With 2018 coming to a close, we’re back with our annual Top 50 Songs Of The Year list. For the past several weeks our team has been reflecting on the year, shaping up the list and working to determine what the Top 50 Songs Of 2018 truly are. We weighed each track against a variety of criteria including overall quality, impact, support, popularity and personal preference. Read the list below and let us know what you think.
50. Sheck Wes – Mo Bamba
Rounding out our Top 50 is none other than Sheck Wes. I know what you’re thinking, ‘Mo Bamba’ was released in 2017, how could it have possibly made the Top 50 of 2018 list? The answer is simple – this track was an absolute sleeper hit. Despite being released in 2017 via Travis Scott’s Cactus Jack label, Sheck Wes’ lead single didn’t take flight until its visuals were released at the bottom of January 2018. The 6 month gap between audio and visual release worked in Sheck’s favour in 2018. With Travis doing his own promo runs for the upcoming Astroworld, Sheck started to get the public co-sign from La Flame. To date, this song rings off in clubs, sports stadiums and concerts alike. The “chanthem” (chant-like-anthem) is absolutely infectious atop excellent production from Take a Daytrip and 16 yr old. Currently sitting at 98M views on YouTube and debuting at the 28th spot on the Top 100 Emerging Artists on Billboard, it’s safe to say that ‘Mo Bamba’ belongs in the top 50 songs of 2018.
-KK
49. k?d – A.I.
‘A.I.’ is a dramatic ensemble of industrial and hardcore electronic sounds with just a bit of a banger spirit. There is a lot going on in the track as it moves from compartment to compartment of steely lasers, chiseling snares, and growling bass. Saving it for his live shows, he left fans waiting with open arms to embrace this modern ‘Mr. Roboto.’ On the surface ‘A.I.’ is an expertly mixed track that showcases k?d’s ability to create tension and keep the energy up, but it also stirs up some interesting thoughts with its clean title and metallic flavor.
-MB
48. Tails & inverness – Skeleton (ft. Nevve)
Draped in the luxurious, silky-smooth vocals from Nevve, ‘Skeleton’ briefly dons the guise of a pop tune. As the cadence of the tune hastens, production subtleties begin to reveal themselves, providing just the right touch of texture for the cooing melody. As the commanding army of snares rises in tempo, the track takes an unexpected twist, launching into a radiant ensemble of bouncy descending bass notes, which flow almost effortlessly with the vibrant chorus.
-SL
47. Dillon Francis – We The Funk (ft. Fuego)
There are a lot of musicians that flirt with other genres or marry them together into their aesthetic, and Dillon Francis is one who draws from crossing the divide between EDM and Latin sounds. With ‘We The Funk’ featuring Spanish lyrics by Fuego, Dillon swirls together the effervescence of bachata, merengue, and other quick stepping yet graceful dance inspired genres and the bass of groovy, hip-hop into an EDM hit. ‘We the Funk’ is fresh and spliced with just the right amount of electronic zest and earthy bass.
-MB
46. Lil Baby & Gunna – Drip Too Hard
Of all the collab albums in the past year, this is easily one of the hardest ones. Lil Baby & Gunna have become household names with their individual hits (see: ‘Yes Indeed’ & ‘Sold out Dates’) but their collaborative effort Drip Harder was easily a compilation of their best work. ‘Drip Too Hard’ is one of those songs that you might sleep on, but once that melody on the hook grabs you, you will not be able to stop singing it. “Drip too hard, don’t stand too close, you gon’ fuck around and drown, off this wave” – what a way to celebrate all that drip. The streets loved it, the clubs did more and at the end of the day, these two dripped their way into our top 50 list at number 46.
-KK
45. Rich The Kid – Plug Walk
Rich The Kid had a great year with a well celebrated debut album titled The World is Yours. Some might argue that ‘New Freezer’ was a bigger single than our selection for number 45, ‘Plug Walk’ but this song went on to become pretty huge and is a certified bop. Not only did it have hilarious visuals to accompany it, but the song spawned several unofficial remixes before receiving a legit one. The single went on to a 3x Platinum certification and racked up 180M + views on YouTube.
