25. "Run Your Mouth" by The Marías

Although the rest of the album is thoroughly underwhelming, too tame and washed out for its own good, The Marías struck gold on the lead single for "Submarine". The whole aesthetic for this era of their music comes together perfectly on the amazing Dance-Pop song "Run Your Mouth". The most genius thing about the song is probably how it starts very calmly with the vocal chorus octaved and softly sung over wavy and reverbed synth-chords. There's lots of space in this opening and it lets that endlessly catchy chorus melody shine for a second before the song explodes. Through establishing this central hookline first, the band make the song extremely recognizable. The moment "Run Your Mouth" starts playing, you are sucked in. Next, the band tease you with percussion playing a syncopated dance beat, just to cut off all of the instrumentation for a moment, before they finally let the beat fully kick in with an absolutely delicious bassline accompanying the first verse. The pre-chorus establishes more elements to the instrumentation and guitar masterfully provides ornamentation until the song moves into the vocal chorus, now sung in a higher register, making it even more infectious. The song only releases its full tension with the following instrumental chorus though, which is essentially a guitar solo. How this song developes, along with its relatable lyrics, is what makes it one of the most addictive and memorable Pop songs of the year.

24. "One Wish" by Ravyn Lenae, Childish Gambino

"One Wish" is handily one of the most overlooked R&B songs of the year, which is even more shocking considering none other than Childish Gambino is a feature guest here. Ravyn Lenae got robbed when it comes to the Grammys in the R&B category, so now it is on me to right this wrong. I was obsessed with this song when it came out and then again when the full album dropped. I mean, listen to that beat! It's absolute heat for a hot summer day, kind of dusty, but also damn soulful. Ravyn Lenae is stunning on this track too – and then Gambino comes in and sets the perfect counterpoint to her performance. While Lenae is very close to your ear and more insistent, Gambino sits further back in the mix with lots of reverb applied for a more dreamy vibe. This is just a lovely track and a stankface is warranted when listening to this perfect piece of music production. Also, a strong – competitive even – honorable mention goes out to Ravyn Lenae's "Love Me Not", which is probably equally as brilliant, but more of a jazzy Pop Rock track.

23. "Unfinished Business" by Nia Archives

Nia Archives is also an artist I'm surprised doesn't get more attention. She came out with one of my favorite Dance-Pop albums of the year, "Silence Is Loud"; a quintessentially British Jungle and Drum and Bass record. My highlight song from that and a single I bumped a lot before the whole thing came out is "Unfinished Business". The chorus of that song is just so intense and simultaneously catchy with relatable and tragic lyrics addressing partners or dates, who aren't ready or are momentarily unable to maintain a healthy, romantic relationship. It's a very honest and confrontational tune arranged as a Jungle cut for the dancefloor. If you want to really get into the feeling of the song, I highly recommend checking out the music video. Either way, this is a total bop!

22. "Getting No Sleep" by Tinashe

This year, Tinashe got a huge boost in popularity via TikTok for her 2024 single, "Nasty" – and although that is a great and infectious song, my favorite from this era of her music is definitely "Getting No Sleep", the second single for her mini-album, "Quantum Baby". Here, she goes more into an Alternative R&B and Future Garage direction with deep bass stabs, an almost sensual vocal sample and frantic synth- and drum work. Despite these elements, the song is very atmospheric, nocturnal as well as low-key – and, of course, very sexy. But where "Nasty" is an outright, playful and expressive display of that, "Getting No Sleep" plays it a little cooler and more mellow.

21. "WalkOnBy" by NxWorries, Earl Sweatshirt, Rae Khalil

Anderson .Paak and Knxwledge aka NxWorries deliver lots of smooth-like-butter, guitar-heavy Alternative R&B cuts on their 2024 album, "WHY LAWD?". The prime example for their style is the album's lead single, "WalkOnBy", which features a badass guest verse by none other than Earl Sweatshirt, who fits this kind of production perfectly, and nice, sung vocal contributions by Rae Khalil. The inclusion of these features and their execution alone make "WalkOnBy" an absolute highlight from "WHY LAWD?" and from this year as a whole with Anderson .Paak being as charismatic as always and Knxwledge producing some heavenly heat.

