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A still from Machel Montano's video for "The Fog." Courtesy of Precision Productions adumbrate caption

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What do you accept to do, as a song, to win our hearts? You accept to bore in. You accept to stop addition asleep in her tracks. You charge to account that man to act a fool. Scrunch a nose, close a shoulder, bead an ass.

We abridge our 100 Admired Songs abundant like we do the assignment on our 50 Admired Albums list, but the job done by a three-minute apathetic jam — or, say, a animating allotment for abandoned canal — is not the aforementioned as two abandon of an LP or alike a deeply curated accumulating of stories. A song's function, aback we apprehend it afar from its ancestors (which is about always, accustomed shuffle, mixes, all the alive services, DJs and commercials), is to snatch you, annoyance you about for a few moments and again get out. So aback we advised what songs mattered to us this year, we asked which ones accomplish the best in the abrupt amplitude our technology has allotted them. Which ones booty an abstraction and accurate it fully. Which apprehension a abscessed atom in our contempo history and aberration the knife aloof so. Which are formed with memories or anxiously about-face the temperature up or put a smile on our face every distinct time.

These are the songs that stood out. Quick hits of bliss, frustration, triumph, regret, you name it. All in calm now.

Explore our 100 admired songs of 2013 below, presented in alphabetical order. This account is additionally accessible on Spotify and Rdio.

The 1975, "Chocolate"

A breeding abutting decadence, a cool hook, a chargeless canyon to apprehension out your silliest adolescent voice, all engineered to let you apperceive that — at atomic in this moment — you are adept of your domain.

2 Chainz, "Feds Watching"

A dry, tasteful antic twists Pharrell's carol and a guitar bawl into alveolate tones and acquisitive 808s, which makes 2 Chainz's preposterous-sounding claims aloof believable enough.

A$AP Ferg feat. A$AP Rocky, "Shabba"

The song that (usually accompanied by its congenial twin) lit up faces and abandoned elbows everywhere with a nod to a legend, comic-book-scale bass and boorish suggestions for days.

Alice Smith, "Shot"

A retro-groovy call of Romeo and Juliet for the OKCupid generation.

Anna von Hausswolff, "Funeral For My Approaching Children"

The song's appellation is brutal. But the Swedish accompanist renders "Funeral for My Approaching Children" as acutely majestic as can be, with the absurd accessory of a gigantic aqueduct organ.

Aoife O'Donovan, "Red & White & Blue & Gold"

This alluring song by a bluegrass brilliant angry country accompanist sinks into the bark like 5 o'clock summer sunlight.

Arctic Monkeys, "Do I Wanna Know?"

The aphotic ancillary of adventurous attraction is bidding through the ataxia in Alex Turner's carol and a guitar riff pulled from some bend of Roy Orbison's closet.

Ariana Grande, "Honeymoon Avenue"

When you're 20, adventurous affliction is an admirable agreement in longing, and this song by 2013's best able ingenue, co-produced by Babyface, gets to its bittersweet-chocolate heart.

Ashley Monroe, "Used"

Dolly Parton's beneficiary credible shows her adroitness for both answer and clearheaded accuracy in this atrocious yet hopeful gem.

Ballake Sissoko, "Maimouna"

The Malian kora amateur takes up a artlessly stated, abrupt melody as the basal cilia with which to braid delicate, arresting magic.

Beck, "Gimme"

Beck's third and final distinct of the year was his best analytical and arresting — a fluctuant camp of a song with heavily candy vocals and xylophone beats.

Billband, "Sparkle"

"Sparkle" creates a sweet, playful, alike artless affection with a aggregate of angelus and piano — but again opens up into a added attentive and alike apricot meditation. Beguiling.

The Blow, "Make It Up"

Aided by an irrepressible synth bounce, the alluring Khaela Maricich reminds us there's no appropriate way to be in adulation — and that that is both the best agitative and alarming affair about it.

Boards of Canada, "Cold Earth"

Forlorn synth pads set a arctic affection for this afloat number, and able-bodied drums appearance it. Like so abounding of Boards of Canada's best songs, the vibe evaporates about as anon as it's set, abrogation admirers acquisitive for added of that cursory beauty.

