The Tallest Man on Earth – “Burden of Tomorrow”

Who had a more productive and revered ten years than Kristian Matsson?  The man started off the decade by earning top honors from multiple publications for his 2010 masterclass in folk, The Wild Hunt.  From there, he cemented his position atop the genre with There’s No Leaving Now – a great and oft overlooked gem.  Dark Bird is Home stretched his sonic boundaries, and I Love You. It’s a Fever Dream. reminded us that he never lost his touch through the aforementioned record’s experimentation.  Needless to say, his legacy – at least with regard to the 2010’s – was never in doubt.

“Burden of Tomorrow” embodies everything about Mattson’s music in a tidy three and a half minute package.   It’s like a spur of the moment road trip through the countryside: the deceptively complex fingerpicking and skeletal guitar-and-vocals songwriting approach feels like a refreshing breeze blowing through the open roof of a car.  It’s as if that sensation, that joyous spontaneity that Matsson has become known for across the span of his career thus far, was captured in a bottle.

It’s not overly showy; it’s just Kristian’s raw, scratchy vocals atop acoustic guitar plucking – pretty standard fare by any means.  What makes this track special is his delivery and the melody.  He’s not an artist renowned for his hooks, but this track’s chorus is one of his very best – and the way he belts it out showcases his…

Kevin Morby – “Destroyer”

Of late, Kevin Morby has turned into a one-album-wonder for me.  I got into his music with 2016’s Singing Saw, from which “Destroyer” hails, and the album is a borderline classic in my opinion.  City Music and Oh My God followed in rapid succession with tepid results, failing to live up to the beauty of their predecessor.  But that’s okay when we’re talking about songs of the decade, because all you have to do is get hot once – and Kevin Morby absolutely hit the nail on the head with the gorgeous, jazzy folk of “Destroyer”.

Sometimes I wonder if the song title pays homage to Destroyer the artist, because at times it sounds like it belongs on Kaputt (for those following this series — foreshadow warning!), what with its blend of atmospheric indie-folk/pop and rich, textured jazz horns.  The song moves along very leisurely, Morby’s vocals floating without a care in the world atop a repetitive but elegant piano line. The turning point comes around the 2:30 mark when Morby elevates the emotion of the entire song with the line “And now I go down, towards the dirt…In which we died.”  From that point on it becomes the most gorgeous, sexy, and downtempo blend of lush indie-folk and jazz, this seductive intertwining of genres that is melodically pleasing and emotionally transformative.  The female backing vocals that brush up against the jazzier sections of the track are a subtle stroke of genius, added atop an already…

Silversun Pickups – “Skin Graph”

On the heels of 2009’s Swoon, Silversun Pickups’ trajectory over the course of the ensuing decade will depend on who you ask.  There’s a lot of staunch supporters of the band’s first two albums who feel that everything they’ve done since has been varying grades of disappointing.  For me, I think the band continued its ascension and peaked with 2012’s Neck of the Woods, an album that almost feels like being in a haunted house.  The themes are darker, the lyrics are creepier, and there’s even song titles like “Bloody Mary.”  The band really pursued its electronic ambitions here, without sacrificing too much of the raw grit that was noticeably absent on later albums like Better Nature.  For me, this is the quintessential Silversun Pickups release – and from this record, “Skin Graph” stands out like no other track.  It’s epic and sprawling, taking nearly half of its six minute run time to finally erupt into its long-anticipated chorus, one that is interrupted by guitar/drum interchanges that feel like a series of mini-breakdowns.  Afterwards, it drifts off into ambient territory, Aubert’s wispy vocals seemingly lost in the wind before it all comes charging back on the heels of tense, swelling electric riffs that re-open the floodgates to the song’s trademark melody.  Everything ratchets up a couple notches during the second lap, Aubert’s vocals sounding more urgent and frightened, the riffs louder, and the drumming more chaotic.  It’s the perfect opener for any SSPU album,…

Ariana Grande – “Into You”

On 2016’s Dangerous Woman, we witnessed Ariana turn a corner and hit her stride as an artist: one who became aware of her strengths and how to best utilize them.  Sure, Yours Truly and My Everything demonstrated flashes of brilliance, but even those moments sounded more like question marks than resounding statements – as if Grande was testing the water to figure out which end of the pool had just the right temperature.  It wasn’t until Dangerous Woman that is felt like she had it all figured out and was ready to throw everything she had at us.  “Into You” represents the culmination of her songwriting maturation, and better yet, it sounds astoundingly effortless.  It’s carefree reflection – a fun, flirty summer jam.

