I Reviewed Every Song on My Spotify Wrapped (Part 2/4)

My thoughts on songs 75-51 from my most listened of the year

75: Bring Me The Horizon- “sTraNgeRs”

POST HUMAN: NeX GEn had a long road to release. “sTraNgeRs,” its second single, actually came out in July 2022, nearly two years before the album dropped. It’s a comparatively straightforward track on an album with more experimental tangents, embodying the catchy yet hard-hitting blend that the band have self-identified as “pop metal” and “future emo.” Sykes’s vocals range between soft and screamy, and electronic accents and synth strings add a sense of grandeur to the rock soundscape.

74: blink-182- “More Than You Know”

This is the first of a few songs on this list from blink-182’s 2023 album ONE MORE TIME, their first with DeLonge in over a decade. The angst-ridden single “More Than You Know” is a standout track from the record, elevated by thundering drums from Barker. The song’s dark lyrics, far from new territory for a band like blink, are given a greater sense of urgency and gravitas when viewed in the context of Hoppus’s 2021 struggle with and subsequent recovery from stage 4 lymphoma.

73: Infinite- “Last Romeo”

I’ve been actively following K-pop for over a decade, and lately, I often feel out of step with current trends. I worry about a trend towards shorter, less ambitious songs, crafted for easy listening and to pair well with the latest TikTok trend. “Last Romeo,” the lead single from boy band Infinite’s 2014 album Season 2, by contrast, is everything I love about K-pop. From its opening seconds, in which we hear a drum fill, blasting horns, atmospheric synths, and emotive vocalization, the track is grand, energetic, and ambitious. It sounds huge, but with its scale anchored to real emotion and indelible pop melodies. Infinite’s long creative partnership with the production team Sweetune, known for infusing 80s synthpop and stadium rock influences into modern pop production, is one of my favorites to emerge from the K-pop scene.

72: Weezer- “Pink Triangle”

I did see Weezer in concert this year, on their Voyage to the Blue Planet tour, which celebrated 30 years of their self-titled debut album. However, this song wasn’t in my rotation in preparation for the show, it was just there because it’s a song I love. “Pink Triangle,” and the album from which it comes, Pinkerton, marry Rivers Cuomo’s impeccable ear for melody with gritty, raw production and a palpable sense of angst and desperation, particularly around romantic topics. If I might go on a minor lyrical analysis tangent here, it is frustrating that “Pink Triangle” has been widely misunderstood as it has. Its chorus refrain of “I’m dumb, she’s a lesbian” makes it easy to interpret the song as simply being about a straight man who’s hopelessly fallen for a woman who doesn’t like men. However, the song’s second verse makes it evident that the song’s narrator has experienced same-sex attraction himself, and perhaps is even attempting to repress it in himself, feeling jealous of the out-and-proud women he had hoped would “put [him] in [his] place.” It’s a far more textured portrait of the complexities of self-loathing and human attraction than you might think. Plus, it has a killer guitar solo.

71: Twenty One Pilots- “Tear in My Heart”

Here’s another Twenty One Pilots love song, but one very different from the last one I discussed on this list. Where “The Craving” was melancholic and stripped back, “Tear in My Heart” is an exuberant lovestruck pop-rock banger. It doesn’t have time to reflect on the realities of aging and marriage, it’s busy comparing the excitement and euphoria of young love to having your heart carved out alongside a backdrop of pounding drums, piano chords, and soaring synths. But even here, Joseph is also aware of the struggles of navigating romance alongside mental illness, employing a metaphor of driving along a road pockmarked with potholes.

70: blink-182- “DANCE WITH ME”

This track, another off of ONE MORE TIME, isn’t one I have a ton to say about. It’s quintessential DeLonge-led blink, from his recognizable, nasal vocal tone to his catchy, simple, fast-paced guitar riffs, to his penchant for intoxicating pop earworms. The gradual escalation of the chorus on each repetition, from a simple “olé, olé, olé” refrain in its first iteration to a final reprise with additional lyricism and harmonies, gives the song a satisfying sense of growth. My only complaint, really, is the sophomoric joke from DeLonge that opens the song.

