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And the countdown continues! Here they are, my ten favorite songs of the year! Please don’t judge me too harshly for some of these selections…

10. “The Edge of Glory,” Lady GaGa

RIP Clarence Clemons. Bruce Springsteen’s partner-in-crime had time to lend his orgasmic saxophonic touch to one last song before he passed away, but no one ever would have ever suspected it would be a Lady GaGa song. In some way, however, it seems strangely fitting. “The Edge of Glory,” the closer off Born This Way, carries that classic Springsteen spirit of reaching for one last chance, one final opportunity to better yourself and the situation around you. The Lady just chooses to express that sentiment in an entirely different way – with thunderous synths, furious strings, and one hell of a disco beat. It’s a peak hour anthem for an escapist electro-pop generation, as GaGa imbues his glittery pop with the romanticism of 1970s highway rock and roll. A match made in heaven, or at least a new wave nightclub.

The Edge of Glory, Lady GaGa

9. “Lucky Now,” Ryan Adams

Ryan Adams have reached his commercial highpoint several years ago, but this song, off the otherwise bland Ashes & Fire, proves that one of the past decade’s most prolific singer-songwriters hasn’t completely run out of juice just yet. It’s a sweet and simple song with guitar strumming and a piano background, before opening up with electric guitar in the final verse. It’s the perfect winter song with the lyrics “city of neon with toes that freeze.” It’s that classic alt-country sound that fans have come to expect from Adams. Plus, his vocals prove that he is still one of the best singers at conveying emotion. This time around though, he thankfully exudes all the pain and heartbreak of where he’s been, but complemented with his current complacency and calm. In “Lucky Now,” it proves to be a winning combination.

Lucky Now, Ryan Adams

8. “Hurts Like Heaven,” Coldplay

I’m not ashamed to admit my love of Coldplay. People make two primary critiques of their music – their lyrics are trite, meaningless platitudes about love and hope, and they write the same song every time. I’ll concede that both of those claims are completely valid and true; however, in this depressing world, are clichés and positive messages about hope the worst thing? Plus, I like that one song that they write. “Hurts Like Heaven,” the proper opener off this year’s ridiculously titled Mylo Xyloto, is classic Coldplay – spiraling guitars, piano crescendos, soaring vocals, but with a danceable twist. It’s the band’s most unabashed move yet towards straight pop, embracing all the current top 40 trends (listen for the subtle autotune on the verses). The song makes for a perfect introduction into an album that while it may have underperformed commercially, represents their most colorful and uplifting work yet.

Hurts Like Heaven, Coldplay

7. “Till the World Ends,” Britney Spears

Seeing as Ms. Spears can no longer dance the way she used to, it seems that her latest effort, Femme Fatale, was largely devoted to making her audience dance instead. There’s no better example of this than the sensational “Till the World Ends,” the best pop song of the year. In all of its mindless electro-pop glory, it perfectly sums up the partying ethic of the past year – well, the world might be going to crap, but dance anyways. Remember that scene in The Matrix Reloaded where all the people in Zion have a massive rave as the machines are closing in? This is what I picture as the soundtrack for that scene. It’s loud and arena-filling, with Spears’ robotic voice soaring above all the noise. If this song were playing during the apocalypse, which is apparently supposed to come later this year, I wouldn’t entirely mind. It would be a hell of a way to go out.

Till the World Ends, Britney Spears

6. “Otis,” Jay-Z and Kanye West

The best and most extravagant sample of the year, but would you expect anything less from these two titans of hip-hop? Embarrassingly, this song was the first time I was ever truly exposed to Otis Redding’s “Try A Little Tenderness.” I know, shameful. Blatant gaps in musical knowledge aside, “Otis” is braggadocious, arrogant fun from this year’s supergroup rap manifesto, Watch The Throne. Who else could get away with starting a song with a minute-long, egregiously expensive sample, purely to show that they can afford it, and then follow that with the claim, “I invented swag”? Otis’ words are reduced to a driving, rhythmic grunt reminiscent of Kanye West’s work for Jay-Z’s “Takeover.” Meanwhile, Jay-Z and Kanye run rampant all over the song, tossing off lyrics about Castro, supermodels, and Jesus, as well as coining the term “luxury rap.” If it didn’t exist before, it certainly does now.

Otis, Jay-Z and Kanye West

5. “Levels,” Avicii

Now this is how you make a dance song. I heard this track more than any other song as parties this fall, and with good reason. 22-year-old Swede Tim Bergling is a dance music wunderkind, and “Levels” pretty much gets everything right. Opening with a frenzy of electronic blips, the track fades out, only to bust wide open after the 1-minute mark with that anthemic hook, a rallying cry for progressive house fans everywhere. Stomping bass and synths carry “Levels” to yet another peak. By the time that grossly unnecessary and incredibly welcome Etta James sample comes in, a la “Something’s Got A Hold On Me,” the listener is in pure ecstasy. There’s really nothing else to say, you just have to hear the song for yourself.

