How Excellent Is Your Name Lyrics Chicago Mass Choir
How Excellent Is Your Name Lyrics Chicago Mass Choir – The Complete List: Music’s Favorite Songs of 2015 Over 400 of the best songs of 2015, selected by dedicated Music listeners, spanning more than a dozen genres. And you can listen to each one.
These are the best songs of 2015, the ones we couldn’t stop, the ones we shared, the ones we almost held on to all year. Now we are happy to share them with you. Click “Launch App!” link below and you’ll hear over 400 songs across a dozen genres. There’s a playlist of the year’s favorite songs from over 50 public radio hosts, a party-starting song pack if you need it, plus selections from veteran musicians and the best new artists of of the year. There’s so much here worth spending time with, from Adele to Zofo. We hope you also find something new that you like.
How Excellent Is Your Name Lyrics Chicago Mass Choir
Brittany Howard’s fiery vocals – reminiscent of Robert Plant and Tina Turner – make this one of the best rock songs of recent years.
Wonderful, Marvelous By Chicago Mass Choir
Burning distortion and propulsive punk beats hide pain and rage before Maryn Jones twists the song into a kissable mantra: “What does it mean? / Stay away from me!”
One of the year’s most captivating storytellers considers the late voices in his head, jealousy, greed and the emptiness of unfulfilled dreams.
Just when the weight of Savage’s raspy voice and a perfect, stunning insight into low self-esteem threatens to overwhelm her, this song opens wide and the light pours out.
The most romantic extended boxing reason you’ll ever hear to express commitment during tough times, from Black Keys guitarist Dan Auerbach and friends.
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Nobody sings like Asaf Avidan. His voice is full of genres, soulful, haunting and classic. His words describe the physical sensation of the impending end of a relationship.
In its glorious opening minute, “Leaving The Body” could be a song about anything. With its closing notes, it became a survivor’s tale, clear enough to turn the triumphant intro into menace on a second listen.
A career highlight revs the engine of the Baltimore band’s dream formula, with a perfectly Dean Wareham-esque guitar solo at the end.
Take a surreal funk song, process it, twist it and turn it into a kaleidoscope of sound.
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The once-homeless street vendor with an unforgettable voice signs with Universal, wins the Mercury Prize and asks us in this heart-stopper to remember the golden rule of life.
If we really want to go deeper into a 90s/grunge revival, can we have more alt-pop songs like this amazing bit by four young ladies from London? Incredible guitar + organ melancholy that also rocks.
Her candid document of the end of a relationship is stunning, thoughtful, bitter and questioning in a way that only Björk could pull off.
If you want to look back, you might as well fit your reminiscences into two massive minutes of rock ‘n’ roll.
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This powerful pile of guitar drones embodies the feeling in your head right at the point where the party has gone too far.
Built around samples from a Lao ethnographic recording, this is an arpeggiated meditation on everyday feminism.
Delving into the hot uncertainty of love and intimacy, Colleen Green masterfully weaves lines of brutal lyrical honesty while maintaining her laconic cool.
A series of mundane observations about a couple’s low-rent move to the suburbs reveals a devastating portrait of humanity.
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As Barnett’s thicket of witty words pours forth, her band deliver an anthem worthy of the inevitable Nirvana comparisons.
If Pee Wee Herman made an album with Brian Eno about fear and anxiety, the result would be something close to this electronic cartoon pop song by the brilliant, fun-loving Dan Deacon.
Kendrick Lamar inspired these ten extraordinary minutes: free jazz saxophone, formulaic strings, liturgical-languid vocals over terrible, beautiful, caffeinated rhythms. Dark, monstrous and design-driven, it’s like a pop-fusion score written for a Guillermo del Toro horror film that doesn’t exist yet.
A surprising marriage of swirling, self-deprecating psycho-funk lyrics about being bony, domestic and lonely. The best music I’ve heard from Bradford Cox in a long time.
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Just in case you’re wondering what it would sound like if the E Street Band walked into a Dan Bejar session.
This ambitious, sprawling track celebrates late ’60s psych pop and early ’70s glam rock with hairpin swings and beautiful four-part harmonies.
