January’s Bestest Songs

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During the first month of 2019, I was happiest when these tracks were spinning in my Discman.


1. Chaka Khan – “Hello Happiness”

Having trouble feeling optimistic about 2019? Ms. Khan would like four minutes of your time.

2. Steve Gunn – “Vagabond”

This swirling acoustic ramble feels like it could go on forever. It’s almost disappointing when it doesn’t.

3. CupcakKe – “Squidward Nose”

Parental advisory: explicit, hilarious, empowering, compulsively joyful lyrics.

4. Moon Tooth – “Trust”

Prog-metal candy.

5. Weyes Blood – “Andromeda”

What if Karen Carpenter fronted Pink Floyd?

6. Aesop Rock & Tobacco – “Tuesday”

Hearing the epically verbose Aesop Rock break down his personal hygiene fails is like going to a Garbage Pail Kids retrospective at the Met.

7. Sofi Tukker & Zhu – “Mi Rumba”

I used to think I had no need for Right Said Fred-inspired sex bops in my life. Wrong Said Me.

8. Daniel Knox – “Leftovers”

A bitter satire of male entitlement, “Leftovers” marks Daniel Knox as a Randy Newman fan – a surefire way to make this list.

9. Big K.R.I.T. – “Energy”

A silky smooth call to action from the last man standing in the Dirty South.

10. Sharon Van Etten – “Comeback Kid”

Sharon goes Siouxie.

11. James Blake – “I’ll Come Too”

“I wouldn’t do this on my own / But I’m not on my own tonight.” Swoon.

The Top 25 Songs of 2018

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I’m sure you’ve already read, and reread, my take on the Top 20 Albums of 2018. “Wow, what an excellent use of my time,” you mused. “I need more end-of-the-year lists from this random critic who can’t seem to get published anywhere but his own blog!”

Well, my friends, sometimes dreams do come true. Here are my 25 favorite songs of the year that was.

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25. Rico Nasty – “Countin’ Up”

Hearing this Brooklyn rapper carving her name in a 20-year-old Neptunes beat, you’d swear it – and everything else on earth – has been hers all along: “You can’t even handle a bitch like me / Make my own money and I buy my own weed.”

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24. Against All Logic – “Know You”

This effusive, crate-diving house jam from electro-experimentalist Nicolas Jaar uses a vintage soul sample to push us thrillingly, inexorably forward.

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23. Lucy Dacus – “Yours & Mine”

Lucy Dacus was touring in Europe when tragedy hit Ferguson, MO. So she poured her empathy for the protestors into this sweeping triumph of a song: “For those of you who told me I should stay indoors / Take care of you and yours.”

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22. Khruangbin – “Maria También”

Timeless strutting music from a trio of globetrotting surf-lounge-funk instrumentalists. What, you were just gonna walk?

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21. Teyana Taylor – “WTP”

A ballroom-inspired dance tour de force, complete with clips from Paris Is Burning, “WTP” is a deliriously satisfying blast of self-confidence. “Save your tears honey,” advises guest emcee Mykki Blanco. “You’re a motherfucking diva!”

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20. Young Fathers – “Lord”

A falsetto gospel chorus greets us, and then falls away. By the time it comes back, buoyed by atmospheric piano and booming synth bass, we’re believers.

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19. Neko Case – “Curse of the I-5 Corridor”

Nostalgia has been weaponized by assholes, so it’s a joy to hear Neko Case make it great again with this spine-tingling, 7-minute epic about her early days on the road.

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18. Mariah Carey – “With You”

Our greatest pop-R&B singer casually defends her crown on this fantastic ballad – yet another timeless, hook-laden, slow-dance classic to add to the pile.

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17. Swamp Dogg – “I’m Coming with Lovin’ On My Mind”

Absence doesn’t make the heart grow fonder. It makes life harder, full stop. And over some gorgeous ’80s R&B synths, Swamp Dogg makes us feel that pain of separation, as he pleads with his love to be there when he returns. Never before has a song with multiple references to “69” made me cry.

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16. Esperanza Spalding – “To Tide Us Over”

Picks scrape on strings as a singer struggles to form words, until they finally flow: “Mmmmmmaybe your tongue’s a ruddy seafloor / Silent in its night.” And then, we’re floating – in the strange, therapeutic waters of Esperanza Spalding’s mind.

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15. Robyn – “Between the Lines”

When you love somebody, mundane text messages feel like firework emojis. Even when you’re not saying anything together, you’re saying everything. Over a pulsing, rapturous ’90s club beat, Robyn captures this feeling to a tee: “When we get silent / We’re making diamonds.”

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14. Kero Kero Bonito – “Dear Future Self”

By pairing a stunning sunshine pop chord progression with melancholy lyrics about getting older, this eclectic London trio proves they’re very much in tune with their inner Brian Wilson.

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13. Vince Staples – “Fun!”

Here is Vince Staples at his slipperiest, his powerful, charismatic flow making stark street stories flow like Top 40 candy. And producer Kenny Beats gives him a beat to match, synth congas bending up and down like zero-gravity raindrops.

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12. Rhye – “Taste”

Canadian singer Milosh explores the eroticism of trust on his latest triumph of serpentine Sade-worship. “I feel your love / I feel your faithful ways,” he revels, plucking our heart strings in pizzicato.