“I’m so into you I can barely breathe” is the breathy utterance that captivates us during the leading seconds of the track, and one can almost feel the sweat beading up on his/her forehead as the club begins to heat up.  “Close ain’t close enough, til we’ve crossed that line” has you feeling the magnetic draw of the person dancing with you, your bodies beginning to intertwine.  “Look what you started, the temperature’s rising in here…is this gonna happen?” It’s vintage Ariana, teasing us with her sultry vocals and suggestive lyrics until the upbeat chorus bursts through – “A little less conversation and a little more touch my body” – an excerpt that headlines a song destined for clubs and car rides alike. With a thumping, rhythm-driven backbeat, there is no shortage of danceability to…

Tame Impala – “Elephant”

I was late to the Tame Impala party, finally discovering them in 2017 through a co-worker who played ‘Elephant’ for me – and it blew my mind.  Who were these modern Beatles, playing their psychedelic hearts out, only to an even more addicting rhythm?  The sheer confidence and craftsmanship made me a fan immediately, and I proceeded to download all their other albums without so much as even giving any of their other songs a listen.  There’s only a handful of songs in the last decade that have had such an effect on me – it’s something we all experience, even if rarely – and it’s a damn fine feeling when it happens.

There’s a couple points where the song elevates its game.  The first is the synth break between the opening two verses, right after the whispered line (here he comes).  It’s such a refreshing moment on an album otherwise mired in abstract psychedelia (the best kind, mind you), and it takes up the entire middle of the track.  Speaking of which, it’s kind of a cool song structure: verse-synth breakdown-verse, with no actual “chorus” to speak of.  The second moment that I love is when they come back in with that final/second verse, where they add in some well-timed yeah‘s and alter the time signature and melodic progression.  It’s truly stuff of genius, yet they make it seem so easy – like they just decided mid-song to shake things up.  It’s astounding execution, and…

Glen Hansard – “Don’t Settle”

Oh hey, 2019 represent!  Sometimes a song is just too brilliant; too immediately impactful and emotionally profound to be placed on the back burner.  “Don’t Settle” falls into this category – a track that defines Hansard’s superb record This Wild Willing in such a way that putting off recognition is sheer folly.  This song has it all – from the sullen, Nick Cave reminiscent piano balladry early on to the brass horns that join the mix about halfway through – and then finally to the song’s emotional pinnacle and subsequent cathartic release of energy, where Hansard shouts into the surrounding emptiness like Roger Waters on ‘In The Flesh.’  It’s this transcendent moment where he doesn’t sound much like a folk artist at all…nope, two songs in to This Wild Willing, Glen Hansard is more like a modern day rock hero.

The track takes on even greater magnitude in the context of Hansard’s broader discography.  Understanding that he’s been a humble folk troubadour a la Damien Rice for most of his career helps illuminate exactly why his launching into emotionally wrought shouts should hit you like a freight train.  “Don’t Settle”, when it reaches this apex, is a gorgeous, epic, experimental indie-rock tour de force – and quite frankly one that came out of left field.  It’s an evolution from singer-songwriter to something more along the lines of post-folk – and the aftershocks of this moment ripple throughout This Wild Willing like a rock dropped…

St. Vincent – “Digital Witness”

When you’re a well-established musician, it can be difficult to surprise listeners and achieve success at the same time. St. Vincent’s self-titled record accomplishes that feat, and it’s in no small part due to “Digital Witness” – an expansive, artful pop masterpiece.

The lyrics are a scathing indictment of “the selfie age”: I can’t show it, if you can’t see me / What’s the point of doing anything?, and the song uses just about everything in its arsenal from a sonic perspective.  From the insanely infectious rhythm to the unprecedented prevalence of horns, the track immediately grabs your attention.  Annie Clark’s delivery is on-point, crafting one of the catchiest choruses in her entire discography with a layered and highly addictive vocal melody.  On top of that, the muted post-chorus (This is no time for confessing) adds yet another hook.  Basically, “Digital Witness” comes at listeners overflowing with insanely catchy qualities – from the instrumentals to the multiple melodic hooks – and it’s all wrapped up in a tidy three and a half minute package.

When I think of 2014, there’s no song that sticks out like this uniquely rhythm-driven pop song.  It’s telling that NPR ranked this as the #181 greatest song by a female or nonbinary artist in the 21st century.  Annie Clark is highly deserving of such recognition, and “Digital Witness” easily belongs on this decade list.

Read more from this decade at my homepage for Sowing’s Songs

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