list here.


100. Hollywood Forever Cemetery Sings – Father John Misty (2012)

With his first album under the Father John Misty moniker, Josh Tillman’s now-familiar brand of witty lyricism was only finding its footing. However, lead single Hollywood Forever Cemetery Sings finds the artist at his most cynical, offering sardonic one-liners and black comedy. It’s the instrumental, though, that really impresses here, with a production style soaked in a glittering echo, from the booming drums to the shimmering guitars.
– milo.


99. Poor Millionaire – August Burns Red (2011)

The merriest men in metalcore put out their finest song this decade, perfectly representing their positive, crushing take on a genre that has often felt more homogenised with every year. Coming off their heaviest album, Leveler (landing at no.62 in our albums list), Poor Millionaire takes that heaviness for its own with those pounding drum rolls that open it alongside the spitting intensity that permeates the whole track, effectively underlining an insightful, uncharacteristically aggravating lyrical message about false pretenses.
– reuben.


98. Hollywood Ending – Starcrawler (2018)

While the swaggering recklessness of Starcrawler’s debut was entertaining, there was a certain weight missing from their grasp of songwriting that made a lot of it feel inconsequential. They found that knack in Hollywood Ending, to-date their strongest song by far. Everything is upped here, Arrow’s vocals, while missing that frazzled schizophrenia we know her for, are extremely well-performed. Meanwhile, the layered guitars here are nostalgic and blushing, like you’d find it on the Almost Famous soundtrack.
– milo.


97. My Queen is Ada Eastman – Sons of Kemet (2018)

The erupting London afrobeat-jazz scene has brought us a lot of great acts, but few have been as impressive as Sons of Kemet, or indeed as hard-hitting or as heated as this track, aggressively and ambitiously attaching jazz to dub and grime. While the majority of the album is instrumental and nuanced, this opener is arguably the biggest, bravest project on it, with guest vocalist Joshua Idehen biting the eardrums, bulldozing delivery and affecting lyricism alike, as the drums clatter and the tuba booms, all as menacing as it is instrumentally fascinating.
– reuben.


96. Stone – Alice in Chains (2013)

Understandably the lead single of AIC’s dominating decade sophomore The Devil Put Dinosaurs Here, this song perfectly encapsulates what makes the majority of the album so great. The sound that the album represents is that of a fallen giant with a renewed, trudging confidence, and Stone is exactly that; with a riff as colossal as this one and a groove as monstrous, it exudes confidence — and it’s awesome.
– reuben.


95. Blood of the Past – The Comet is Coming (Ft. Kate Tempest) (2019)

It was a tough call between this and Super Zodiac, but, if Stone‘s bassline was awesome, this one is possibly the best of the entire decade. Riding in atop a kaleidoscopic soundscape and a popping rhythm this doom-bringing, behemothic riff counter-acts but perfectly compliments the piece, proceeding to continue as the coolest damn drone you’ll ever hear and providing the crunchy backbone from which the bellowing sax and trumpets can let loose. All this, and it’s topped by the venomous barbed-wire that is Kate Tempest’s impassioned brand of lyricism. It’s a psychedelic neo-jazz apocalypse, and oh what a ride.
– reuben.


94. Burn the Witch – Radiohead (2016)

Everything about this song bleeds paranoia. This is immediately apparent from the scratching, building use of violin col legno, which, when coupled with a discreetly louder mix, provide a surprisingly claustrophobic, chaotic atmosphere. Thom’s vocals, while initially soothing, are delivering lyrics that’ll have you bolting your doors and watching your back. The crescendo closes the song with a battery of these string strikes, creating something of a psychological whirlwind.
– milo.


93. Hold Up – Beyoncé (2016)

The lead single to Beyoncé’s iconic Lemonade, paired with a now-equally-iconic music video, perfectly encapsulates the wrath of the record, presented in the most deceivingly-sunny of ways. Despite the immediately catchy, steel-drum-led instrumental, Bey’s lyrics present her as someone totally and utterly unfuckwitable, delivered in what is easily one of her most dynamic and impressive vocal performances in a decade full of them.
– milo.