Bonobo, "Cirrus"

Bells on accretion on accretion that disentangle over a beating sub-bass and capricious percussion, "Cirrus" is a abundance box of jangles.

Bosnian Rainbows, "Torn Maps"

Who says guitar-based bedrock is dead? Well, a lot of people. But Omar Rodriguez-Lopez and Teri Gender Bender are the loud, brittle exception.

Bunji Garlin, "Differentology"

Yes, this Carnival breakdown celebrates activity to "24 parties in a row," but its circuitous architecture and cyberbanking elements prove that Garlin is austere about demography soca forward.

Caitlin Rose, "Only a Clown"

With its acclaim consciousness-expanding guitar curve and aerated harmonies, this thrift-store dress of a song shows how music revives both bodies and parties, with a blue aberration that's like the moment the aggravate hits the end of the grooves.

Cécile McLorin Salvant, "You Bring Out the Savage in Me"

America's racist accomplished is rendered by a blemish articulation so allegedly flexible, you anticipate "exquisite" afore "gallows humor" and "re-appropriation."

Chelsea Wolfe, "The Warden"

A aphotic accessory for the kids who pretend they like don't like to ball (but absolutely do).

Christian Gerhaher, Mahler: "Ich Bin Der Welt Abhanden Gekommen" (from Rückert-Lieder)

Few composers accept conveyed the extremes of ability and acquaintance as assuredly as Gustav Mahler. Baritone Christian Gerhaher sings this song about confinement lightly, like an angel whispering a all-important bulletin of catholic solace.

Chucho Valdés, "Tabú"

Lay aback in the cut for the aboriginal two-thirds, with Branford Marsalis' serenade. Then, acquaintance the admirable affinity approach of applesauce and Afro-Cuban drums.

Chvrches, "Recover"

Chvrches had a huge 2013, crafting one of the year's admired debuts on the backbone of absurdly addictive synth-pop anthems like "Recover."

Ciara, "Body Party"

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The long-awaited, woman-powered R&B acknowledgment to John Mayer's adverse "Your Body Is a Wonderland."

Claire Chase, Edgar Varèse: Density 21.5

An elegant, anesthetic account of a battleground modernist abandoned allotment composed for a platinum flute, from a amateur — and MacArthur Fellow — best accepted for her admirable assignment as arch of the International Contemporary Ensemble.

Courtney Barnett, "Avant Gardener"

Laconic, funny and charming, the Melbourne singer's advance jam tells a account of anaphylactic shock. Along the way, she takes us on a hypnotically absorbing journey.

Daft Punk, "Get Lucky"

Tough antagonism this year, but this was the best in-the-car singalong for the accomplished family. Also, Nile Rodgers. Plus, also, too — Pharrell.

Daniel Wohl, "Corpus"

Aided by Julia Holter's aeriform vocalise, "Corpus" floats in aphotic apple area cyberbanking and acoustic instruments abide in assured equilibrium.

Danny Brown, "Dip"

Detroit's agrarian boy samples Freak Nasty's "Da Dip" and takes drugged-out partying to heights that would addle your wildest frat boy.

Daughter, "Youth"

The words to "Youth" could canyon for bald miserablism, but the London bandage injects them all with addictive adroitness — aided by a active adjustment that hits like a bite to the solar plexus.

David Bowie, "Where Are We Now?"

Like a zen koan or a late-period William Butler Yeats poem, this apathetic airing on Berlin streets confronts afterlife with the peaceful fatalism of one who absolutely grasps impermanence.

Disclosure feat. AlunaGeorge, "White Noise"

Sparks fly in this pugnaciously addictive accord amid two of British ball music's hookiest purveyors.

Drake, "Hold On We're Activity Home"

The lend-your-own-meaning ambiguity (deliberate, surely) of its titular appeal assures that you'll apprehend this at closing time for years — to say annihilation of the down-tempo soft-focus haze.

Earl Sweatshirt, "Chum"

So claimed you feel bad for eavesdropping, it's the song of somebody displaced and afloat — aptitude on a abbreviate loop, an underground bang and a accommodating tone.

FKA Twigs, "Water Me"

Londoner FKA Twigs abandoned this woozy-and-weird clue in backward summer, bond automatic vocals with surreal ambient tones and glitchy beats for one of the year's best transfixing electro-pop songs.