20. "Satellite Business 2.0" by Sampha, Little Simz

Another dream collaboration from 2024 no one saw coming: Sampha + Little Simz. On this extended version and rework of "Satellite Business" from his outstanding 2023 record "Lahai", the two come together brilliantly. Before, the song was merely a transitional moment, an interlude on the album; in this deluxe track, it now becomes not only a highlight from this era of Sampha's music, but also one of the best singles of the year with Sampha and his backing band delivering an ever intensifying studio performance that almost feels like a live performance. My guess is that this jammed out version of "Satellite Business" was originally developed in band rehearsals, before Little Simz was cast as a feature to fill out an instrumental part. Speaking of UK's # 1 rapper: Simz comes in exactly at the right point with a fiery verse that acts as a satisfying pay-off and release of tension from the preceeding build-up. The great chemistry between Sampha and Little Simz, although the two don't really interact directly on the track, comes as no surprise as both are known for their inward-looking, self-reflective and honest songwriting and authentic as well as heartfelt vocal performances.

19. "Prologue" by Kamasi Washington

I mean, this song is way too low in this list, but I just have to admit that Jazz for me can't really keep up with other genres of popular music in terms of how much I connect with the music and that is probably the reason for this placement. I could see this being in the top 10 for sure – more than nearly every other song outside of the top 10. "Prologue" is originally a short Tango piece by the Argentinian legend Astor Piazzolla from the '80s. Kamasi Washington took the main melodic motif of the song and made an expansive and sprawling 8-minute Jazz Fusion epos out of it. This new version, which serves as the closing track to Washington's phenomenal 2024 double LP "Fearless Movement", is mezmerizing, exhilarating and incredibly virtuoso with influences of Progressive Rock. It features some of the most crazy playing of the year and can probably hold up with some of the best Jazz Fusion pieces of all time. 

18. "Broken Man" by St. Vincent

When this single came out in February, St. Vincent's "All Born Screaming" immediately became my most anticipated album of 2024; "Broken Man" is just that good. Featuring Dave Grohl on the drums, this anxious and emotionally unstable track builds to a bulldozer of a riff fast. Annie Clark aka St. Vincent was often named as one of the best guitarists of the last 10-15 years and while she has released much more complex and creative records, "Broken Man" is the first time she just utilizes the sheer force of her guitar with blazing distortion, transforming her dreamy but always slightly disturbed psychedelic style into an Industrial Rock nightmare. Add to that her intense and unrelenting vocal performance ('Who the hell do you think I am? Have you never seen a broken man?') and you've got the whole package on "Broken Man".

17. "Perfect Stranger" by FKA Twigs

Don't be like me and mistake this single for a generic Dance-Pop song because there's so much more going on here. I think what lead me to that mistake in the first place is that "Perfect Stranger" sounds a little like something Charli xcx could've put on "BRAT". Beyond that, in recent years, this brand of Electropop has become very en vogue, especially in Alternative Pop circles, and on this particular single from her upcoming album "EUSEXUA", FKA Twigs goes for a very straightforward iteration of it – and I would argue she's earned the right to do so via the other singles she's put out recently, "Eusexua" and "Drums of Death", which are far more experimental and abstract. "Perfect Stranger" on the other hand is a perfect piece of musically digestable and lyrically upfront Dance-Pop with a twist. Of course, there is the occasional Hyperpop influence in the production, including cool ornamentation, but we've also got a 2 Step beat at our hands here that makes the song unique. What I love the most about the song is its lyrical content though: On the surface, the song is about a one-night stand with a stranger, but Twigs uses this perspective to give us a pretty negative human image, a pessimistic analysis of how people behave when they're meeting new people, how they like to present themselves, and a philosophy of life and human nature as well – or simply the state of her very own psyche. Let me explain...
This person she is having sex with is the perfect stranger since she can easily idolize them because they don't know anything about each other – and she doesn't want to know more about the other person because it can only ruin the image she has of them. The narrative goes deeper than the idea of no one being perfect though. It is implied that it's okay to not be perfect because what really makes the lyrical I not want to know more about the perfect stranger is that they would only lie to present themselves in a certain light. So in a way, it's only that kind of bad social behavior, which the lyrical I/Twigs involuntarily sees as inherent to every human being of the nature of the perfect stranger, that forces her to distance herself from her sexual partners.
Another perspective that's brought into the fold later on is that not knowing about each other makes life easier. We all go through shit and the lyrical I thinks that not knowing about what the other goes through is one less burden in its life. It might sound like a pathetic idea, but it doesn't need to translate to the overall human image presented, but it may just be a case of a person serving to satisfy only a certain need. What I mean by that is that these sexual partners, well, they're here to fulfill sexual desires and not more. However, the lyrics definitely frame this narrative in a negative way. In fact, Twigs acknowledges that she's been "fractured" and self-awarely asks, what (the fuck) this human image is she has developed. So, while you can take out something positive from the track, which is the thought that you can go around and have sex with people you don't really know and that that's okay (although it can be dangerous, as the song also mentions) and that it possibly can even be beautiful to not know about each other and share a sexual connection; the song is at its core a tragic one – and that tragic core is probably connected to the things Twigs has gone through in the last years (FKA Twigs has publically spoken out against actor Shia LeBeouf because of sexual abuse), fracturing her, as is said in the song.
Anyway, that was a lot of rambling, but I hope my lyrical analysis came together in the end somehow and that my point came across, which is that I think this is a perfect Pop song and a great spiritual successor to FKA Twigs' last album "MAGDALENE".