92. All I Do is Disappear – Mikaela Davis (2018)

Coming close to closing out Delivery, Mikaela Davis provides a piano ballad that manages to tread the line between surreality and compulsion. Davis’ vocals are quietly powerful, floating above the delightfully vintage production and embellishing drums. At the heart of it, however, is a brilliantly structured and warming tune.
– milo.


91. White Limo – Foo Fighters (2011)

In a decade when the Foos are unfairly derided for not having enough bite to compete with some of the heavier groups in rock’s pantheon, the motherfuckers drop White Limo to lead up to Wasting Light. From the get-go, it’s the heaviest track they’ve dropped since their debut, boasting crashing cymbals and big-ass fuck-off riffage. If Dave Grohl is saying anything poigniant in this song, it’s lost on me, because the vocals are made up of distorted screaming throughout. Never losing a drop of adrenaline through its 3-min+ runtime, it is a car chase of the song. It’s even got the Lemmy seal of approval.
– milo.


90. Crossburner – The Dillinger Escape Plan (2013)

We’ve already had our fair share of hellish basslines dominating the early proceedings of this list, so we don’t need any more, right? Probably, but here’s another one. Hellish is a fitting word to describe this song, I’d say. You’ll struggle to find a piece of music quite so scathing, or utterly hateful as Crossburner. The song title suggests it’s a butchering of the Ku Klux Klan and everything wrong about them, but as with much of Pucatio’s lyrical work, it’s as ambiguous as the music is chaotic. Musically, it’s a refreshing departure from a lot of Dillinger’s work, with the band usually focusing on speed and madness, while this track is a slow-burner. And it burns. With a visceral severity and a deranged, explosive grandeur.
– reuben.


89. Calm Down AKA I Should Not Be Alone – Ezra Furman (2019)

Musically, Ezra Furman is known for their almost-prodigious grasp of old-fashioned rock’n’roll songwriting, channelling the tunes of Buddy Holly and Chuck Berry through a kaledioscope of Bruce Springsteen and early-00s alt. rock. However, these melodies are fed through a distortion pedal on Calm Down, as the songwriter’s shivering energy radiates thoroughly. The three-chord structure and Sympathy-esque “woo-woo”s are pure classic rock, while it goes off in an explosion that is undeniably punk.
– milo.


88. Nobody Speak – DJ Shadow (Ft. Run the Jewels) (2016)

While DJ Shadow may be the lead artist on this, it’s truly RTJ that steals the show. That said, the beat, while understated, is rock solid, with the pounding drums, building horns and driving bass all contribute to a mounting tension. On top of this though, the duo drop some of their hottest quotables in the signature brand of hilarious criminality.
– milo.


87. There’s Something Sinister in the Wind – Wo Fat (2016)

While big phat stoner rock outfits like Sleep tend to get the most coverage, I’d argue that Wo Fat is the best of the sort. Trawling in massive riffs since the mid-noughties, the band conjured one of the smokiest, darkest atmospheres in 2016’s Midnight Cometh, and this album opener is the greatest example of that, rumbling and wailing through nine-and-a-half minutes of fuzz, cool as hell.
– reuben.


86. White Horses at Sea // Utopian Daydream – Amplifier (2010)

From the mammoth space excursion that was Amplifier’s decade-opening 2-discer The Octopus, this is one of its introspective interludes from the power chords and thumping basslines, and probably the best moment on the entire album. Thoughtfully floating across a breezy nine minutes in this journey of a song is an intricate selection of arpeggiated guitarwork, a wah-wah bass that somehow works wonders and a strong sense of melody, fittingly indeed a great soundtrack to any daydream.
– reuben.