-KK
44. deadmau5 – Monophobia (ft. Rob Swire)
In their first collaboration since 2009, deadmau5 and Rob Swire’s ‘Monophobia’ is the second coming of ‘Ghosts N Stuff’. Easily one of deadmau5’s most popular tracks in recent years, the nostalgic work combines Swire’s poignant vocals with the progressive sound of the Toronto-based artist. While both artists have been nothing short of busy in recent years with their own separate projects, ‘Monophobia’ is an extremely catchy jam that makes fans thankful to see the guys return to their roots.
-SC
43. SVDDEN DEATH – Behemoth
There is no denying that SVDDEN DEATH took the dubstep crown this year. Two insane EPs along with a handful of singles and remixes took the bass scene by storm, and essentially brought riddim to the mainstream. The creation of the initially-anonymous VOYD project was perhaps his biggest success, with his riddim plates becoming the secret weapon in dubstep sets across the world. ‘Behemoth’ was undeniably the most earth-shattering track from the project, showcasing SVDDEN DEATH’s sound design mastery and solidifying his reign at the top.
-SC
42. TYNAN & Kompany – Extraterrestrial
A haunting piano lead, eerily reminiscent of the build in a great horror flick presents a daunting welcome for the monstrous otherworldly collaboration between TYNAN & Kompany. A distant siren pulsates in the background as a sinister riser takes the reigns. Suddenly, the floor beneath you vanishes and you plummet into an industrial capacity shredder, armed to the teeth with rows of sharp cutting trap notes and massive bass hits, immersing you in a torrent of resonating frequencies and not a glimmer, nor hint of escape.
-SL
41. Laxcity – Sunset
It’s fair to say that SoundCloud knelt to Laxcity this year, and honesty it shouldn’t be otherwise. From major artists like Ekali, to simple fans like me, everyone has been seduced by Josh’s unique style. Every single piece of music he published was pure gold. This triumphant march will reach its summit on the 12th of December with the official release of his debut album Catharsis via Majestic Casual, which features all the impressive singles he dropped independently over the past 12 months. ‘Sunset’ isn’t between them, but it holds a very special place in my heart. I don’t know exactly how to explain my attraction to this track, but if you’ve ever experienced love at first sight, you can pretty much understand. The mix between lo-fi vibes and Laxcity’s own style triggers a reaction that fills my mind with idyllic visions and, like the mythological lotus, exchanges any worries and concerns with sweet dreams.
-AA
40. Tchami & Malaa – Kurupt
This double trouble duo came together in 2018 to give thirsty fans of house music plenty to sink their teeth into with No Redemption. The project featured memorable tracks like ‘The Sermon’, ‘Prophecy’, ‘Summer of 99’ and ‘Kurupt’. The latter is an energetic banger with moments of dark and creepy energy that peaks the interest of plenty of hardcore electro diehards. Tchami and Malaa also did a North American tour, hitting Red Rocks in Colorado where I was able to witness their amazing show. They have two enormous cubes set up on stage with with decks on each, as they rotate the spotlight, coming together to shred, and battling all within the same set. ‘Kurupt’ shows the duality perfectly in balance as Tchami’s lighter, bouncier house style pulses with Malaa’s ferocious bass tendencies.
-MB
39. G-REX & Dubloadz – Leviathan
Dominating, harsh cello strings set the mood for the beginning of an ancient tribal war dance, cautioning the inevitable fate which lies ahead. Following the long drawn out strings seamlessly, a brilliantly placed riser reveals the wonkier underbelly of the track. A crisp frenzy of synths cusps the growing rough energy in the tune, catapulting the track into a labyrinth built within walls of wonky bass and expertly timed vocal fills. Despite an overtly broken-down feel, ‘Leviathan’ flows like the rivers of the Ganges and packs a hefty punch that you’ll surely be feeling in the morning.
-SL
38. Keys N Krates – Flute Loop (ft. Ouici)
Posted to Soundcloud (for free download, which is still live) as a Boxing Day treat, ‘Flute Loop’ was our first taste of Cura. Tapping fellow Torontonian and ‘Love Again’ collaborator Ouici, the trio really let the party vibes and trap arms fly with this one. It is the unadulterated banger of Cura, at once capturing the cool creativity at the core of Keys N Krates’ new chill output, while still satisfying the most staunch supporter of their more killer catalog (‘Keep It 100,’ ‘U Already Know,’ ‘Dum Dee Dum,’ etc). Our only complaint? The 2:34 runtime. The fix? The new Live In Toronto version, with BADBADNOTGOOD’s Leland Whitty providing a stunning, sustained solo!