Levels, Avicii

4. “Pumped Up Kicks,” Foster the People

Sometimes, pop music is at its best when it’s subversive. Every once in a while, a song comes along where you actually have to stop and listen to the lyrics, before realizing that you’re horrified by the subject matter. In 2011, that song was Foster the People’s “Pumped Up Kicks,” a happy little surf-pop ditty about a school shooting. Those nasal vocals, maddeningly addictive bass line, and whistling solo (there was a lot of that this year) made for one of the most peculiar hits of the year, and it very well might be impossible for them to ultimately top (one-hit wonder anybody?) Either way, they’ve given us an indelible classic that we’ll still be listening to for years.

Pumped Up Kicks, Foster the People

3. “Helplessness Blues,” Fleet Foxes

Sometimes a song hits you at just the right moment in your life when you can relate to its message perfectly. For me, this song in 2011 was the Fleet Foxes’ “Helplessness Blues,” the title track off their gorgeous sophomore effort. At a moment in my life when I’m trying to figure out what exactly I want to do on this planet, the song’s sentiments about finding one’s purpose in life struck a chord with me. Plus, there’s the spectacular instrumentation. Fleet Foxes put their CSNY and Beach Boys influences on full display with furiously strummed guitars and beautiful vocal harmonies mostly unheard in today’s music world. Plus, frontman Robin Pecknold’s voice sounds positively angelic, truly one of the best voices in rock music today. By the time that time signature-change coda comes in, the song soars. They simply don’t write songs this beautiful anymore.

Helplessness Blues, Fleet Foxes

2. “Love on Top,” Beyonce

Beyonce’s aptly titled fourth album, 4, didn’t quite take off this year in the way her previous three solo albums have. That’s ironic, considering that it contained some of her most impressive and dynamic work to date. “Love on Top” made a brief blip on the charts after Beyonce performed the song on the VMAs, shortly preceding the very public announcement of her pregnancy. This song deserved way more attention than that. It’s a rare R&B song in 2011 that sounds completely timeless and joyous. Beyonce is clearly over the moon with happiness, and it shows not only in the lyrics, but also in the music. Finger snaps, disco horns, and five dizzying key changes later, it’s the year’s most rapturous love song. As much as people might mock the key changes, it puts Beyonce’s remarkable vocal talents on center stage, right where they belong. A hell of a song.

Love on Top, Beyonce

1. “Holocene,” Bon Iver

I wrote about this song back in August, and the way that I feel about it still stands, except that now I’m declaring it my favorite song of the year. Sometimes it can’t exactly be explained what a song is about, but rather, it’s what the song makes you feel that’s important. Bon Iver knows exactly how to encapsulate feeling and emotion in ethereal pieces of music that aren’t so much songs as they are moods. “Holocene” is a slow-burning combination of acoustic guitar, electronic haze, and Vernon’s disembodied vocals. As his falsettoed croon flows in front and back behind the wall of music, the slowly beating drum hits and repeated refrain of “I can see for miles” seem otherwordly. “Holocene” can stir so many emotions, but for my part, it conjures a mix of pathos, nostalgia, and sadness. It’s the soundtrack to waiting alone on the platform for a train and then staring wordlessly out the window of the train as the city skyline rushes by. It’s the score to rainy Sunday mornings in the house and late nights standing under a streetlamp. It’s the uncertainty of having no idea where you’re going while being utterly unable to remember where you’ve been. It’s the most moving and poetic song of the year.

Holocene, Bon Iver

Happy 2012 everybody! Here’s hoping we have another year of great music ahead of us.

Its that time of the year again, when the huge music media firms put out their massive lists of their favorite albums and everybody gets mad about them. Outrage aside, these lists create discussion and help readers discover releases they might have missed out on, while forcing the creators to think critically and be decisive for once. Our lists here on Turntablr are completely subjective and non-quantitative, ignoring any genre restrictions, sales figures, or elaborate voting system. Simply put, these are the albums I like the most and am most likely to keep listening to in the future. Also some of them are EPs instead of LPs, I think its nitpick-y to separate them though.

1. Middle Brother / Middle Brother: Portland

This act won me over at the Newport Folk Festival with their potent blend of vintage country grit, lyrical vulnerability, simple songs and confident vocal harmonies. A supergroup of sorts, this trio of frontmen all bring in unmistakable elements of their own bands (Dawes, Delta Spirit and Deer Tick) and assemble them into a record that truly is greater than the sum of its parts, showing a rare chemistry between these young, like-minded rockers. From the oldies-pop of “Someday” and the barnstorming “Middle Brother” to the charming acoustic ballad “Wilderness” and heartbreaking “Million Dollar Bill,” this album really has something for everyone while maintaining an impressive coherence. Some of the mid-tempo rock burners like “Mom and Dad” and “Blue Eyes” really show all these musicians at their best. Its one of the most memorable, versatile and well-crafted collections of songs I’ve heard in a long time. Giving it the top spot on my list barely demonstrates my respect and gratitude for the album.

