Leonard Cohen, "You Want It Darker" (Paul Kalkbrenner Remix)

Leonard Cohen might've been able to take Berlin a lot earlier if he'd previously enlisted German techno producer Paul Kalkbrenner as his lieutenant, who throws black-light paint all over the funereal title track to the legendary singer-songwriter's 2016 album here, and takes him out for one final spin on the dance floor. For an artist whose final statement could be downright overwhelming in its sense of mortality, it's pretty gratifying to hear that voice equally at home on top of a beat that crackles with life. — A.U.

Deorro feat. Elvis Crespo, "Bailar"

DJ Deorro grew up listening to, of all things, Elvis Crespo, courtesy of his DJ dad who’d play the Dominican star’s high-voltage merengue at quinceañeras and weddings in Southern California. Fast forward nearly 20 years and you can hear again why Crespo’s “Suavemente” was a huge global hit that back in the day -- even making it onto the Hot 100. “Bailar” is a love letter to its source of inspiration, beginning with Crespo’s trademark, nasal call, then devolving into an irresistible dance beat that marries merengue to EDM. Over 4 million Shazams can’t be wrong. — LEILA COBO

Twenty One Pilots, "Stressed Out"

For a definitively Millennial duo, it's still crazy how much Twenty One Pilots' first true crossover smash mostly reminds of enjoyably junky late-'90s bands like Citizen King and Bran Van 3000; alt-based acts who sprinkled in hip-hop influences and electronic sensibilities to better complain about how dull their lives were. Of course most of those bands only had one hit, the fact that "Stressed Out" wasn't even 21P's only No. 2 hit on the Hot 100 this year shows how much more proficient Tyler and Josh are at tapping into adolescent insecurity with blockbuster bombast. — A.U.

Gallant, "Talking to Myself"

Gallant produced one of the best dbeuts of 2016, and a large part of that has to do with opener "Talking to Myself." If its initial stilted piano line is what first grabs listener attention, it's the soaring hook that really sticks in the brain and refuses to let go; it's not until a few listens later that the desperation and heaviness of the lyrics begin to sink in. On such a lushly produced album, the use of space and dynamics makes "Talking to Myself" an outlier, and one of the easy highlights. — D.R.

 Beyonce feat. Jack White, "Don't Hurt Yourself"

One of the best of the less-famous cuts from Lemonade, the Jack White-featuring “Don’t Hurt Yourself" is a sexy, primitive howl of Nashville grit. White’s signature sonic tremors and hisses -- accents that, as he'll undoubtedly tell you, only come from recording on genuine analog equipment -- make it easy to forget

this Best Rock Performance Grammy nominee is technically on a Beyonce pop album. — SHIRA KARSEN

 Kanye West, "Father Stretch My Hands (Pts. 1 & 2)"

Intertwined with Desiigner's breakout smash "Panda," Kanye West's bouncy gem "Father, Stretch My Hands" was an arena staple, and cemented Metro Boomin as the most trustworthy producer in the game. From Desiigner's ad-libs to the soulful gospel choir and Kanye's AutoTuned plea to "just feel liberated," the Life of Pablo standout was a spiritual sound trip. — A.P.

John Legend feat. Chance the Rapper, "Penthouse Floor"

John Legend is a lot of things, but fans and skeptics alike can agree on one thing he is not: funky. Well, at least he wasn't — then he released this ode to the high-life, driven by Pino Palladino (bass) and Chris Dave (drums), the same pair behind the grooves on Adele’s 21 and D’Angelo’s Black Messiah). The unshakable beat smartly gives Legend a little room to stretch out, and not even a typically witty Chance verse can steal the show. — N.W.