Cathartic pop-punk with boundless vitality and wide-eyed charm, especially in the way Alex Luciano revels in sharp observations about escaping the responsibilities of adulthood (like owning a shower curtain) by watching Simpsons DVDs.
The Divers exploded onto the Portland music scene this year on the back of incredibly intense live shows fueled by expertly crafted punk rock anthems like this song from their debut album.
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There is a better future, and these political party saxo-punks are crying out loud “that nothing I can do can drive it away!”
These lyrics end this delicate yet tornadic song, which stuck in my head as a perfect description of late-teens/early-twenties angst and made it a year-round favorite: “And if I had a dime for every time I’m flippant, I could fly around the world or just get out of your parents’ house.”
A frenzy of poppy synths, pounding percussion and a rumbling bassline, this song effectively blends Furman’s visceral indie-rock roots with his newer, more polished sound. But there’s no time to hold it down or pronounce it anyway – it’s just good to be along for the ride.
The song that catapulted Xavier Dphrepaulezz and his band to victory in last year’s Music’s Tiny Desk Concert Contest is a soulful, bluesy tune inspired by the struggles of the working poor.
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It took Josh Tillman a long time to craft this glowing ode to his new love at the time, and he struck sonic gold by wrapping his wit and vulnerability in lush strings, mariachi horns and one of the lyrics of the year: “What are you doing. with all your life? / How about forever? (He said yes by the way).
Brian Sella’s words pour out in heaps as he builds an evocative and stark confession: “I’m lost in love.”
You don’t want to mess with these transpunks or this seriously indignant anthem for smashing the patriarchy.
A scream of steamroller consciousness that builds, resets, puts its shoes back on, walks around for a while, shakes itself off, gets up and gets up again. And again. And again. And
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This Los Angeles punk band rides the sweet spot between choogle and apache beat for three and a half minutes.
Indie rock veteran Hayden Desser wrote this song for his non-verbal daughter. One of the legit tearkingers of 2015.
Vocal performance of the year thanks to Frances Quinlan, whose ragged pipes added a worn familiarity to the detailed lyrics about being caught up in bad decisions, circumstances and random cruelty.
Did you not achieve what you set out to do today? Let this song – McPherson’s brand of retro rock ‘n’ soul at its finest – express your pain
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Grant writes the funniest words about the most depressing things. This title track from his 2015 album offers a bit of thoughtful pop sung by such a unique talent.
A sweeping, string-filled song with a vulnerability fueled by the delightful way Julia Holter splits the syllables in “mit-o-lo-gi-cal.”
In two minutes, the still-college-age Baker weaves the need to create with how need can be crippling over a skeletal but brilliant backing of vocals and guitar.
There’s a place for songs about romantic issues, but sometimes you just need a happy-go-lucky celebration of a happy, secure relationship.
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A sepia campfire song about the fight for honor and a woman’s hand in marriage. It doesn’t end well.
You can almost hear the blood pouring out of the Swedish post-punk band’s urgent revenge fantasy, especially in Maja Milner’s final wail: “Dammit, I’m burying you.”
Our favorite British pop-punks sing acoustically in this soulful song about the restorative power of love in the face of an unforgiving world.
Slime and dirty inner-city pop for the unsuspecting 80s, from a 00s survivor unafraid to play hard, to a new niche.
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It’s unclear if she’s referring to the drug Ecstasy or just a truly horrible person, but either way, Palehound’s Ellen Kempner sets Molly up for a tough, infectious takedown.
Youthful bravado melts into the uncertainty of aging, and the Detroit band turns the words of a woman with Alzheimer’s disease into a soulful, guitar-driven anthem.
There’s a lot to like here – guitar heroics, Matt Sharp-esque synth lines, body glitter – but it all pales in comparison to the golden hook, cracked and wordless and utterly unflappable.
Australia’s Royal Headache has all the grinding guitar, driving drums and furious energy needed for a rocking punk song.
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Killer riffs blasting through cloudy speakers and Tina Halladay’s ferocious kick and wail ignite this boogie rocker like a spark on a puddle of gasoline.
Let Janet Weiss start a song in the middle of a drum fill. We probably would have celebrated their return no matter what, but it’s nice to know that Sleater-Kinney still has wacky ideas.
She’s still a teenager, but an Irish singer
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