The Internet has always been one of those bands that rewards patience. Not the passive kind — the kind where you sit down with a good pair of headphones, press play, and let the music breathe. Since Syd and Matt Martians formed this Odd Future offshoot in Los Angeles around 2011, they’ve built a catalog that defies easy categorization: neo-soul, funk, bedroom R&B, jazz-inflected pop — all of it filtered through a distinctly West Coast sensibility. This list of the 20 best songs of The Internet (greatest hits) isn’t just a playlist. It’s a deep dive into one of the most quietly influential groups of their generation.
Fair warning: once you start, it’s hard to stop. Let’s get into it.
Come Together
Off their 2015 breakthrough Ego Death, “Come Together” does exactly what its title promises. The track opens with a warm, rippling bassline from Patrick Paige II before Syd’s vocals settle in like early morning light — unhurried, intimate, effortlessly cool. Produced alongside Kaytranada, the song captures that rare feeling of a band fully inhabiting their own sound for the first time. The chord voicings have a distinctly jazz-adjacent quality, but the production stays firmly in the pocket of modern soul. Every instrument earns its place. Nothing feels forced.
Roll (Burbank Funk)
If one track could convert a skeptic into a full-on Internet devotee, “Roll (Burbank Funk)” might be it. Released on Ego Death, this is the group operating in pure feel-good mode — a strutting, horn-kissed funk number that sounds like it was recorded in a haze of golden California afternoon light. Steve Lacy’s guitar tone is filthy in the best way, and the rhythm section locks in with an almost telepathic tightness. It’s the kind of song that makes you involuntarily tap your foot on the first listen and reach for the repeat button by the end.
Come Over
“Come Over,” from their 2013 album Feel Good, marks an early moment where the band’s emotional core starts to crystallize. Syd’s delivery here is restrained but loaded — there’s a weight in the phrasing that conveys longing without melodrama. The production leans minimalist: sparse keys, a gentle pulse, and enough space around each element to feel genuinely intimate. Listening on headphones reveals subtle textural details in the mix — small percussive flickers and harmonic undertones — that reward close attention. It’s the kind of R&B that trusts its listener.
La Di Da
There’s a nonchalance to “La Di Da” that feels intentional and hard-earned. From Ego Death, the song rides a deceptively simple groove while Syd navigates between playful and sincere with apparent ease. The bridge, in particular, opens up unexpectedly — a harmonic shift that reframes everything you thought the song was about. Matt Martians’ production here shows real compositional intelligence; the arrangement is lean, but every decision is deliberate. Songs like this are why The Internet consistently earns comparisons to classic soul acts without ever sounding retro.
Stay the Night
“Stay the Night” operates in that classic late-night register that The Internet have made their own. It’s unhurried and enveloping, with layered synth textures that create a kind of sonic warmth you can almost physically feel. Syd’s vocal performance walks a fine line between invitation and vulnerability, and the production never overplays its hand — there’s no moment where the song reaches for drama it hasn’t earned. This is music built for specific moments: the quiet hours, low light, and genuine human connection.
Bravo
“Bravo” is the kind of track that sneaks up on you. It doesn’t announce itself with a flashy intro or a towering hook; instead, it builds through subtle accumulation — layered harmonies, a groove that deepens rather than accelerates, and a vocal performance from Syd that grows more commanding as the song unfolds. For fans exploring the band’s deeper catalog, this is the kind of hidden gem that makes the dive worthwhile. If you’re building a dedicated listening setup for this kind of nuanced material, it’s worth checking out these compare headphones options to make sure you’re hearing everything the mix has to offer.
Mood
The title is accurate. “Mood” is, almost entirely, a mood — a sustained atmospheric piece that prioritizes feel over conventional structure. The production creates something impressionistic: blurry synth pads, a rhythm that breathes rather than drives, and Syd’s voice floating through the mix like smoke. It’s an interesting counterpoint to the group’s more groove-oriented material, demonstrating that The Internet’s range extends well beyond straightforward soul and funk. This is music for introspection, for long drives, for moments when you need the soundtrack but not the noise.