85. Florian Saucer Attack – Black Mountain (2016)

Everything from the video to the synths on this one scream “SPACE ROCK” through a martian megaphone. The peddling drums imbue this intergalactic energy from the get-go, as the aforementioned synths really give us the sci-fi vibes, boosted by a raging rhythm guitar. Amber’s vocals channel Grace Slick through a Saturnine warp converter, like some kind of powerful space goddess. It all melds together into the ideal soundtrack to a starship chase.
– milo.


84. Sweatpants – Childish Gambino (Ft. Problem) (2013)

Bouncing in on that instantly recognisable sub-heavy beat, Sweatpants slides and snarls with a borderline-sardonic take on spoiled rich kids, playing as effortlessly creatively as it is entertaining. Meme-worthy and quotable to levels the universe wouldn’t have known to be possible (are you eating tho?), it’s one of the funnest and most memorable big releases of the decade, and a genuinely great hip-hop track at that.
– reuben.


83. Farewell, Mona Lisa – The Dillinger Escape Plan (2010)

Writhing and wriggling in a sea of distorted, mathematically profound chord progressions and chaotic anger are found Greg Pucatio’s screams, as distressed and biting as they’ll get, in what is perhaps Dillinger’s best ever song. The electronic desolation you can find in the soundscapes here only add to the power already present, creating an anamorphic confusion amongst the madness, which, here, is punctuated by meandering breakdowns and a memorable, dynamic hook to boot.
– reuben.


82. Man of War – Radiohead (2017)

Originally written and performed in the 90s, this homage to James Bond themes was eventually submitted to soundtrack the intro to 2015’s Spectre but was reportedly rejected because it was too depressing. As funny as that is, this was eventually released on 2017’s OKNOTOK expanded OK Computer re-release and is a poignant and beautiful return to the early glory days of Radiohead. Sifting through moods in all their trademark sense of paranoid grandeur, the guitars cut and they swim, as Yorke puts out one of his strongest vocal performances to date. In terms of Radiohead’s music in general there is little particularly groundbreaking about this song, but in its crisp production and passionate delivery, it’s one of the strongest mid-tempo ballads of the decade.
– reuben.


81. Here Come the Robots – Stoned Jesus (2014)

There’s nothing particularly out-of-the-box about this rager from Stoned Jesus; it’s all standard genre tropes done exceedingly well. Firstly, the band have hit with a golden riff, channeling furiosity and intensity, crunchy and badass. The lyrics are as nonsensical as the title suggests, but vocals go so hard that you’ll end up chanting them like a battlecry. As we go into the breakdown, again, it’s standard fare, but it just absolutely SLAMS. Driving a monster truck over the fine line between the catchiness of hard rock and brutality of metal, Stoned Jesus have executed both excellently.
– milo.


80. The Hell in Me – Killswitch Engage (2013)

There was little special, musically, about Killswitch’s Disarm the Descent, it was literally just Killswitch doing Killswitch. However, there is absolutely nothing wrong with that — and Jesse Leach was back. And that was big. A little sprinkling of the punky bite that permeated their early 00s releases here and an infectiously catchy hook there, album opener The Hell in Me feels pretty fresh and ends up the strongest the band had to offer in the 10s. Most important, though, is that chorus. That damned chorus. It will literally never get out of your head. This is metalcore, done right.
– reuben.


79. Decayin’ with the Boys – Every Time I Die (2014)

If you were to ask me to show you the frattiest, drunken mess of a metalcore song, in all its hideous beauty, this beer-swilling pig of an ETID track would be my response. It just goes with all its fury, boasting a staggering riff and mile-a-minute drumming that’ll leave you scratching your head. Keith Buckley’s vocals are at a career-high, merging from banshee-screams to a soulful croon with ease.
milo.