-OJ
37. Duke & Jones – Tusk
2018 was a huge breakout year for UK duo Duke & Jones. Much of the hype was created with their Deadbeats debut ‘Tusk’. The aptly-titled banger brought listeners into the depths of the jungle for a track that was minimal yet engulfing. It reminded listeners that a well conceived concept and clean production is all you need to create something special. Few tracks can devastate a club or festival while also taking listeners on such a captivating journey. With a stacked remix pack adding fuel to the fire, this one rocked all year long.
-CV
36. RL Grime – Undo (ft. Jeremih & Tory Lanez)
RL Grime has a knack for combining and transcending genres. With ‘Undo’ he opted to fuse sexy R&B, swagged out rap and hard hitting trap. With heavy-hitters Jeremih and Tory Lanez on vocals, RL created a song that’s both addictive and beastly. One second you’re singing along trying to seduce someone, the next you’re throwing elbows, going hard in the paint. What really makes this one stand out above all else is just how well the different dimensions worked together. ‘Undo’ never feels contrived and may be the truest embodiment of all of RL Grime’s musical loves.
-CV
35. Chromonicci – Let Go
Christian Crenshaw aka Chromonicci is one of the SoundCloud men of the year. With the release of the single ‘Into Me’ back in March he debuted as a singer on his own productions, bringing his already iconic niccibounce to the next level. After several problems and delays, his first EP Bounce Back saw the the light in September catalyzing the attention of the entire community (Do you remember the week when SC was all tinged in yellow?The Nicci effect). The five tracks of the collection are a clear snapshot of what the Chromonicci project has been and what it will be. ‘Let Go’ embraces this second path and projects us into the future, offering a first taste of the jazzy vibes that are going to dominate his future releases.
-AA
34. Travis Scott – Stargazing
Travis Scott had one hell of a year in 2018. We highlight a lot of his commercial success higher up in the Top 50, but this song here is easily one of the best on Astroworld. ‘Stargazing’ is a marvel from a production perspective alone. Sonically, the song is near perfect with deep drums that keep you at ground level, while the synthesized keys send you to outer space. The detail in the production, whether you are listening to the first or second half, is pretty great. You can hear wolves howl to the moon while La Flame’s distorted vocals push you in and out of a state of euphoria. The second half is a straight up trunk shaker that continues the otherworldly vibes. Travis skates all over the beat detailing his triumphs on stage, the women, the fame and the drugs.
-KK
33. Pigeon Hole – Wolves
For many this was their introduction to dope duo Pigeon Hole, and what a menacing welcome mat it is. The lead track from their Noise Parade EP plays out like a trip down a long dark tunnel; breathless and spine-tingling, knowing all along there is no light at the end, but rather a fearsome figure looming in the shadows. You know the drop is coming, but there’s no way to prepare for its obtuse obsidian nature. It’s as though all the darkness in the world drop-kicks your soul after the ch ch ch pom pom pom. All that darkness aside, the electric energy the drums have built into their design is exactly the reason ‘Wolves’ hasn’t opened up a black hole. Big and bad, this blows hard enough to knock down any house, pig-built or otherwise…
-OJ
32. sfam & TVBOO – dahshigo
Supplying the experimental bass realm with more than ample ammunition of peculiar bass-clad tracks, ‘dahshigo’ furnishes the opportunity for two undeniably talented styles to coalesce and evolve into a beast of its own. A tuned-out, stripped down vocal loop haunts the backstage of the track, leaving you questioning the logical procession of time, as a descending pattern of alternating snares hurls you into a convolution of immersive bass waves and tight percussion fills.
-SL
31. Apashe – Majesty (ft. Wasiu)
Leading the Requiem EP, an ode to Amadeus, with the line “I’m the shit, use your throne as a toilet seat” is one hell of a statement. But here we are still slurping this sensational superciliousness, throwing our arms up in revelry as his holiness hits us with those strings and that choir. Wasiu’s disdainful delivery works wonders atop the truly awesome musical bed of ‘Majesty’, deserving of the vaunted comparison to Mozart. A wildly epic triumph that, regardless of time or place, will leave you feeling like king shit.