Next Time / Humble Pie
This two-part track from Ego Death is one of the group’s most ambitious structural moves. The first half, “Next Time,” establishes a warm, mid-tempo groove with a distinctly ’70s soul flavor — think sophisticated chord changes and a vocal melody that lingers. Then “Humble Pie” shifts the emotional register, adding a touch of bittersweet reflection that gives the combined piece real dramatic weight. It’s a risk that pays off completely, and it showcases the band’s willingness to think beyond the standard song format. For more adventurous R&B in a similar vein, explore more songs at GlobalMusicVibe.
It Gets Better (With Time)
Few songs in The Internet’s catalog hit with the direct emotional clarity of “It Gets Better (With Time).” The title alone carries a kind of lived-in wisdom, and the musical arrangement honors that — unhurried, uncluttered, and deeply sincere. Syd’s performance here is among her most unguarded; there’s a rawness in the phrasing that suggests real experience rather than performance. The production wraps around the vocal like a gentle conversation rather than a production showcase. This is the band at their most human.
Look What U Started
“Look What U Started” is a masterclass in restraint. The song’s genius lies in what it holds back — the production simmers rather than boils, allowing the tension to build across the track’s length until the emotional payoff feels genuinely earned. Steve Lacy’s guitar contributions add a wiry, slightly raw quality that offsets the smoothness of the synth arrangements. It’s the kind of track that sounds better every time you return to it, revealing new textural details with each listen.
Wanna Be
There’s a refreshing directness to “Wanna Be” — lyrically, it states its intention plainly, and the production backs that honesty with a groove that’s equally forthright. No elaborate metaphors, no emotional deflection. The rhythm section carries most of the weight here, driving a track that feels physically immediate in a way some of the more atmospheric material doesn’t. In the car, at volume, this one absolutely delivers.
Get Away
“Get Away” taps into something universal — the desire to step outside your circumstances and breathe. The production evokes open space through its use of reverb and layered textures, creating an almost cinematic sense of expansiveness. Syd’s vocal carries both weariness and hope simultaneously, which is a difficult tonal balance to achieve and holds it throughout. Among their more underappreciated tracks, this deserves a prominent place in any comprehensive listen of The Internet’s best work.
Gabby (feat. Janelle Monáe)
When Janelle Monáe joins The Internet on “Gabby,” the result is exactly as electric as you’d hope. Both artists operate in adjacent sonic territories — sophisticated, deeply musical, genre-fluid — and their voices complement each other with surprising ease. Monáe brings her characteristic theatricality without overwhelming the track’s intimate production, and the interplay between the two vocalists in the second half is genuinely exhilarating. This is one of those collaborations that makes you wish it were an entire album rather than a single track.
Under Control
“Under Control” plays with its title in the most interesting way — the song doesn’t actually feel fully under control, and that slight instability is precisely what makes it compelling. There’s a productive tension in the arrangement between the smooth surface of the production and the emotional undercurrent of Syd’s vocal performance. The groove is impeccable, but there’s an edge to it that keeps the song from settling into pure comfort. Repeated listens reveal how carefully constructed that impression of controlled chaos actually is.
Go With It (feat. Vic Mensa)
Vic Mensa’s guest verse on “Go With It” introduces a hip-hop energy that energizes the track without disrupting its fundamental soul character — a balance that’s harder to achieve than it sounds. The contrast between his delivery and Syd’s more melodic approach creates genuine dynamic interest, and the production bridges both worlds without feeling awkward or forced. For listeners who want to follow the thread of this kind of R&B-hip-hop intersection, this track is an excellent entry point. It’s also worth noting that the sonic detail here really shines when you’re using quality audio equipment — something worth thinking about when you compare earbuds for your listening setup.