69: Infinite- “The Chaser”

By contrast, “The Chaser,” a single from Infinite’s 2012 EP Infinite Only, is a song I’ve written about ad nauseam. Last year, I dedicated an entire hour-long episode of my old college radio show, The K-Pop Power Hour, to dissecting every note and lyric of “The Chaser.” To restate what I said then concisely: “The Chaser” is among the greatest K-pop songs ever, and a shining example of everything that the genre does well. Infinite’s vocal firepower combines perfectly with Sweetune’s production, which combines influences from 80s synthpop and arena rock with orchestral bombast and dance-pop energy. Rather than follow the commonplace verse-chorus-verse-chorus-bridge-chorus formula, it plays on listener expectations, continuously delivering a sense of escalation and momentum, each chorus more fleshed out and grand than the last. It’s the basic structure of a pop song, but polished to a perfect shine, the strongest possible version of its form. The song also features a more definite sense of Korean cultural influence than much of K-pop, from synthesizers emulating the tones of the haegeum, a traditional instrument, to its lyricism, which tells the tale of wanting to win back a lost love, being peppered with untranslatable archaic Korean exclamations, granting its well-trodden subject matter a sense of mythic import. There are many great K-pop songs, but “The Chaser” is one of the relatively few that would only make sense coming from Korean artists. I don’t think it’s hyperbolic to say that it’s genuinely a pop masterpiece, and it’s always in my listening rotation.

68: Weezer- “Run, Raven, Run”

After releasing seven studio albums and four EPs in the decade spanning 2014 to 2023, Weezer has taken a bit of a break from releasing new material, instead dedicating much of 2023 and 2024 to touring (I saw them both times). Indeed, the band is known for often pursuing a quantity-over-quality approach, and even as a Weezer diehard, I’ll admit that the last few years have seen the band put out career-worst material alongside career-best. “Run, Raven, Run,” the closing track from 2022’s SZNZ: Autumn EP, falls into that latter category. It starts off sounding like a classic Weezer track, delivering brisk, catchy pop-rock. But the fireworks begin halfway in. The song segues into a richly melodic bridge, repurposed from a previously unreleased 2015 demo track, that escalates to a grand climax of drums, guitars, and synthesizers before things fall away, ending on a haunting music box rendition of the chorus, as if contrasting the vision of a light at the end of the tunnel with the harsh reality of mortality.

67: Sum 41- “Dopamine”

“Dopamine,” a single from Sum 41’s final album, the thematically divided double record Heaven :x: Hell, has a curious backstory. Sum 41 frontman Deryck Whibley has shared in interviews that he originally had written songs from the album’s lighter Heaven side to go to other artists, rather than record them with Sum 41, as he felt that the band had moved past the pop-punk sound, and towards a metal-inflected style as heard on the Hell side. It’s easy to imagine “Dopamine” being performed by one of the artists who spearheaded pop-punk’s early 20s revival, like mgk, Blackbear, or Jxdn; the verse cadence in particular feels tailor-made for a rapper transitioning to singing. But the song, even if slightly formulaic, hits harder coming from some of the genre’s original titans.

66: Liz Phair- “Why Can’t I?”

I actually only discovered this song, the lead single from Liz Phair’s 2003 self-titled LP, through a cover from the pop-rock band Waterparks, who included it on the setlist for their spring tour. I’m not particularly well-versed in Phair’s discography as a whole, and have gleaned that, at the time of its release, “Why Can’t I?” and its accompanying record faced a deal of backlash, deeming its sound overly produced and watered down compared to Phair’s early material. But taken on its own terms “Why Can’t I” is an immaculate pop-rock song that crystallizes the manic enthusiasm and desperation of youthful infatuation. In the context I first heard it, it’s also an eerily good fit for Waterparks’s oeuvre, in terms of both sound and subject matter.