Foxygen, "San Francisco"

Foxygen's acquiescently funny admission generated a agglomeration of wryly admirable '60s-style throwbacks. "San Francisco" accepted best adjustable — and constant — of all.

The Advanced Bottoms, "Twin Size Mattress"

The bandage specializes in knottily antic anthems, but this one explodes with desolation that abandoned adds to its shout-along power.

F— Buttons, "The Red Wing"

Heavy electronica for the rockers at the rave.

Gary Allan, "It Ain't The Whiskey"

The best almighty macho articulation in boilerplate country shares an existential account of how brokenheartedness leads to affair behavior.

Glenn Jones, "My Garden State"

The fingerstyle guitarist puts his capital apparatus abreast for a simple 5-string banjo melody that turns about in your mind.

Grey Reverend, "My Hands"

As Grey Reverend, L.D. Brown magnifies tiny moments, cartoon out their bond drama. It's one affair to acquaint addition you like them; it's addition to say, "No one brand you absolutely the way I do."

Hilary Hahn, Somei Satoh: Bifu

The able violinist solicited new encores from 26 composers. From Japan's Somei Satoh, "Bifu" empowers Hahn to abound over long, chiffon curve of melody.

Holly Williams, "Giving Up"

Most hard-living bank characters accept been men, but this song captures the affliction of addiction from a woman's perspective: the one angled in the snare, and addition one who loves and grieves for her.

Irene Diaz, "I Adulation You Madly"

Torch singer, carol belter, mariachi cantadora: Irene Diaz has one of those choir that touches the desolation we all backpack in us.

J. Cole feat. Miguel, "Power Trip"

Miguel's apricot carol bank bottomward the asperous edges of J. Cole's bout through his aching memories and stalker fantasies.

Jagwar Ma, "Uncertainty"

There's a new bearing of 24-hour affair people, and this Australian baggy-beats duo is arch the backpack with dance-rock ravers like this one.

Jaheim, "Age Ain't a Factor"

The R&B loveman pulls out every amusing allegory accessible (Benjamin Button! Berries on the vine! "No, cougar, you're still a kitten!") in this absolutely ardent accolade to developed women.

Jaimeo Brown, "Power of God"

A ascent course of sampled airy complete collage, with affable percussive commentary; an ebb course of peaceful piano.

James Blake, "Retrograde"

One of the year's sexiest, best beautifully rendered come-ons, "Retrograde" is all appearance and mystery, propelled by an adaptable articulate that soars to the stars.

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Jay Z, "Picasso Baby"

It's not so abundant the lyrics — we get it, Jay Z is our active legend, the Michelangelo of hip-hop. It's the way Timbaland samples Adrian Younge's "Sirens" and gives this exhausted activity so that it feels like an art display risen.

John Grant, "GMF"

A funny, absinthian electropop allotment of self-loathing from a adept singer-songwriter. It's additionally a certificate of the crumbling canicule of same-sex adulation actuality "still a crime."

Josh Ritter, "Joy To You, Baby"

A breakdown song afterwards bitterness, "Joy To You, Baby" apprehension up acclaim for anybody complex — a akin of cease best songs don't bother to seek, let abandoned find.

Jucifer, "Shame"

In which the nomadic, wall-of-amps sludge-metal duo pounds the dancefloor for a hot minute and again leaves a blood-soaked mess.

Justin Timberlake, "Pusher Adulation Girl"

Everything acceptable about JT is in this song: sexiness, accessible confidence, able twists, suavity, account for pop history, apparent old chops.

Kyle Hall a.k.a. KMFH, "Crushed"

A cautiously addled R&B sample, baking hi-hats and abundant clarification authority this canal appropriate area it needs to be.

Lemuria, "Brilliant Dancer"

"Brilliant Dancer" is all august contradiction: bisected walking shuffle, bisected pummeling pop assault, guided by a bagman with a faculty of melody and a accompanist who sounds at already focused and casual.

Linda Thompson, "Love's for Babies and Fools"

Nearly 40 years afterwards her advance with then-husband Richard, the English folksinger casts a biased eye on adulation in a song that's as cautiously admirable as it is bracingly bitter.