-OJ
30. Alexander Lewis – Clockwise (ft. Nick Row)
‘Clockwise’ harnesses the immense raw, majestic power of the trombone to build waves of momentum, which flow in dazzling synchronicity with the vocals from Nick Row, before culminating in a resounding complexion of poignant horns and low definitive trombone blasts. Bordering the fringe between genres, it is arguably one of the most exquisite pairings of traditional instruments, hip-hop vocals and a modern electronic twist. ‘Clockwise’ is a masterclass in genre-fusing, producers take notes.
-SL
29. Just A Gent – 404
A riveting fringe within the continuum of electronic music, ‘404’ builds upon a puzzling complexion of mesmerizing synths, which waiver with ease into a thundering barrage of muffled kicks. The perplexing melody circles back, masking a harsh vocal sample which draws the crescendo to a delicate close, while simultaneously disinterring a bombardment of harsh reverberating synths and incisive cuts, breathing an unparalleled level of depth to the track.
-SL
28. thook – Forest
Toronto trap titan thook cemented his status as one of the most talented up-and-coming producers in 2018. Each and every one of his releases from ‘BRAIN STORM,’ to ‘Voidless’ and any of the cuts off his QGR EP could’ve commanded a spot on this list. But after much consideration we had to go with ‘Forest’. The track kicked off the year with a bang and put everyone on notice of what was to come. It perfectly demonstrates what makes thook so special. The unique, almost cartoony, sounds are balanced against gritty bass and a war-ready energy. The sound design is stupefying without being too in your face. Like all of thook’s work it packs a wide range of diverse samples and sounds to make it special. There’s something to be said for producers who can balance intense originality, while still making music that goes off. thook has this intersection mastered.
-CV
27. ATLiens – Interstellar (ft. Sarah Skinner)
One of the heaviest and most beautiful productions of the year, ATLiens have scored a sensational slice of modern music, bridging trap, future bass and dubstep in an exceptional experiment. As many twists and turns as the Christopher Nolan film of the same name, even with a map you wouldn’t be able properly prepare yourself for this epic journey. Deft design leads the two unique drops with plenty of room for the organic instruments to play in the other sections. And while the drops will leave your jaw on the floor, their power would be nothing without the bristling bass guitar and hollow drums, especially noticeable in the final 30 seconds.
-OJ
26. Oski – Killa
“Don’t-Don’t-Don’t-Don’t fuck with me” the vocals that proceed the second drop fire out like a warning shot to producers, while the beast that is ‘Killa’ reminds them why they simply can’t. The knife-centric artwork is fitting for the razor sharp banger. One of Quality Goods Records’ standout releases, ‘Killa’ is the definition of a trap banger; it’s in your face, raw, and the bass will leave brain bent. 9 months after its release and the track is still lighter fluid to any DJ set. In a time where futuristic feels quickly become stale, Oski managed to cook up a timeless bass beast that will never wither.
-CV
25. Phlegmatic Dogs – Cuatrocats
Phlegmatic Dogs have quickly become Night Bass favourites with their unique sound design and insanely catchy beats. Every single one of their tracks gets rinsed by a number of artists across genres, and ‘Cuatrocats’ is perhaps the most representative of this statement. A gritty house banger highlighted by groovy basslines and crisp percussion, ‘Cuatrocats’ has sneaked its way into the most unexpected sets. While one would expect this track to be played by the likes of Tchami, Wax Motif and VOLAC, it has also been included in the midst of dubstep and bass sets from artists such as Flux Pavilion, Dubloadz, and KRISCHVN. A truly versatile banger, ‘Cuatrocats’ is further proof that Phlegmatic Dogs will have a massive 2019.
-SC
24. UZ – Rebirth
UZ’s Rebirth album saw the trap king return to his throne. The project was a testament to the past, present and future of trap music. The title track instilled this into three and a half minutes of musical mastery. From the shadow clad mystique of the intro, to the pounding bass and signature 808s, ‘Rebirth’ is UZ in his truest form. It packs the slapping simplicity that made his ‘Trap Shit’ series iconic, with a more adventurous and refined approach. ‘Rebirth’ is yet another jewel in the trap king’s crown.