16. "Alone" by The Cure

I was very skeptical about this year's The Cure comeback and "Alone" didn't really change my opinion when it came out. I liked it, but not enough to be convinced that I needed another Cure album in my life. In the context of the whole album, "Alone" really stands out though and it grew on me. Like no other track on "Songs of a Lost World", it embodies the essential thing that made The Cure and especially their best album, which is undeniably and without discussion "Disintegration", special: The ability to play the entire song as an instrumental before the vocals even come in – and having that work out perfectly. I have no idea how they do this, but their instrumentals alone ooze so much emotion and convey so much meaning, it is unbelievable. And so, "Alone" is a brilliant opener to this final era of The Cure. The song sees Robert Smith grappling with getting older and possibly losing cultural relevance. It has a grandiose sense of finality to it and fittingly, the song also seems to touch on climate change by including catastrophic imagery of birds falling out of the sky. "Alone" confirms that the band still got it. Robert Smith sounds as good as always, his lyrics are possibly sharper than ever as he introduces many of the themes that will be prevalent throughout all of "Songs of a Lost World" and so The Cure knit together their best single since the '90s, announcing to us the end of every song they sing – alone.

15. "Good Luck, Babe!" by Chappell Roan

I know y'all probably waited for this song to come up and you're probably shocked right now that it didn't make the top 10. "Good Luck, Babe!" is without a doubt one of the best and most significant songs of the year and there's nothing I could say about it that hasn't already been said. To me, this is by far Chappell Roan's best piece of music yet and I hope she'll continue down this road on her next album. I love the use of strings and the sprawling synths, not to mention the vocal melody and emotional performance from Chappell Roan herself. Overall, this song, when I first heard it, reminded me of one of my favorite Art Pop artists ever, Kate Bush, specifically in her "Hounds of Love" era – and that's one of the highest compliments I can give to a song. Chappell Roan is one of the most exciting and talented new artists and one of the coolest personalities in the Pop sphere right now too. I just hope she doesn't let the haters get to her too much and blesses us with more music and based takes in the future – at least as long as she's comfortable doing that.

14. "No One's Gonna Love You Like I Can" by Laura Marling

I think there's no artist this year that managed to do so much with so little. "No One's Gonna Love You Like I Can" is the simplest song on this list. It's probably also the song that makes me cry the most easily. The song is like a realization – the most beautiful realization. It's the realization that you want to spend your life with someone, that you know someone better than anyone has and will ever, and so no one's gonna love them like you can because if life has meaning, it is through them. And the way Laura Marling tells this story so casually and comes to this realization at such a seemingly normal and ordinary moment, is so so special.

13. "Life" by Jamie xx, Robyn

A life-affirming House track with queer Ballroom vibes all over it from Jamie xx and Robyn. The instrumentation is super celebratory with these funky and glorious horns at its centre and lots of interesting twists happening throughout. All the while, Robyn gives a super fun and playful vocal performance listing all these things that someone is "giving her"; one of my favorite turns of phrase in queer culture at the moment. "Life" is giving one of the best Dance tracks of the year.

