One of These Songs is the Song of the Year 2012

Every year I tease my traditional January 1st posting where I post my most-listened to songs of the year. This year, we’re teasing five solid entrants, one of which will most likely be the song of the year.

Gotye featuring Kimbra “Somebody That I Used To Know”

I blogged about this song in January and was pleased to see it became the monster hit I wished it would become. I had no idea how big the song actually got. As in probably “too big.” I don’t listen to this song very much anymore.

Madonna “Beautiful Killer”

Don’t look for this as a single, or even as a track on the regular album version of Madonna’s 2012 album MDNA. Instead, it’s a bonus song on the deluxe version of the album. It’s really a shame, since I think the throbbling synth hook, lyrics, and Madonna’s singing are all great. It’s nice to see Madonna being a little less obvious with her song lyrics these days, too: “Can’t really talk with a gun in my mouth / Maybe that’s what you’ve been dreaming about.” Uh, huh.

The video below includes an intro featuring music from her Bond theme “Die Another Day,” which is kind of appropriate given the subject matter.

Mark Foster, A-Trak, and Kimbra “Warrior”

This song from Foster the People frontman Mark Foster was produced for Converse and later appeared on Kimbra’s US release of her previously issued album Vows. It takes some elements from Foster’s hit “Houdini” (my top song for 2011, by the way). Kimbra does a great job with the song – I wish more of her songs were in this style.

Soundgarden “Live to Rise”

I really, really miss Audioslave, the supergroup that Chris Cornell formed after Soundgarden broke up. But, now that Cornell is back together with Soundgarden as long as they produce killer tracks like this one maybe I can live without Audioslave. This was featured in the end-credits of The Avengers and is easily the best rock track of the year.

Metric “Youth Without Youth”

The first single from the group’s Synthetica album, the song features some great guitar riffs and a great siren sound in the music bed. Some nice synth vocals to go along with Emily Haines’ always-strong delivery.

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