-CV
23. TroyBoi – Frustrated (ft. Destiny)
If you’re looking for an artist that embodies originality and staying true to themselves in light off massive success, look no further than TroyBoi. The UK producer has skyrocketed to success in the past few years; from tours around the world, to crushing festivals, to a residency in Las Vegas. While most artists reaching this level are quick to sell out and explore the pop world, Troy remains himself, keeping his music as weird as ever. His V!BEZ EPs showcased his dynamic range, personifying his signature sound while allowing room for expansion without compromise. The standout single from V!BEZ Vol. 2 ‘Frustrated’ showcases this perfectly. From the heart-rending strings and touching vocals to the wonky bass blasts and ‘My Style’ stutters, TroyBoi creates a track that is as emotionally gripping as it is banging. TroyBoi is an artist in the truest sense and ‘Frustrated’ is picturesque.
-CV
22. San Holo – lift me from the ground (ft. Sofie Winterson)
San Holo and his bitbird imprint have flown high this year. They’ve set up one of the most qualitative and recognizable indie brands in the scene, that had its climax with the release of the widely celebrated, instant classic, Album1. Future Bass is just a distant memory within this LP, but some echoes can still be found in the magnificent ‘lift me from the ground’. Not by chance, indeed, San Holo himself has stated “this song always felt like a banger to me. I wanted it to feel very energetic and uplifting, and sound massive when played out live.” Despite the fact that it could be considered one of the most pop songs of the collection, we’re far away from the flatness that rule most pop charts. Sound selection and orchestrated vocals are on another level that looks down to the millions of soulless industrial products.
-AA
21. Chance The Rapper – I Might Need Security
With a beat built around a looped “Fuck You” vocal sample, ‘I Might Need Security’ saw Chance in his bag going in. Lyrically it’s one of his best works since his verse on ‘Ultralight Beam’. He flexed his wordplay skills with bars like, “They think they Heath Ledger scary, they just Jack Nichols/I’m a sign to my city like the Bat-Signal/Young chosen one, golden boy, De La Hoya/It ain’t too many me’s, rest in peace to Verne Troyer” while reminding the world about his importance, “I’m the real deal/Who taught all these rappers that a big deal’s not a big deal?/Inherited the earth, popping wheelies on a big wheel.” The combination of top notch bars over a beat that makes “Fuck You” sound like a thing of beauty made this one exceptional. Add in the Arthur inspired artwork and you’ve got one of the best rap songs of the year.
-CV
20. Ekali & ZHU – Blame
Back in January, Ekali and ZHU were two artists that a lot of people were betting on this year. With ‘Blame’ they’ve found the perfect common ground where their exceptional, yet vastly different, styles shine together, shaping the stereotype of the perfect vocal bass anthem. If the original is too glittering for you bassheads, then you’ve got the NGHTMRE remix, which adds that gritty touch necessary to make you a happy head banger.
-AA
19. Kanye West x Kid Cudi – Reborn
While Kanye West & Kid Cudi’s KIDS SEE GHOSTS album was met with mixed reviews, the project spawned one of the biggest anthems of the year in ‘Reborn’. We saw Kid Cudi in his finest form in years delivering a hook that possessed a spiritual and inspirational energy that was sure help you through whatever 2018 threw at you. Kanye came through with arguably his best verse of the year. It’s open and honest, while taking on haters and sprinkling in clever wordplay. It’s one of few moments where Kanye truly seemed self-aware and present. Cudi’s powerful, yet simplistic vocals drove this to its apex. while the production perfectly complemented the vocals at the forefront. Whether you were fighting personal demons or just looking for a little extra inspiration to get you through your days, ‘Reborn’ was a warm coat on the coldest night.
-CV
18. BlockBoy JB – Look Alive (ft. Drake)
I remember the day this song dropped, it was the day of our FUXWITHIT 4 Year Anniversary party at Nightowl in Toronto. As soon as it dropped, I threw on my headphones and listened. I didn’t realize that when I heard “TayKeith fuck these n*ggas up,” I was in fact going to get fucked up. The beat hit hard off the jump and I knew it was going to be a hit. First, let’s just address the fact that Drake’s co-sign is better than money for these upcoming rappers. Not only did this song put Blockboy JB on the map, but it gave him a 3x platinum certification on his first real single. This song was absolutely huge. It became a chart topper overnight, had the streets fucking with it pretty heavy, and DJs still have it in their Serato. Beyond that, this song went viral with the shoot dance that had everyone acting a damn fool. This song also launched TayKeith’s career who produced many hits after this track soon after (see: ‘Nonstop’ and ‘Sicko Mode’). 901 Shelby Drive, look alive, look alive!