12. "Guess featuring billie eilish" by Charli xcx, Billie Eilish

"Guess featuring billie eilish" is probably the other side of the coin "Good Luck, Babe!" is on. These are the two most culturally relevant Pop songs of the year as far as I see it. "Guess" was the crowning jewel and the cherry on top of BRAT summer; an unforeseen collaboration between the two artists, who are leading in the Alternative Pop game currently, and fortunately, the two have perfect vocal chemistry together. Charli xcx and Billie Eilish exchanging 'guesses' at the end is truly peak. The outro is endlessly badass too – and Billie saying 'Charli likes boys but she knows I'd hit it' is genuinely the most slay lyrical moment in Pop from 2024 and beyond. Tying into that, the song's provocative, flirty, playful, funny and very sexual lyrical content overall make it absolutely sensational. This is the biggest banger you can possibly play at the right parties. The charisma of both Charli and Billie is unmatched here and over The Dare's uncompromising production, they made an instant classic of Dance music.

11. "Floating On A Moment" by Beth Gibbons

16 years after the last Portishead album and two years after her feature on the emotional centerpiece "Mother I Sober" from Kendrick Lamar's therapeutic "Mr. Morale & The Big Steppers", Beth Gibbons is finally back with new and original material. The song she announced her solo debut "Lives Outgrown" with was this contender for song of the year. "Floating On A Moment" is a stunningly dark, and bright at the same time, Progressive Folk song that announces the start of Gibbons' journey to nowhere or, in other words, towards death and possibly (and with a question mark) obsolescence. Paradoxically, the song features major contributions from a children's choir. It's one of the rare instances where a children's choir truly elevates a song to the next level and plays into its emotional core in a meaningful way. If you like Portishead – and who the fuck doesn't – then you should definitely check this perfect song out. 

10. "Classical" by Vampire Weekend

I had a really hard time deciding which Vampire Weekend single I would put into the top 10. I was never a fan of their music, but their new album "Only God Was Above Us" marks the first time I really connected with any of their stuff. This is an outstanding collection of tracks with some of the most interesting production choices of the year. The singles the band released from the album are all excellent. I could've chosen any of them and I want to give a quick shout to "Capricorn" and "Mary Boone", which are just magnificent songs. I went with the least popular single though, "Classical". From its rich, spacious and energetically played acoustic guitar intro, it quickly bursts into mayhem; an almost confusingly colourful guitar lick at the center. To be honest, I have no idea what Ezra Koenig is singing about here, but his vocal tone, emotional accentuations and the wonderful melody hit home, just like that furious Saxophone solo. This is a tune that conjures all the magic Indie music has to offer.

9. "Starburster" by Fontaines D.C.

Honestly, I'm close to not being able to enjoy this song anymore, but it would be ludicrous to leave it off a favorite/best singles of the year list. Grian Chatten gasping is probably the most iconic non-lyrical vocal expression of the year and together with the song's hard-hitting Rap Rock groove (that's how I would describe it although the terminology is not really accurate), it is just unbelievable how well the band breathed life into the song's topic through musical expression. If you don't know, "Starburster" was created to encapsulate and process a panic attack Chatten suffered. With that in mind, the song's surprising and beautiful bridge becomes an even more integral moment to the whole thing. "Starburster" is probably the best song Fontaines D.C. have made yet and it kind of set up the accompanying album for success – that's how impressive and original it is.

8. "16 CARRIAGES" by Beyoncé

2024 was a huge win for Beyoncé overall — once again. Her 2022 record "RENAISSANCE" was her best album yet and after a standalone single, probably an outtake from the album, called "MY HOUSE", Queen Bey returned with the release of two singles at the same time. "RENAISSANCE" was the designated Act I of a trilogy — and after an exploration of black and queer House and Disco culture, Beyoncé sought to reclaim Country music. Of course one of the two singles became an instant hit and one of the most played tracks of the year ("Texas Hold 'Em"). The other single of the two is the much stronger though. "16 CARRIAGES" is another case for Beyoncé's impeccable storytelling abilities and establishes a central theme of "COWBOY CARTER", which is family and growing up. At its core though, the song has Beyoncé reflecting on the sacrifices she's had to make and the hard work she had to put in to get to where she is now and she pulls that off in a super emotional way. The song's instrumental build was another big selling point too and an amazing teaser for "COWBOY CARTER" with Beyoncé and her collaborators introducing Blues and Rock influences in a spectacular way.