Just Sayin / I Tried
Another two-part track that demonstrates the band’s structural adventurousness, “Just Sayin / I Tried” is among the most confessionally direct material in their catalog. The first section moves with an almost casual looseness before “I Tried” shifts into something more earnest and exposed. It’s a combination that mirrors the emotional experience of having a difficult conversation — the initial casual framing giving way to the actual, harder truth underneath. Musically, the transition is seamless; emotionally, it lands with real weight.
For the World (feat. James Fauntleroy)
James Fauntleroy — whose songwriting credits extend to some of the biggest names in contemporary R&B — brings a particular emotional register to “For the World” that pushes the track toward something genuinely grand. The production opens up to match the ambition, with sweeping arrangements that give the song a sense of scale. It’s one of The Internet’s most outward-looking tracks, concerned with something larger than personal relationship dynamics — and the collaboration gives it the vocal depth to carry that expanded subject matter.
Girl (feat. Kaytranada)
Kaytranada’s production touch is immediately identifiable — those snappy, mechanical rhythms underpinning otherwise warm soul instrumentation — and on “Girl,” that signature approach meshes beautifully with The Internet’s aesthetic. The track has an energy that’s more kinetic than most of the catalog, pushing into club-adjacent territory while maintaining the emotional core that distinguishes the group’s work. It’s a reminder that the boundary between soul and electronic music is, in the best hands, entirely permeable.
Special Affair
If you had to choose a single track to introduce someone to The Internet, “Special Affair” would be a defensible answer. From their 2013 album Feel Good, it captures everything essential about the group in a single compact performance: Syd’s understated but magnetic vocal delivery, production that’s simultaneously lush and restrained, and a melodic sensibility that lodges immediately in the memory. The song’s been a fan favorite since release for good reason — it’s essentially perfect at what it sets out to do.
Something’s Missing
Closing out this list with “Something’s Missing” feels right — it’s a track whose emotional register is melancholic without being defeated, contemplative without being static. The production is spare and luminous, leaving significant space around Syd’s vocal so that each phrase has room to resonate. It’s the kind of song that asks questions it doesn’t entirely answer, which is perhaps the most honest thing music can do. After 20 songs, ending with that open-ended quality feels true to who The Internet actually are: a band more interested in emotional authenticity than easy resolution.
Frequently Asked Questions
Who are The Internet?
The Internet is an American R&B band from Los Angeles, California, founded by Syd and Matt Martians around 2011. They emerged from the Odd Future collective and have released multiple acclaimed albums including Purple Nude, Feel Good, Ego Death, and Hive Mind. The band also includes Steve Lacy, Patrick Paige II, and Christopher Smith.
What is The Internet’s most popular song?
“Special Affair” from their 2013 album Feel Good is widely considered their breakthrough track and remains among their most recognized songs. “Roll (Burbank Funk)” and “Come Together” from Ego Death are also frequently cited as fan favorites and received significant critical attention.
What genre is The Internet?
The Internet operates primarily within neo-soul and R&B, but their music incorporates elements of funk, jazz, hip-hop, and electronic music. Their genre-fluid approach is a key part of what makes them distinctive and has earned them comparisons to artists like Erykah Badu, D’Angelo, and Prince.
Which album should I start with?
Ego Death (2015) is widely regarded as their most fully realized work and is an excellent entry point. If you’re drawn to their rawer, more intimate side, Feel Good (2013) offers a compelling earlier perspective. Hive Mind (2018) is their most sonically cohesive record and rewards dedicated listening.
Has Syd released solo music?
Yes. Syd has released solo material including the album Fin (2017), which explores similar sonic territory to The Internet’s work while establishing her own distinct voice as a solo artist. She has continued releasing music while The Internet remains an active project.
Are The Internet still active?
As of the most recent information available, The Internet’s members have pursued various solo and collaborative projects while the band itself has maintained an active presence. Individual members like Steve Lacy have achieved significant solo success, with Lacy earning widespread recognition for his own releases.