65: Twenty One Pilots- “Bandito”

While I have love for every Twenty One Pilots record, 2018’s Trench stands head and shoulders above the rest as their most accomplished work. The album features rich, textured production that fleshes out the fictional world of its narrative conceit and opts for mature, contemplative slow-burns over fast and catchy pop hooks. Perhaps the greatest example of that songwriting ethos is on the track “Bandito.” As I wrote back in March when I ranked the band’s discography, “Bandito” uses hypnotic synth and drum patterns to build to a grand, cathartic synthesizer climax, a dance break that’s also a moment of revelation for its narrator. The narrative of Trench sees Joseph detail the fictional world of Dema, analogizing his mental health struggles to seeking to escape a dystopian society. On “Bandito,” he plainly admits “I created this world to feel some control/ destroy it if I want.” It’s an epic track that works not only within the context of the record but as a statement about the band itself.

64: The All-American Rejects- “Move Along”

I wouldn’t necessarily count myself among the biggest fans of The All-American Rejects. They’re in the circles of bands I like, but I only know a few of their biggest hits. That being said, “Move Along,” the title track from the 2005 album of the same name, is a stone-cold classic. Driven by a propulsive drumbeat, the track is a timeless self-encouragement anthem. In this year’s hardest moments, from turmoil with friends and family to pressure at work to the loss of my beloved cat, it’s this song that’s reminded me to “move along” and keep on keeping on.

63: Hadestown Original Broadway Company- “Wait For Me”

As I mentioned earlier, witnessing Hadestown for the first time was truly revelatory, and “Wait For Me,” its show-stopping first-act closing number, is among the standout moments from an outstanding musical. In the show’s narrative, “Wait For Me” narrates Orpheus in his decision to descend into the underworld in an effort to rescue his beloved Eurydice. Reeve Carney’s voice as Orpheus is delicate and emotive, contrasting with the charismatic yet menacing narration of André De Shields as Hermes. Carried by Mitchell’s powerful melodies, the song expresses the power not only of love but of the endurance of the human spirit in hard times. Seen in the theater, as Orpheus ventures through a transforming stage, the number makes for an awe-inspiring moment that sends you into the intermission with chills.

62: Olivia Rodrigo- “bad idea right?

Though Olivia Rodrigo’s Guts was released in 2023, it remained one of my most listened-to albums in 2023. Rodrigo’s ability to channel well-worn topics of angst and being unlucky in love alongside a punchy alt-rock soundscape all while keeping the entire package feeling fresh is genuinely remarkable. I mentioned before that beyond her ability as a singer, Rodrigo’s secret weapon as an artist is her ability to truly perform personality and character in her singing, and there’s hardly a better example of that than the tongue-in-cheek sensibility of “bad idea right?.” Plus, the song boasts an indelible scream-along chorus ready-made for a big live concert moment, and an absolutely killer guitar solo.

61: Twenty One Pilots- “Lavish”

This track, also off Clancy, is a bit of an odd one out. “Lavish” lacks the drama and darkness that often typifies Twenty One Pilots. Instead, it’s a track that leans towards hip-hop, with a light beat and Joseph’s rap flow recalling House of Pain’s “Jump Around.” The song’s tone is one that’s, overall, light-hearted. However, lyrically, there is a bit more to chew on, as we might see the song’s content, on its face materialistic and braggadocious, as a reflection on Joseph’s struggle to acclimate to the lifestyle of a famous musician.

60: Poppy- “new way out”

Poppy, the alternative pop singer-songwriter turned nu metal revivalist, is an artist who’d been on my radar for a while, but I was actually drawn to this track from another angle. In December 2023, Bring Me The Horizon parted ways with Jordan Fish, who had been an integral part of the band on five records over the previous decade, not only serving as a keyboard and synthesizer player, but as a producer, songwriter, and backing vocalist. Fish quickly moved on to new projects, one of the first of which was working with Poppy on her new album Negative Spaces. That album’s lead single, “new way out,” is certainly of a piece with Poppy’s prior discography, but with its techno-metal instrumentation, it also has Fish’s signature touch, and bears more than a little resemblance to his work with Bring Me The Horizon. That’s not to discredit Poppy, though, who shines not only through the song’s powerful writing but as a multifaceted performer, shifting between the smooth vocals of a pop singer, the droll deadpan of her one-time android persona, and harsh heavy metal screams.