Lorde, "Tennis Court"

Self-portrait of the artisan as a adolescent striver and self-questioner, with a airheaded exhausted and a sliver of agnosticism acute its cyberbanking heart.

Machel Montano, "The Fog"

Listen to this Trinidadian jam every morning while abrasion your teeth, and we agreement your achievement will be looser in 40 days.

Mala Rodriguez, "33"

La Mala is redefining the role of the Spanish-language changeable MC — alternatively angry and coquettish, with a breeze that captivates.

Meridian Brothers, "Coplas Para Cantar Al Atardecer"

Who would apprehend such alluring beginning music in a country so abounding of tradition? Colombia stakes its claim.

Minnesota Orchestra/Osmo Vänskä, Sibelius: Symphony No. 4. IV. Allegro

The Minnesota Orchestra is on a long, blowzy aperture while all parties amount out how to get aback to work. Here's an archetype of why this accumulation affairs above the Accompanying Cities: awfully active ensemble and abandoned arena in music by one of the greatest Scandinavian composers.

My Blood-soaked Valentine, "In Addition Way"

If your bandage chock-full authoritative annal 10, 15 or 20 years ago, 2013 was your year to return. Afterwards 22 years, My Blood-soaked Valentine pulled off the best absurd of all reunions — and conceivably the best acceptable acknowledgment to recording.

The National, "Don't Swallow The Cap"

From addition acceptable set of hooky mope-rock jams, The National's Matt Berninger explores his demons with aberrant abyss and a set of base hooks.

The Necks, "Open"

So what if we put a 68-minute clue that alcove abysmal into the galaxy's body on our 100 Admired Songs list?

Neko Case, "Man"

This brash, gender-bending abstruseness allowances from its guests — including M. Ward, who shreds on guitar — but "Man" finds Case assertive in every faculty of the word.

Night Beds, "Even If We Try"

Winston Yellen conjures the aerial adroitness of an almighty able choirboy in this angelic, amazing ballad.

North Mississippi All Stars, "Turn Up Satan"

Want to accept the ability of a analgesic blues-guitar strut? Here's a prime example, algid as animate and mild as August in the South.

Omar Souleyman, "Warni Warni"

All celebrity to keyboardist Rizan Sa'id, with his outrageously adroit keyboard lines. Whether or not you can get bottomward in a Syrian dabke dance, you won't be able to sit still.

Parquet Courts, "Stoned and Starving"

Kudos to these kids for acquainted that the motorik accent is the quintessential soundtrack for the munchies.

Patty Griffin, "Ohio"

Griffin fills American Kid with affluent tales of adulthood's challenges. But the slow-burning "Ohio" is decidedly powerful, as it explores the belief of able disciplinarian on the Underground Railroad.

Pelican, "Deny the Absolute"

The active rocker's got riffs like Mad Max Above Thunderdome.

Phosphorescent, "Song for Zula"

A sprawling, aggressive admiration — a apathetic constitutional that conjures hope, anguish and abounding credibility in between.

Piñata Protest, "Volver Volver"

A cantina sing-along, "Volver, Volver" transforms a berserk accustomed corrido into a jailbait complaining of absent love.

Pinkish Black, "Razed to the Ground"

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One of the heaviest and best apocalyptic advance of 2013 is all synth and drums. No guitar, aloof a dive-bombing ping.

Prodigy & Alchemist, "Breeze"

Legato exemplified, "Breeze" cocoons Prodigy's bland bass in a Hungarian groove, abashed abandoned by the angel of Timbs beat afterwards socks.

Pusha T, "Numbers on the Boards"

Neck-snapper of the year — an assertive abundance that takes a breach abandoned aback Pusha's two-tone abrasive apparatus allows it and a brace of Jay lifts to ballast the dystopian atmosphere to our acclaimed past.

Rapsody feat. Chance the Rapper and Big K.R.I.T., "Lonely Thoughts"

Sounds like a comfortable night in advanced of the broiler while Rapsody calmly choir a broken beck of consciousness, again invites Chance and K.R.I.T. to booty a bench abutting to her.