78. Gamma Knife – King Gizzard & the Lizard Wizard (2016)

Smacking in at part three of King Gizzard’s endless loop of madness that is 2016’s Nonagon Infinity, Gamma Knife hits the sweet-spot of the point in which that madness is at its most ripe, howling harmonicas and distorted guitar jabs rife. Emphasised with the silliness of painted men blankly repeating “gamma” and the on-brand echoed feedback tears hitting between riffs, this is King Gizz at almost their playful, groovy best. I also don’t know when I’ll get “MILK AND HONEY, FOR MY BODY” out of my head.
– reuben.


77. Angel – Loyle Carner (Ft. Tom Misch) (2019)

Riding in on the fluttering snare-rim hits and the crispy clean hi-hats, a wide bassline, a soundscape accompaniment flowing like water and Loyle’s lovestruck bars, Angel wins the prize of being the nicest song by the nicest guy in hip-hop. The warm, flickering production ringing through his brilliant sophomore Not Waving, But Drowning is complete enough so that it’s an album more about its full package than any individual track, but it’s probably best exemplified by the loving, daydreaming lyricism here, alongside that eclectic, bright beat running through it – thanks to the genius of Tom Misch. As with the rest of the album, though, this is the perfect cure to a hangover and simultaneously the perfect soundtrack to a long journey or a pre-sleep listening session.
– reuben.


76. The Less I Know the Better – Tame Impala (2015)

Bafflingly not the lead single from Tame Impala’s 2015 album Currents, their first since their profile shot up, The Less I Know The Better confidently juggles the psychedelia of previous releases with a newfound disco edge. Immediately grabbing attention with a bassline that — call it Crunchy Nut — is ludicrously tasty, the song travels through many flourishing movements but is held down by that deep-rooted groove.
– milo.


75. Smoko – The Chats (2017)

If you know, you know. Who could ever forget the first time they ever saw this music video? Out of context, with context, whatever, this is one of the best videos of the decade, full stop. Desperately clawing for a break from work and slewing Aussie slang left right and center, these beer-worshiping, milk-crate throne dwelling delinquents show us exactly how to be style icons and give a worthy education into the necessity of laziness. Comedy punk at its finest and most glorious. And imagine thinking he was actually saying “I want Smoko to leave me alone”. Like, what, the mythical monster Smoko is gonna come get you? What kind of idiot would think that. Heh. heh…
– reuben.


74. I Was Just a Kid – Nothing But Thieves (2017)

Sad indie bois Nothing But Thieves surprised us with the great album that was 2017’s Broken Machine, and nothing on it was as good as this opening bop. Glistening and shining with the squeaky clean production simmering through the record, this angsty look back at times past is both meaningful and resonating lyrically, with Conor Mason’s strong, heartfelt vocal delivery here a statement of intent. Backed up by an almost spacey, intoxicating instrumental (absolutely bOPping bass work included), this remains one of the better rock tracks of the past few years.
– reuben.


73. R U Mine? – Arctic Monkeys (2013)

A big-dicked boaster of a track, Arctic Monkeys made a statement with R U Mine?. From its stadium-sized riff to it leading the promotion of AM, it’s a far cry from the indie-disco bangers the boys made their names in. Alex Turner’s swaggering delivery drips with rockstar confidence, though it is, for some, the epitome of gelled posturing. Despite this, the song manages to balance its massive bravado with a bonafide catchiness and pop sensibility that’ll have it sticking with you for days.
– milo.


72. POWER – Kanye West (2010)

Speaking of massive bravado, you can’t make a more powerful statement than a song called POWER, and, of course, it’s Kanye West behind it. Everything about the track screams its title; its booming, bassy beats, the grandiose chanting — he even managed to make a King Crimson sample sound badass. Omitting some petty SNL comments, Yeezy sounds dominant and sure on this thing and, unlike the other, embarassing, ego trips throughout his career, you’ll believe him.
milo.