59: Bring Me The Horizon- “liMOusIne (feat. AURORA)”

This track sees Bring Me The Horizon collaborating with the Norwegian singer-songwriter AURORA, whose light, hypnotic tone commands the second verse. While Sykes sings of feeling despondent, surrounded by hollow luxuries, AURORA’s parts seem to come from the perspective of that lifestyle itself. From a sonic perspective, “liMOusIne” also embodies that contrast, building from mellow, spare verses to crushing guitar riffs in the chorus. While much of the NeX GEn tracklist discusses negative feelings, it’s often wrapped up in a shiny, energetic package. “liMOusIne,” by contrast, feels truly punishing, embodying the sense of being trapped in a feeling of misery and dependance.

58: Bleachers- “How Dare You Want More”

Considering that he’s largely known as the producer of choice for the biggest names in pop, I feel that I might be in a small minority of those whose favorite work by Jack Antonoff is that of his solo project, Bleachers. Or is Bleachers a band? Depends on who you ask. “How Dare You Want More,” a track from the 2021 Bleachers record Take the Sadness Out of Saturday Night, is an infectious track, buoyed by light guitar work and dueling saxophones. While Antonoff has a reputation as a production wizard, “How Dare You Want More” captures the infectious, even messy energy of a live jam session, particularly evident in the song’s midsection, where things slow to a halt as the guitarists and saxophonists trade riffs, before the energy picks back up for a euphoric closer.

57: Jay Som- “If I Could”

Writer-director Jane Schoenbrun’s film I Saw The TV Glow was one of the best, most original films I experienced all year. While technically categorized as horror, that label feels misleading. Rather than seek to shock and horrify, Schoenbrun’s film combines youthful suburban malaise with a creeping sense of unease and fear that your life isn’t what it’s meant to be. While Schoenbrun’s film is evidently an expression of the transgender experience, it’s deeply rooted in emotions of alienation and yearning that just about anyone could relate to. Contributing further to the film’s hazy mood is its indie-rock soundtrack. The original score was composed by Alex G, and the track list features new songs from a long list of indie superstars, including Bartees Strange, Caroline Polachek, and Jay Som, the performer of this track, “If I Could.” The track captures a mood of melancholic-tinged romantic yearning, blending her light voice with a stirring rock rhythm, building to a fireworks show of a guitar solo at the bridge.

56: Real Friends- “Waiting Room”

This one’s another single from Blue Hour, the new LP from Real Friends. I was lucky enough to see the band live twice this past year, both at Sad Summer Fest, and in November, on their solo headlining tour, and this song, “Waiting Room,” absolutely ripped both times. The song’s harsh, emotional tone features passionate vocals from vocalist Cody Muraro as he scream-sings lyrics based on bassist and lyricist Kyle Fasel’s experiences around the death of his father. Anyone who’s lost someone close to them can relate to the sentiment expressed in the chorus: “I thought time healed every wound ‘til I lost you.” With energetic guitar and drum work, the track is both mournful and cathartically energetic.

55: Day6- “Welcome to the Show”

I honestly thought I might never hear from Day6 again. In the last few years, the Korean pop-rock band has been on a hiatus as its members did their mandatory military service. In the middle of that they also lost vocalist and lead guitarist Park Jae-hyung, known as Jae, who departed the group due to mental health struggles and a desire for greater artistic freedom. Between the extended hiatus, the loss of a key member, and the simple fact that Day6 made their debut in 2015 and most K-pop acts don’t remain active beyond the term of an initial 7-year contract, I thought I’d heard the last of the guys. But instead, in 2024, Day6 returned with a vengeance, dropping two new EPs and announcing a world tour for next year, for which I will be in attendance. “Welcome to the Show” is the lead single from the first of those two EPs, Fourever, a reference to the group’s new four-member composition: vocalist and guitarist Park Sung-jin, vocalist and bassist Kang Young-hyun, known as Young K, vocalist, keyboard player, and synthesizer player Kim Won-pil, and drummer Yoon Do-woon. “Welcome to the Show” is a grand return to the stage for Day6. The song fades in slowly, a spare synth and drumbeat accompanying the first verse, before building to an explosive,rocking chorus with a stadium-sized refrain. It’s a hearty “welcome back” from a band that I’m extremely glad to hear new material from.