7. "SIN MIEDO" by JPEGMAFIA

There's no song from 2024 that goes as hard as "SIN MIEDO". The moment I first heard this single, I became a JPEGMAFIA fan. "SIN MIEDO" practically confirmed what direction Peggy would take on his upcoming album – and it is simultaneously the most wild iteration of it, mixing not only heavy guitars and blistering guitar solos with his choppy Hardcore Hip Hop, but also absurd vocal samples ('Big booty hoes, up with it'), Industrial Hip Hop and Breakbeat infuences and danceable Electronic beat drops. Peggy's well-known fiery and punky delivery and flows match that perfectly as he trash-talks himself from target to target. "SIN MIEDO" is the definition of sensory overload with its layered instrumental and chaotic switch-ups. Perhaps that's why it satisfies my brain in a special way. 

6. "Von dutch" by Charli xcx

I'm fortunate to be one of the people who were closely watching Charli xcx' "BRAT" era unfold from the very start and I remember this song not getting the attention or praise it deserves, which was even more so the case for the following pre-released singles, until "BRAT" suddenly exploded to become the defining Pop phenomenon of 2024. That was when "Von dutch" was re-evaluated by many and today, it is probably the most beloved song from the record, maybe even if you don't count out "360" and "Apple". I mean, this song is the definition of "BRAT" with Charli telling us from the very get-go that she obviously is our number one, a cult classic. Well, if she wasn't back then – and many critics and nerds certainly already were fully enamored with her – then she certainly is since "BRAT" released. The music is at least as bold with this swerving and droning synth blowing you away as soon as the chorus hits. 

5. "Magic I Want U" by Jane Remover

While Jane Remover has already thoroughly displayed her great potential on two epic albums, her two double singles from 2024, "Flash in the Pan" and "Magic I Want U" marked the first time I really liked her music. An LGBT AOTY-user originally coming from Soundcloud, Jane Remover's style was shaped by Emo, Digicore, Glitch, Industrial, Hyper- and Bitpop. It not only sounds exhausting to listen to, it really is. I do have lots of respect for her work prior to 2024, but it's nothing that I get personal enjoyment out of as it is too noisy, too digital, too Lo-Fi, too nerdy and too Emo for me in certain ways. The four new tracks Jane Remover released this year certainly still have all the elements to them I now named in association to her musical style, but they are much more polished, sophisticated, clear as well as poppy and her singing improved a lot too! Jane Remover sounds more confident and like herself than ever before in my opinion and I hope she continues on this path. 
Of course, there is one particular track that made a lasting impression on me and that I kept returning too, which is the genre- and gender-bending, danceable and multi-faceted "Magic I Want U". This song was my main comfort- and feel good-jam since it came out on September 4. I just love the feeling of it and how it makes me feel. In my opinion, "Magic I Want U" is the best Jane Remover song yet and one of the best and most underplayed songs and singles of 2024. If you like your (queer) Electropop and maybe some Bedroom- and Glitch Pop vibes, this is the number one go-to song of the year!

4. "Holy, Holy" by Geordie Greep

Geordie Greep of black midi fame has gone solo in 2024 after revealing the band's indefinite hiatus in August. Shortly after, he released his first single under his own name, "Holy, Holy". It is the best song he's put out so far as he takes his writing to the next level. black midi's final album "Hellfire" already saw him improving hugely in that department, delivering an interconnected set of songs about hellish characters, locations and events – amongst them stories of sex work, sexism, masculinity, militarism and more. Many of these themes return on his solo debut "The New Sound". On "Holy, Holy" specifically, Greep, with his theatrical and eccentric vocal style, impersonates an incel-like male character and tells the story of him meeting a woman in a bar. Greep starts off in that very scene as an unreliable narrator, painting the character as a dominant, alpha-male womanizer, who is frankly repelling. As the song moves into its final leg, the tune switches into another time domain though, where Greep's character gives advise to a sex worker on how exactly they she shall behave during the meeting we saw just a few verses ago. This completely changes the context of the event, frames the narrative and unveils to us who this character really is: a deeply insecure, pathetic and sexist man longing to be seen, wanted and accepted, who may be just as pitiable as he is repelling. And all of that, the masterful songwriting and dramatic vocal performance, is accompanied by some of the most electrifying, uncompromising and unconventional Rock music of 2024. When we're talking straight Rock, "Holy, Holy" is the single of the year.