2. Nostalgia/ultra / Frank Ocean: Songs For Women

Love or hate them, the controversial hip-hop collective Odd Future Wolf Gang Kill Them All made a huge splash in the musical landscape this year, drawing protesters and huge crowds alike to their festival shows and effectively hijacking the indie media with their brazen, unapologetic attitude. Controversy aside, the crew produced some fantastic releases during their time in the spotlight, my personal favorite being this debut release from smooth-crooning vocalist Frank Ocean. On Nostalgia/ultra, which has since been re-released on Def Jam without some of the more sample-heavy tracks, Ocean plays with radio conventions to craft intelligent, well-written and musically-interesting pop songs that match crazy-catchy hooks with emotionally-substantial lyrics. In many ways this album is exactly what commercial pop has needed of late: a dose of musical creativity and a rejection of lyrical superficiality from an artist working outside of the overly-mediated major label system. Ocean has played a few new songs live recently, I’d love to see his first official LP (this is an EP) get some attention from mainstream audiences

3. Turtleneck and Chain / The Lonely Island: Attracted to Us (feat. Beck)

You may not see this album so high on many other lists, but I refuse to deny how much I enjoy listening to this album for the sake of critical credibility. There are so many tracks that I just don’t seem to get tired of, no matter how much I listen to them or quote them with my friends. It may be a whole different type of artistic expression than the rest of the list, but I can honestly say that I liked this album more than every album below it and just less than the two above it on this list. Go listen to “Rocky,” “Mama,” or the collaborations with Beck, Snoop and Santigold if you object, they’re pure gold.

4. New Kind of House / Typhoon: Kitchen Tile

I discovered Typhoon in the wake of this past spring’s SXSW, and they have quickly become one of my favorite bands ever. In fact, if i were making a list of my favorite bands this year, they would probably end up on top. With 13 members, including 3-piece horn and string sections and a formidable pair of drummers, they have no problem building epic, almost Arcade Fire-esque rock arrangements. More impressively though, they balance their ability to make lots of noise with a surprising sense of restraint, weaving sparse, delicate moments of quiet into almost all of their songs. Vocalist and Songwriter Kyle Morton is one of the most talented and creative frontmen I’ve seen in a long time, writing ambitious sprawling songs bringing them to life with his veritable indie-rock orchestra. They also pack a serious punch live in concert.

5. Watch the Throne / Jay-Z and Kanye West: Made in America

This mysterious, much-anticipated collaboration between the two biggest names in hip-hop today turned out as epic as we all hoped. The tone shifts from sinister to overblown to oddly humble in parts, capturing the range that both artists have in their catalogs. The whole album is essentially a snapshot of what hop-hop looks like in 2011, and in the future it’ll be an interesting part of the time capsules that are all of our iTunes libraries.

6. Inclusions / Ben Sollee

Singer/Songwriter/Cellist Ben Sollee is one of the most unconventional talents out there right now, bringing in folk, pop, soul and R&B influences into his cello-centric compositions. He has an interesting singing voice, ear for melody and a mind for enigmatic but engaging lyrics that really comes out in this release. I first heard him perform “Electrified” on his tour with Daniel Martin Moore and couldn’t wait for an official release, but much to my surprise that gem is outshadowed by a few even better tracks on Inclusions. This is a great introduction to an amazing artist.

7. undun / The Roots

It just came out, but this album really hits hard and shows The Roots at their best. The minimalist, drum-centric production and masterful rhyming from Black Thought and the guests on this album paint a stark, dramatic picture of urban crime. Turning against the “gangsta” conventions of glamorizing drug trafficking and violence, the narrative aspects of this concept album are both effective and affective, playing out like a well-conceived movie plot. More than anything though, it just sounds fantastic, especially the suite of instrumental pieces at the end.

8. Goblin / Tyler, The Creator

Call it shock value, call it horror-core (at your own risk), or call it a fad, but I actually think this album contains some of the most innovative hip-hop production and more raw, honest emotion than any other LP I listened to this year. Tyler Okonma is one of the most interesting characters to break into the public consciousness in a long time, flaunting his demons, obsessing over and condemning his own celebrity and showing both vulnerability and initiative. Maybe it won’t change hip-hop forever and maybe he’s just a crazy fucked-up kid, but I really enjoyed watching the Odd Future phenomenon unfold and I think Goblin is worth repeat listens.

9. All Eternals Deck /The Mountain Goats

I’ve always loved John Darnielle’s songwriting, and this album contains some of his most ambitious and strongest songs to date. The production sounds polished and clear, veering away from the grit of the MG’s “boombox” recordings without losing emotion. The gambles pay off on this album, with the barbershop quartet on “High Hawk Season” making it an unexpected highlight, and Jon Wurster’s subtle drumming brings out interesting textures in many of the tracks.

10. Circuital / My Morning Jacket

By now you’ve heard everyone rave about MMJ as a live act and you should believe the hype, but this album shows their dexterity in the studio as well. The droning, spacey production underscores Jim James’ vocal style perfectly, and their ability to seamlessly shift from epic to intimate between tracks shows their versatility. A very solid album from a great band.