the year’s end is upon us yet again, and today begins the rapid succession of accolades doled out to various media. things will be a little different here at the dimestore this year; in accordance to our removal of ratings at the end of individual album reviews, nothing will be ranked on any our year-end lists. instead, each candidate will appear in alphabetical order. if you are truly curious about this site’s absolute favorite album, ep, song, or music video from this year, inquire within.
up first in the schedule are our five favorite music videos of 2015, unintentionally – but perhaps tellingly – skewed towards hip-hop and pop. read on.
disclosure – “magnets (ft. lorde)”
though caracal as a whole sailed by as a mere blip on our radar, it was impossible to ignore a strong byproduct of that record: the duo’s collaboration with lorde on “magnets.” the lawrence brothers may have ceded some of their production grandeur to accommodate lorde’s more minimalist aesthetic, but the track stuck, perhaps the only one that will endure from a shoulder-shrug of a sophomore effort.
the video for “magnets” delves deeper. on the surface, it’s an eerie, (yet again) lynch-indebted exploration of debauchery and infidelity, though these basic lusts soon prove to be an underlying condition of a much more serious problem. lorde the artistic persona is also largely absent from the plot, only usurping ella o’connor in the video’s final seconds to play the role of vigilante.
heems – “sometimes”
more on eat pray thug as a cohesive unit in a few days. the video for the album’s lead single, “sometimes,” plays out like a late-night sketch comedy segment, and appropriately so: two of its main characters are eric andre and hannibal buress. at the center of it all is himanshu suri himself, holding down the role of a sleazy infomercial salesman peddling a skin-whitening paste. the narrative is funny enough (heems’ sidekick and test subject wins for best dance moves) and attains peak irony by its end, but “sometimes” more soberly hints at the pressures of assimilation and code-switching discussed at length throughout eat pray thug.
run the jewels & zack de la rocha – “close your eyes (and count to fuck)”
perhaps the year’s most visceral music video was the one accompanying “close your eyes (and count to fuck).” plucked from the lauded rtj2, the clip for “close your eyes” follows the physical struggle between a young, unarmed black man (keith stanfield) and a white male police officer (shea whigham), one that’s a clear analog to the on-going racial profiling and police brutality that has plagued african-american communities for decades. both parties are exhausted before the video even begins, and the unresolved tension at its end extends the notion that these encounters are tragic cogs in an irreparable machine.
taylor swift – “bad blood (ft. kendrick lamar)”
the album version of “bad blood” was defined by an anthemic pre-chorus and chorus yet hindered by subpar verses, so why not let kendrick lamar hop on the beat for its radio edit? very few music videos are ever blockbuster events, but “bad blood” sure felt like one, with a big enough budget for both kill bill theatrics and a high-profile cast featuring nearly every single one of swift’s female contemporaries. bonus points to director joseph kahn for utilizing the track’s fantastically emo bridge to set up the clip’s explosive climax.
vince staples – “señorita”
a tattooed messiah leads his congregation through the streets of a walled-off neighborhood in the video for “señorita.” one by one, followers are picked off by automated turrets while their leader is spared a similar end, ostensibly due to his faithful repetition of the song’s dystopian hook. vince staples, meanwhile, circumnavigates this fate through his musical talents, though his dependence on armed security to perform robs him of an autonomy so often dependent on skin color.
staples is a realist, providing blunt commentary on the day-to-day life in his hometown of long beach, california. whether or not the neighborhood depicted in “señorita” is meant to represent his own, it’s still incredibly unnerving to see the plight of an entire community ultimately distilled into the viewing pleasure of white america.