54: blink-182- “Ghost on the Dance Floor”

Blink-182’s 2011 album Neighborhoods, from their short-lived first reunion with Tom DeLonge, is a criminally underrated piece of their discography. It sees blink taking on a more mature style, one that blends in the disparate musical directions its members had taken during their time apart. In this case, “Ghost on the Dance Floor” incorporates the spacy, grandiose, U2-esque style that DeLonge had explored in his band Angels and Airwaves, but anchored to its pop-punk roots by Hoppus and Barker’s sturdy rhythm section. Its yearning lyrics see DeLonge blend the euphoria of live music and the melancholy of remembering someone who’s passed on. Its melody in the verses also strongly recalls “There Is,” a bit of potential self-plagiarism from DeLonge that I’m willing to overlook considering that both songs turned out excellent.

53: Hadestown Original Broadway Company- “Road to Hell”

We have yet another Hadestown song here, this time, the musical’s opening number, “Road to Hell.” The track opens on the spare sound of solo trombone before André De Shields appears as the mischievous Hermes, ushering in listeners and viewers to the world of gods, demigods, and mortals where Hadestown takes place, along a railroad line, though, as Hermes implores us in the song’s opening lyrics, “don’t ask where, brother, don’t ask when.” He introduces our main players, the gods Hades and Persephone, and the ill-fated young lovers Orpheus and Eurydice. Anyone with a passing familiarity with Greek mythology knows the tale of Orpheus and Eurydice, but in the jaunty, energetic folk-jazz realm of Hadestown it feels fresh. As Hermes sings, “it’s a sad song, we’re gonna sing it anyway,” and “it’s an old song, and we’re gonna sing it again.” The result is a song that I listened to again and again.

52: Porter Robinson- “Russian Roulette”

Porter Robinson has long used his music as an expression for his emotions and mental health struggles; much of the lyrical content on his last album, 2021’s Nurture, related to the depression that kept him from working on music for years after his 2014 debut LP, Worlds. On “Russian Roulette,” from his new album SMILE! :D, is perhaps the most candid song Robinson’s put out, as he openly discusses the feelings of suicidality that he’s struggled with, juxtaposed with a breezy electronic pop sound and a catchy, uplifting melody. The song’s true showstopper moment, though, comes in the bridge, as Robinson’s focus turns to the reasons he has to carry on, all the moments in life, big and small, that make it worth living, the song building in intensity before culminating in an impassioned exclamation of “I wanna live,” releasing the track’s building tension into a euphoric dance beat. “Russian Roulette” came out as a single just a couple of weeks after the death of my childhood cat, and Robinson’s listing “I wanna kiss my cat one more time” among his list of reasons to live, coupled with the song’s already deeply emotional tone, brings a tear to my eye every time.

51: Bring Me The Horizon- “Sleepwalking”

“Sleepwalking” is a track that hails from Bring Me The Horizon’s 2013 album Sempiternal. That LP marked a turning point for the band. It was their first with Jordan Fish, who served as a keyboard and synthesizer player, producer, songwriter, and backing vocalist for the band for the ensuing decade. With Fish’s addition, the band widened their sonic horizons, from the punishing thrash of metalcore in which their previous albums had been anchored to something more melodic and grand, incorporating electronic and orchestral elements. “Sleepwalking” is a sonic embodiment of this crossroads. It has those softer electronic moments, cinematic string flourishes, and a catchy, cathartically angsty chorus, blended with an intense, driving metal instrumental. It captures the moment when Bring Me The Horizon started off on the trajectory that would transform them from metalcore scene favorites to stadium headliners and one of the century’s most interesting rock acts.

Stay tuned for part three of this countdown on January 6!