3. "meet the grahams" by Kendrick Lamar

Yes, we had a brat summer, of course, but if one event dominated music culture this year, it was the beef between the two biggest rappers of the last 15 years. While some can't get over it and still fabrikate theories in TikToks and Instagram Reels, others are so over it that they don’t want to have anything to do with it anymore. Honestly, I kinda understand both sides.
Now, the popular song choice from this huge rap battle would be "Not Like Us" and yes, that’s an absolute banger of a track, but if one song from the beef will go down in Hip Hop history in terms of a diss track, it is "meet the grahams". If "Not Like Us" was Kendrick Lamar dancing on Drake's grave, "meet the grahams" was the killshot and subsequent desecration of the corpse — that is how vicious this track is.
On a sinister beat produced by The Alchemist himself, K. Dot addresses Drake's several misdeeds via his son ('I'm sorry that man is your father. Let me be honest, it takes a man to be a man, your dad is not responsive. I look at him and wish your grandpa would've worn a condom.'), his mother ('Dear Sandra, your son got some habits, I hope you don't undermine them.') and father ('I'm blamin' you for all his gambling addictions, psychopath intuition, the man that like to play victim. You raised a horrible fucking person, the nerve of you, Dennis.') and finally, revealing a shocking truth, via his daughter; a daughter that Drake hasn’t ever acknowledged, which is a thing that happened before, when Pusha T was beefing with Drake years back. To finish the job, K. Dot shows some pseudo-empathy and -pity: 'Fuck a rap battle, this is a long life battle with yourself.'
This is the song that left me shook and devastated — and it had me cheer for Kendrick the whole time, despite the ruthless nature of the lyrics. Drake is being destroyed here on so many levels, all the while Kendrick always keeps the moral high ground and paints himself as the good, the righteous and the empathic. It is a masterful display of his rapping and lyrical abilities and one of the most sensational happenings Rap history has to offer.

2. "Sadness As A Gift" by Adrianne Lenker

Adrianne Lenker might be the best songwriter we have in popular music right now. I think her new album, "Bright Future", is her crowning achievement so far with "Sadness As A Gift" probably being the best song overall. Thus, I don't want to try to describe what this song says, tells or does. That you're gonna have to experience by yourself. Instead, I just want to take a moment to be pretentious and say a more general thing that came to my mind just now: I think one of the most beautiful and unique things about tunes is that the words can translate even though on the receiving end, you don't have them in front of yourself to thoroughly read and understand. Instead, through the music, the vocals and the choice of words, a connection is created between the listener and the artist and so the message comes across either way. That's not to say you're not able to understand what is said on a concentrated listen, but I'd have to go read the lyrics and labor over them a bit to relay what's happening to you here, even though I've heard and listened to the song many times – and even though in my heart and soul, I have understood and above all felt what is said within "Sadness As A Gift". 

1. "Death & Romance" by Magdalena Bay

I don't know how Magdalena Bay did it, but this track is lightning in a bottle. Everything about this song is perfect, from the lyrics to the instrumentation to the vocal performance to the production to the mixing to its placement within the album. Lyrically, it's one of the most beautiful, tragic and bittersweet songs about relationships I have ever heard, depending on the way you interpret its ideas of inevitably constantly giving to each other until you have nothing else but what's given to you by the other. This idea can be romanticised to a certain degree, but in the end, it's probably more draining and destructive than worth living. The song itself indicates ­– and the narrator also asks the question ('Are we too far?') – that the other person broke the relationship off because of that.
Instrumentally, "Death & Romance" is straight fire with its Alternative Dance piano, the amazingly written and performed drum part, the bouncy and hooky bassline and these hard-hitting stabs of guitar and synths. The vocal performance by Mica Tenenbaum is stunning. From her dreamy delivery during the verses to the euphoric, high-pitched vocals in the song's explosive choruses; she's always doing exactly the right thing to stay present and add to what's happening – and there's a lot happening during this song. And finally, when it comes to production and mixing, I doubt you'll find another song sounding this fucking good in 2024. The mix is full, dynamic, punchy, warm and clear all at the same time; it just blows you away. Please note that the music video, which has this typical and charming amateurish look to it, also includes the song "Fear, Sex" that comes right after on the full album, "Imaginal Disk", and acts as kind of an extended outro to the song. 
So, yeah, I think there's nothing left to say. We're at the end of this list and the number one spot goes to "Death & Romance". I think no song from 2024 has meant quite as much to me as this one throughout the year.