71. Date Night – Father John Misty (2018)

Perhaps not the most introspective track on God’s Favourite Customer, it remains that Date Night still sounds like the most fun the Good Father has had on any of his records. Instrumentally, it’s a funky psychedelic nightmare, with rumbling low-end pianos, a groovy acoustic rhythm guitar and a recurring sound effect that sounds like chipmunked space thunder but I simply can’t place. Over this, Tillman sounds blindly confident, despite lyrics that are akin to the meth nightmares of an NYC sewer vagrant.
– milo.


70. Routine – Steven Wilson (2015)

Britain’s resident prog rock genius Steven Wilson is just as much a master of the genre as he is wrenching our hearts — something Routine underlines to a T. Whilst its album, Hand. Cannot. Erase. and its early Genesis-inspired stylings can be difficult to get used to, this song is classic Wilson songwriting at some of its very best. Coupled with the wonderfully put together video here, the 10-minute run-time puts you through a roller-coaster of emotions, putting tragedy and its impacts through a musical journey as traumatic as it is beautiful, putting truth to Wilson’s statement that “to find poetry and beauty in sadness is a wonderful thing”.
– reuben.


69. You Ain’t the Problem – Michael Kiwanuka (2019)

In my relatively-short time working in a record shop, I’ve still never seen an album sell like this one off of the power of a single track. Just one listen of the funk, soul, afrobeat, singer-songwriter blend that Kiwanuka opens his affirming eponymous record with, and people couldn’t get enough, and could you blame them? The positivity in the sunny acoustic guitars, vibrant percussion and feel-good lyrics is infectious, with the singer’s conquering of self-doubt uplifting even the most cantankerous of old bastards who hear it.
– milo.


68. After the Storm – Kali Uchis (Ft. Bootsy Collins & Tyler, the Creator) (2018)

Despite its rainy intro, After the Storm is the shimmering beach groover to rein in the summer. Boasting features from Bootsy Collins (acting in his Groove is in the Heart capacity of chiming in with pure charm) and Tyler, the Creator, it’s still Kali who owns this track, with her brand of soft-focus vocals going perfectly with the sunstricken guitars and waltzing bass. At the back end, Tyler chimes in with a characteristically playful verse, clearly revelling in his Flower Boy era. It’s a pure joy to listen to.
– milo.


67. East of Eden – Loathe (2017)

The Cold Sun was a brilliant album, and picking one song from it for this list was pretty difficult. However, whilst It’s Yours may be the most catchy, East of Eden showcases everything that’s good about this band; the crushingly heavy, breaking, grinding, sometimes dissonant riffs are all here with the grand imagery intact, straddling between biblical and “kingdoms of giants” in a pit of boiling rage. This track weaves and winds, too, with a spiralingly affective song structure, but is grounded by a catchy chorus too for good measure. It’s just a great time.
– reuben.


66. Make Me Feel – Janelle Monáe (2018)

OH I MEAN IT’S LIKE HE NEVER LEFT. If you anything about this track, you’ll know I’m talking about Prince. Not to take away from Monaé’s contribution, but the intimate sexuality, wailing synths, funky guitars and offbeat drum sounds all scream the Purple One to the point of ultimate tribute. Janelle makes it her own, however, injecting a queer virility that is simultaneously empowering and unquestionably horny.
– milo.


65. Charity – Courtney Barnett (2018)

Aussie guitar rock never sounded so good. Courtney Barnett’s 2018 album Tell Me How You Really Feel was a triumph for the artist and tracks like Charity show why. It is impeccably written, with a sticky hook and excellent guitar leads that trade complexity for catchiness — as it should always be. Barnett’s lyrics, while keeping the laidback and irreverantly humourous tone, have an uplifting feel to them, pairing well with the bouncy, full-bodied production.
– milo.


64. Don’t Tell Me How to Live – Monster Truck (2016)

As their name suggests, Monster Truck are a chunky time, big bushy beards very much intact. This lead single from their sophomore Sittin’ Heavy pretty much sums up what they’re about. We’ve got the chugging riff at its core, we’ve got Jon Harvey’s baritone vocal wizardry, and we’ve got dumb rock n’ roll revival lyrics. Much like those lyrics, it’s just big, stupid fun. A masterpiece? Probably not. One of the catchiest hard rock songs of the decade? Definitely.
– reuben.