-KK
17. A$AP Rocky – Praise The Lord (Da Shine) [ft. Skepta]
Rocky’s latest album Testing kind of came and went quietly despite having a pretty solid tracklist. But one of the fifteen tracks from the album became a serious bop. Carrying on with the flute beats we’ve all come to love and an excellent feature from UK grime boss, Skepta – ‘Praise The Lord’ is another one of those chanthems that delivers in energy, flow and vibe. Both Rocky and Skepta float all over the beat and, closer to the end of the song, trade bars back and forth, giving the track a nice late 90’s and early 00’s feel. Certified banger.
-KK
16. Cardi B, Bad Bunny & J Balvin – I Like It
Aside from Drake, you’d be hard pressed to find an artist who had a better year than Cardi B. Anchored by the release of her freshman album, Invasion Of Privacy, she became a critic and fan favourite and reached number one slots on the Billboard 100 list. ‘I Like It’ was one of those tracks, but powerfully stood out from the rest. Featuring Puerto Rican artist Bad Bunny and Colombian singer J Balvin, it paid homage to her Latin heritage by using the classic bugaloo sample. Producers Craig Kullman and J White blended salsa and trap as well as hip-hop elements to create one of the songs of the summer. ‘I Like It’ is quintessentially Cardi B with her tough verse listing luxurious items and envy of others, catchy chorus, and Spanish feature verses leaving us forever rhyming “pinatas” with “dollars” and relishing the one liner “I spend in the club, what you have in the bank.”
-MB
15. Mura Masa – Complicated (ft. Nao)
I really, really don’t understand why ‘Complicated’ has passed somewhat unnoticed. Let’s be honest, it’s perfect. It has literally everything necessary to be a planetary hit under both technical and emotive points of view. The impeccable orchestration (who doesn’t love a mix of fluttering melodies, drums, a beautiful voice, vocoder and an upbeat rhythm?) should be subjects of study in production schools. Its ability to paint such vivid scenes that, in a matter of seconds, carry our minds from our daily routine to a colorful Caribbean paradise should be an example and inspiration for every artist. I saw quite a lot of people arguing that ‘Complicated’ is basic for Mura Masa’s standards. Now, tell me, why someone can’t keep things ‘simple’ as long as they work?
-AA
14. J. Cole – KOD
With KOD Cole embraced the trap sound that’s taken over rap, while shining the light on the darker sides of fast fame and drug addiction. The album’s standout hit was also the title track. With a snapping beat, impeccable flows and braggadocios bars Cole crafted a banger that saw plays in the club, on the radio and on the internet (nearly 150 Million on Spotify alone). The track also saw Cole addressing the wave of people asking why he doesn’t have more features on his albums with the unforgettable lines, “How come you won’t get a few features?/I think you should? How ’bout I don’t?/How ’bout you just get the fuck off my dick?/How ’bout you listen and never forget?/Only gon’ say this one time, then I’m dipped/Niggas ain’t worthy to be on my shit”. Yeah, this is hard as shit.
-CV
13. QUIX – Storm (Hydraulix Remix)
Until this year I didn’t think it was possible for an artist to make a QUIX track harder and more menacing. But Hydraulix proved me wrong with his remix of ‘Storm’. Pushing sound design and the definition of what a banger is to extremes, Hydraulix delivered one of the most potent and brutal bass tracks of the year. The first drop feels like being swept away in a tsunami, buried at sea and then getting resurrected by lighting. The second drops you into Mortal Kombat for a flawless victory, complete with a gut wrenching fatality. From his Kingdom EP to collabs with Oski, Rickyxsan and Eliminate, Hydraulix continued to take the bass music scene by ‘Storm’ and this remix stood out the most amongst an impeccable crop of releases.
-CV
12. G JONES – Understanding The Possibility
On par with SOPHIE’s debut album, The Ineffable Truth is one of the highest peaks that human creativity reached this year. I can’t really understand how a member of my own species can think and, above all, write such a rich and complex composition. ‘Understanding The Possibilities’ is not only about going harder and harder, it actually has a sensitive side that expresses emotions and even some kind of glee, before turning into pure, beautiful chaos. Although, of course, the main attractions are the multifaceted wild drops, true heavy weapons that shatter time and space shaping a new kind of reality, where we can finally find the ineffable truth.