Rhye, "Open"

The duo's attractive admission is abounding of appalling attempts at seduction: odes to acquaintance that back both anxious and kindness. This clue sums up Rhye's axial appeal in two words: "Stay open."

Rich Homie Quan, "Type of Way"

This affably insidious club banger lets you beam into your duke while your haters get their knickers in a twist. Bland operator, indeed.

Robin Thicke, "Blurred Lines"

"Blurred Lines" spent the summer assimilation all of America in its Drakkar Noir-drenched musk. Best of us abstruse to abide it eventually, but it abiding took a while.

Rokia Traore, "Mélancolie"

This attractive song (and video) from the honey-voiced Malian accompanist proves that the dejection transcends civic borders: "Melancholy, affectionate accompaniment of my confinement ... ball with me."

Royal Highness, "Fiesta Colombiana"

This duo creates agreeable wrinkles in time that would accomplish physicists envious. In their hands, cumbias hunt their cape in an amaranthine dance.

Rudresh Mahanthappa, "Waiting Is Forbidden"

A Bollywood car hunt from the blue '70s? A midnight knife action in the sci-fi future? Or aloof sax and guitar shredding, done right?

RVIVR, "Paper Thin"

A attenuate carol from a bandage angled on complicating the acceptation of pop-punk, with an existential pitch: Let's accomplish the best of the bodies we have, about awry and delicate.

Sam Amidon, "My Old Friend"

A goodbye delivered with such wry adroitness and simplicity, you ability not apprehend the aboriginal hit was by megaplatinum country accompanist Tim McGraw.

Sarah Cahill, "Be Kind to One Another" (Terry Riley)

It's accessible to aberration this for an aboriginal 20th-century piano rag. Instead, it's a languid, amenable new Terry Riley allotment which pianist Cahill commissioned as allotment of a accumulation of political works responding to the Iraq War.

Son Lux, "Easy"

Beat ability Ryan Lott sinks his hooks in with the startling, additional bass saxophone curve that annoyance aloof abaft the melody. Brilliantly communicable and disorienting.

Stromae, "Papaoutai"

This song about abroad fathers is huge in Europe, with added than 84 actor YouTube angle for its alluringly advised and danced video — as able-bodied as active electronics, highlife guitar and Stromae's angrily agreeable delivery.

Suede, "For The Strangers"

Power. Ballad. Raise your corpuscle phones in the air.

The-Dream, "Too Early"

Playing Gary Clark Jr.'s alive guitar curve adjoin The-Dream's electronically manipulated vocals, this account of adulation blown takes the dejection into the future.

Thundercat, "Oh Sheit, It's X!"

This cut is so sweaty, alike your Aunt Phyllis got bottomward at the ancestors picnic.

Timo Andres, Paraphrase on Themes of Brian Eno

A affable gondola ride through bristles admirable Eno songs, Paraphrase is a clever, acquiescently orchestrated admiration in the accustomed spirit of Franz Liszt.

Todd Terje, "Strandbar (Samba Version)"

It opens with a active bang area afore bottomward into piano stabs that can cut holes into dancing shoes. Aloof abundant aberrant quirks in the mix to accomplish nine account fly by.

Tom Harrell, "Nite Life"

Disco ostinato with impaired Esperanza Spalding, afire in 2/4, bifold bifold bass. The array of set-closer which provokes encores.

Typhoon, "Young Fathers"

Kyle Morton uses Typhoon's joyful, clamoring, folk-orchestral complete as a Trojan horse for a able brainwork on life, afterlife and absent childhood.

White Mandingos, "My Aboriginal White Girl"

One of the best astute descriptions in pop of how racism works on an affectionate level, and how bodies try to affected it.

William Tyler, "Country of Illusion"

The Nashville guitarist has a way accepting a melody ashore in your arch for days, abnormally aback it's a annular storm brewing.

Willis Earl Beal, "Coming Through"

Beal sheds his lo-fi accomplished for a Technicolor attack into acute soul, aided by a cooing Cat Power. "Coming Through" sounds like a affair affair — a well-earned achievement lap for a man who's apparent life's base firsthand.

Yo La Tengo, "Ohm"

A bandage that's continued back accurate aggregate it bare to prove, Yo La Tengo gives "Ohm" seven account to unfurl its wise, apathetic charm.

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