63. Apocalypse Dreams – Tame Impala (2012)

2012’s Lonerism, while far-from the first album to explore psychedelic post-60s, managed to modernise the genre exponentially. While lumbering rockers like Elephant appealed to the decade’s reacquainted love affair with garage rock, and Feels Like We Only Go Backwards had the radio-friendly chorus to become a festival staple, Apocalypse Dreams fell somewhere in the middle. However, packing a driving drum and key combo, as well as kaleidoscopic breakdown you could see that Arthur meme play out to, you can comfortably say it’s the best of both worlds.


62. Saint Tears – Track Not Found (2017)

Even after three years of preaching, I still think Guernsey-trio Track Not Found, particularly with their The Only Way is Lost EP, are one of the most underrated acts on the planet. You only have to hear the three tracks on the thing to see what I mean. Saint Tears, however, scrapes onto the list by an inch over the others thanks to its wickedly-slinking blues riff and raggedly charismatic vocals. The bassy production boosts the pure groove of this banger, and it will instantly engrain itself into the part of your brain that does the toe-tapping


61. Destroyed By Hippie Powers – Car Seat Headrest (2016)

One of the toughest calls of this entire list was choosing between this and the-song-about-drugs-which-has-a-title-as-long-as-a-paragraph, one a simple slice of indie rock goodness and the other an intricate, introspective take on drug culture. The resounding choice here, though, is the former. Destroyed By Hippie Powers, if nothing else, perfectly encapsulates what makes a carefree indie bop, but with the insecure stamp of Will Toledo’s songwriting. His hand lends itself to a calculated mix of abrasive Vs.-era-Pearl Jam-like breaks catapulting into an emotionally affective hook, which, with Toledo’s pensive vocal delivery and blankets of soft guitars enveloping the song through its verses, sounds exactly the part, and through this beauty is found in simplicity.
– reuben.


60. Andromeda – Weyes Blood (2019)

Weyes Blood has etched out a decent nook in the rustling tree of floaty soft rock, her angelic vocals and chamber-esque instrumentals ensuring this. With the lead single from Titanic Rising, a critical peak for the artist, she adapts a sleepy, country aesthetic that keeps her spacey ballad of romantic confidence firmly grounded; the slide guitar solos being a bemusingly perfect fit for the DNA of the track. Her mild-mannered command over the song as a whole has the poise and delicacy to be considered little other than beautiful.
milo.


59. Had Ten Dollaz – Cherry Glazerr (2014)

The first track where ears began to prick up at the Sacramento garage rock outfit, Had Ten Dollaz immediately carries the slacker pop credentials that Cherry Glazerr are loved for today. Clem’s vocals are charmingly aloof, drifting though surfing instrumental with an unbothered docility, until the chorus comes and the band delivers an acidic bite to their sound. The bass on this track is still one of their best low-end turns, sounding like the bedroom romance between a sexy Venice Beach fortune teller and an also sexy disenfranchised nun. Or something.
– milo.


58. Nothing Compares 2 U – Prince (2018)

Prince’s infamous completionism meant that even his most throwaway tracks were perfected and laboured over meticulously. Thankfully, this means that his jaw-dropping original of the Sinead O’Connor hit is fully-realised, with the production quality you’d in something from Purple Rain. The popularity of O’Connor’s rendition is proof, if it were needed, that the song is amazingly written, but Prince’s emotive vocals and rich instrumentation add that extra embellishment that moves it to that upper echelon. It’s no secret that the decade didn’t yield any particular classics from the artist, so it’s comforting to have this enduring memory of him.
– milo.