-AA
11. Excision & Space Laces – Rumble
Excision and Space Laces’ chemistry is undeniable. Having worked together so many times in the past, everything they touch seems to turn into a hit. While ‘Throwin’ Elbows’ was the dubstep track of 2017, ‘Rumble’ took the crown in 2018. The combination of insanely catchy pre-drop vocals with raw bass and pristine sound design brought this track into the sets of all bass producers in the game. The support on ‘Rumble’ is unlike any other in the dubstep realm, and it also initiated the return of Space Laces. 2018 saw the production genius deliver an EP and a mix filled with tons of his innovative IDs, two unprecedented events in Space Laces’ history.
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10. What So Not & Skrillex – Goh
What So Not and Skrillex’s highly anticipated collaboration ‘Goh’ finally saw the light of day in the former’s impressive Not All The Beautiful Things album. Although the project was filled with incredible and influential tracks, ‘Goh’ took the cake as our standout of the album. Capturing the essence of two of the most talented producers in the world, the track combines What So Not’s incessant outpouring of emotions and Skrillex’s signature take on trap with the impeccable production one would expect from the pair. Tied together with KLP’s poignant vocals, ‘Goh’ has become a crowd pleaser in sets everywhere due to its creative balance of energy and feels, as well as its contagious, lively vibes.
-SC
9. RL Grime – Pressure
The author of some of the most fire trap beats in the last decade, RL Grime can seemingly do no wrong. However, even the best of us benefit from help here and there. After playing a version of ‘Pressure’ at EDC 2017, we finally got our hands on the final product this July thanks to help from co-producer Boys Noize. An undeniable power couple, their sonic skills play front and centre as they build the track into the most powerful transformer we’ve ever experienced. Formed by heavy metal machinery, it is a Frankenstein-esque creation, bringing: more high octane horsepower than the latest Lambo, more destruction than Godzilla brandishing a pair of wrecking balls and more malice than Machiavelli. TL;DR: This track is an absolute monster, one that’s haunted our dreams long enough to take it into the top ten.
-OJ
8. Pusha T – Infrared
Terrence had a great year. It’s hard to put the Drake beef aside, but Pusha T put out arguably the best rap album of the year, which went on to be nominated for a Grammy. Coming in at number 8 is track 7 from Daytona. ‘Infrared’ is a one verse, two minute and fifty second thrashing that comes at the end of his album. To solidify his position in the ongoing feud with Drake and Wayne, Pusha unleashed bars aimed at the OVO and YM brand champs respectively. Not only did this track go on to give us a highly publicized beef but it also garnered some shine for the G.O.O.D. Music President (much needed considering Kanye has been on one for the last year and a half). The precision in the punchlines and raw delivery reminded us that lyrical rap is still as potent and important as ever in 2018.
-KK
7. 4B x Teez – Whistle
The first release on DJ Snake’s PREMIERE CLASSE label, ‘Whistle’ became the song of Ultra before becoming one of the most played tracks of the year. Jersey Club has been around for quite some time, and 4B has been a key player in the genre for years now, but ‘Whistle’ put the genre, as well as Teez, back on everyone’s radar. The aptly-named track meshes hard hitting Jersey drums with a whistling lead synth to create one of the most rinsed tracks of 2018. The unique ‘Whistle’ was played in clubs and festivals around the world, weaving its way into the most versatile setlists, which is why it earns the seventh spot on this year’s list.
-SC
6. G-REX & Peekaboo – Babatunde
You’d be hard pressed to find two producers who had bigger breakout years then Peekaboo & G-REX. Their unique and insane sounds helped propel experimental bass music into becoming one of the most exciting and well respected genres in electronic music. Coming together on ‘Babatunde’, the duo delivered the bass record of the year. From the ominous and haunting intro to drops that could cause earthquakes, this record was on another level. It proved the power of minimal freeform bass and that great sound design and stripped down sounds can produce something beyond exceptional. From Skrillex and Flosstradamus, to Alison Wonderland and even The Chainsmokers, if a DJ was looking for that one track to absolutely kill crowds, ‘Babatunde’ was it.
-CV
5. SOPHIE – Faceshopping
When SOPHIE released ‘Faceshopping’, producers of all genres were raving at the originality and sound design behind the track. Having produced for the likes of Madonna, Charli XCX and Vince Staples, there’s no denying the creativity behind SOPHIE’s works. Along with these production credits, the surrealist artist released her debut album OIL OF EVERY PEARL’S UN-INSIDES this year (which commanded a Grammy nomination), with ‘Faceshopping’ shining atop other impressive tracks. The sophisticated, hyper-kinetic sound that is so unique to SOPHIE is a showcase of her nonconformity as a producer, and while ‘Faceshopping’ may not have been a radio or club hit, the genius behind the track is not to be left unnoticed. ‘Faceshopping’ is the most unique and adventurous song of 2018, there’s truly nothing like it.
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4. Childish Gambino – This Is America
Childish Gambino set the internet on fire with ‘This Is America’. The track made us actually care about music videos again as we watched the powerful visual over and over again with wide eyes. Seeing the video and hearing the song for the first time was an experience. What starts with a laidback, almost fun-loving approach quickly turns dark, as cheery guitars and precise dance moves lead into an execution and banging trap beat. Throughout the song and video Gambino uses juxtaposition to create a powerful and stark audio and visual work of art. It’s a brutal social commentary that doubled as a simple banger. Adding in adlibs from Young Thug, 21 Savage, Quavo, Slim Jxmmi, and BlocBoy JB made this so 2018. In addition to quality and impact of the track, it became a super smash. The video clocked nearly a half a billion plays, it dominated radio, festivals and clubs alike. We’d have to be slippin’ to not put this in the top 5.
-CV
3. FISHER – Losing It
FISHER doesn’t need an introduction. The surfer-turned-producer exploded onto the scene with his groovy tech house jams last year, before dropping ‘Losing It’ in July and instantly becoming an international sensation. According to 1001Tracklists, ‘Losing It’ was first played out in May by Chris Lake at EDC, and has since made its way into almost 600 official sets. The emphasis is on the word official, as ‘Losing It’ is a track played in nightclubs around the world, daily. FISHER’s minimal yet infectious sound captivated the ears of club-goers everywhere, as well as some of the most influential people in the world, breaking outside the realm of dance music and into mainstream pop culture. It has also been reworked by producers everywhere, with the remixes from Yvng Jalapeño and Odd Mob recently giving the track a new life. Its global acclaim from artists and fans ultimately puts ‘Losing It’ at the third spot on our list, and earns the spot as the top electronic track of the year.
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2. Travis Scott – Sicko Mode (ft. Drake)
“Sun is down, freezing cold” the opening line to Travis Scott’s third track on Astroworld, uttered by none other than Drake. ‘Sicko Mode’ was everywhere this year. If you didn’t hear this song chances are you didn’t leave the rock you live under, ha! The song, from a production standpoint, was able to include elements that resemble an amusement park (Astroworld a reference to Six Flags’ amusement park of the same name). Essentially, it’s a total fucking roller-coaster ride. Starting with the opening horns, to the distortion that leads into Travis’ verses to the TayKeith produced and Drake assisted banger that rings out, this song is an absolute ride. You start with a slow build, jump into the loop-de-loop and then right into the massive drop. The track was received incredibly well immediately, spawning a viral chain reaction and immense success. Beyond that, ‘Sicko Mode’ eventually got a mind-bending video that only added to its impact. Track 3 from Astroworld comes in at number 2 for the Top 50 tracks in all of 2018 – tell me I’m wrong, go ahead, I’ll wait.
-KK
1. Drake – God’s Plan
2018 was Drake’s year, again. Possibly the biggest and best year in his unprecedented nearly 10 year run, 2018 saw Drake running the game. He went toe to toe with one of the greatest lyricists in rap, dropped the stellar album Scorpion and sold out stadiums around the globe. The album’s standout hit ‘God’s Plan’ was undoubtedly the song of the year. Drake did what he does best, crafting an absolute anthem that was absurdly catchy, relatable and instantly loved. It’s impossible that you went to a club or party this year and didn’t catch yourself screaming, “She say, ‘Do you love me?’ I tell her, ‘Only partly’/I only love my bed and my momma, I’m sorry.” If numbers are your thing, the track raked up over 2 billion streams on Spotify and YouTube alone. This was my favourite song, your favorite song, your mom’s favourite song, your girl’s favorite song, your 10 year old cousin’s favourite song. Drake’s ability to appeal to everyone while still making quality music is what has made him the biggest name in music. Bump ‘God’s Plan’ below and tell me you’re not hit with a flood of memories where it played in the background.
-CV