57. Blackstar – David Bowie (2016)

Onto another icon who sadly left us this decade, David Bowie laid bare his soul in the perfect swansong that is Blackstar. I’ve already divulged the genius and astrological perfection that was this record in the other list, but the title track does epitomise it. While it doesn’t find Bowie facing his death as directly as Lazarus, the strained vocals throughout are a haunting reminder of his condition, yet they somehow add, beautifully, to the morbid allure of the track. The instrumental still reigns as one of the artist’s most daring; a jazz-influenced, futuristic art rock piece with orchestral movements and an IDM-inspired beat. Pure genius.
– milo.


56. I’m in Your Mind – King Gizzard & the Lizard Wizard (2014)

Nothing in this world can quite pep you up like the opening four track frenzy that finds its home on I’m in Your Mind Fuzz, a frantic foray of sprightly rhythms and youthful enthusiasm. Opening what comes to around twelve minutes of bouncy goodness is I’m in Your Mind — and it remains one of the best album openers of the decade. All grounded by an infectious beat, splatters of harmonica and eruptions of forking guitar screams explode, all with enough energy and confidence to pick a fight with an angry kangaroo and win.
– reuben.


55. The Suburbs – Arcade Fire (2010)

With The Suburbs, Arcade Fire had cemented their reputation as one of the bonafide critical darling of the 00s indie rock, and sought to extend that into the next decade. The title track, a paranoid but ultimately compelling tour-de-force about suburban life, has possibly the strongest instrumental of the band’s career. The plodding piano and drum combo embody the drudgery of such living so perfectly, while the groovy bass and grandiose strings add a magical, if eerie, fantasticism to it. Of course, Win Butler’s performance here radiates sheer conviction it will be nigh-on impossible to tear yourself away from it. A top tip too, check out the live version on Youtube, it’s stunning.
– milo.


53. Sultan’s Curse – Mastodon (2017)

Ironically, opening what’s probably Mastodon’s weakest album to date is one of their strongest songs in Sultan’s Curse. Cutting the ribbon for the band’s second dive into all things emotionally kicked concept, if the entire album was as good as this, it could even be their best to date. Driven by Brann’s expert drum-kit wizardry aside big-bearded riffery, the band is let loose into an honest, highly emotive ride across hard-hitting riff sections and soaring, full breaks and hooks in what plays like a star-studded showcase of everything Mastodon does, and does well. Traveling between singers as it does between passionately and musically rich song sections, it feels monumental and it sounds exciting.
– reuben.


52. Self-Worth – Heavy Lungs (2019)

Truth be told, any track from the Lungs’ storming Measure EP could be on this list — it’s that kind of record and, if we were to make such a list, it’d be ranked as the best EP of the decade bar none. Self-Worth, in its breakneck exploration of just that, Danny Nedelko (yeah, that Danny Nedelko, if you didn’t know) wails with his trademark gusto over an instrumental that sounds like the acceleration of a post-punk death machine. The overdriven guitars rev with a buzzsaw intensity, as the animalistic drumming throttles you with a brutality that’ll leave any moshpit member severely bruised, but with an unshakeable smile on their face.
milo.


51. 7empest – Tool (2019)

It’s no secret that, as I went into in our albums entry, Fear Inoculum didn’t quite reach the lofty heights of its preceding albums, however ambitious it was, and however hard it tried. While every song on there is an individually great Tool escapade, there is a lack of cohesion that feels frustrating. Still, there are a selection of sporadic moments that really capture the imagination, and a lot of those come on the sprawling, exasperated swansong that is 7empest. The only song that really plays with the aggression and bite of the Tool we knew and loved, it stands as one of their better tracks and easily the best on the record. Characterised by a scratching, nomadic riff at its heart, it wriggles and it writhes and it bites, with the bass work trudging and the guitar work rasping, raucous and sinister. Of course, it wouldn’t be Tool if it didn’t all last fifteen minutes. Still, when that run-time lends itself to fifteen minutes of this brilliance, I’m more than okay with it.
– reuben.


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