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11. Natalie Prass – “Short Court Style”

This Virginia singer/songwriter is inspired as much by Karen Carpenter as Janet Jackson on this easy-breezy jaunt of a single, her soft-rock croon fitting the ’80s R&B groove like a glove.

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10. Joey Purp – “Elastic”

All Joey Purp needed to make a stellar Chicago house rumpshaker was a couple bass notes, some synth hand claps and the occasional front desk bell. And he raps like he knows it – loose, confident, and electric.

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9. Brockhampton – “1997 Diana”

Last May, the exuberant hip-hop collective Brockhampton fired rapper Ameer Vahn in the wake of sexual misconduct allegations. And then they put out a single that proved they’re better without that asshole – a raucous, infectious, baritone sax-driven bop.

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8. CupcakKe – “Cartoons”

When it comes to straight-up rapping, CupcakKe is on another level. On “Cartoons,” she challenges herself to cram as many animation references as possible into eight bars. It’s incredible: “I don’t look for n****s so fuck Waldo / Bitch I’m cocky like Johnny Bravo!”

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7. Kacey Musgraves – “High Horse”

“Oh I bet you think you’re John Wayne,” goes this effervescent disco track from a country singer on an absolute roll. Defenders of the way things used to be have never been eviscerated so neatly, or joyfully.

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6. Cardi B – “I Like It”

“They call me Cardi B / I run this shit like cardio.” After hearing the most satisfying bass drop of the year, how could we argue?

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5. Frank Ocean – “Moon River”

I used to think “Moon River” was a trifle of a song, propped up by a legendary actor in a hit movie. The lyrics are meaningless! Then Frank Ocean sang it, harmonizing like a motherfucker over gentle, ringing guitar chords. I can’t stop crying.

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4. Sophie – “Immaterial”

Both hand-clap-driven dance-pop reverie and uplifting metaphysical thesis, “Immaterial” is a pure expression of freedom: “Just leave me alone now / I can’t be held down.”

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3. Noname – “Self”

This recording makes the Fender Rhodes sound like good news, like a long kiss, like maple syrup on your oatmeal. And Noname drops the verse of the year over it: “And y’all still thought a bitch couldn’t rap, huh?”

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2. Caroline Rose – “Money”

The rock song of the year – a snarling, chugging, invigorating screed about greed. Wouldn’t you know it, we’re left wanting more.

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1. Janelle Monaé – “Make Me Feel” 

When Prince died, it felt impossible to do justice to his memory. Until Janelle Monaé fused funk and pop and lust and love into this interplanetary cocktail of truth.

Honorable Mentions (in alphabetical order): 2 Chainz – “Proud”; At the Gates – “To Drink from the Night Itself”; Courtney Barnett – “Crippling Self Doubt and a General Lack of Self Confidence”; CupcakKe – “Crayons”; Denzel Curry – “Super Saiyan Superman”; Lucy Dacus – “Night Shift”; Drake – “Nice for What”; Flatbush Zombies (feat. Portugal. The Man) – “Crown”; Future – “Racks Blue”; Jonny Greenwood – “House of Woodcock”; Jeremih & Ty Dolla $ign – “The Light”; Juice WRLD – “Lucid Dreams”; Khalid & Swae Lee – “The Ways”; Daniel Knox – “Cut from the Belly”; Lil Wayne – “Uproar”; Kacey Musgraves – “Slow Burn”; Kacey Musgraves – “Rainbow”; Ness Nite – “Flex On Me”; Open Mike Eagle – “Relatable (peak OME)”; Parquet Courts – “Tenderness”; Kim Petras – “Heart to Break”; Pusha-T – “If You Know You Know”; Robyn – “Beach2k20”; Caroline Rose – “Bikini”; Caroline Rose – “Soul No. 5”; Screaming Females – “Fantasy Lens”; Sofi Tukker – “Batshit”; Waxahatchee – “Singer’s No Star”; Young Thug (feat. Elton John) – “High”

The Top 20 Albums of 2018

The term “escapist” is usually applied to story-based art forms – like a 1,000-page high-fantasy novel or a blockbuster IMAX adventure. But in 2018, music was my escape hatch. The one thing every album on this list had in common was that it drew me into its unique sonic universe. Whether it was satirical hip-hop, sci-fi death metal, or romantic pop-country, I floated through it, gobsmacked by melody, moved by poetry. It was indescribably comforting to know that, no matter what atrocity was leading the news that day, the play button was an arm’s reach away.

https_images.genius.com469bb24dc0e092bff3f3003c8229ecf3.1000x1000x120. Young Fathers – Cocoa Sugar

This Scottish-by-way-of-Africa trio was one of 2018’s most successful genre omnivores, fusing lush, electronic R&B with bursts of twitchy grime and the occasional harmony-drenched sunshower. The third Fathers record, Cocoa Sugar, finds the group filtering its legion of influences through the framework of slow-build dance music, layering one subtle element on top of another in a determined attempt to reach that jumping-up-and-down moment of transcendence. “Border Girl” begins with three squelching bass notes and ends up with what might as well be 1,000 voices, beckoning for miracles. On “Lord,” the pristine first single, a falsetto gospel chorus greets us, only to drop out, leaving behind a unstable atmosphere of wispy piano, heavy bass drops, and chilly sentiments like “If wishes were horses / Then beggars would ride.” When the chorus makes its glorious return, we can almost feel the mane in our hands, and the wild breeze in our faces.

a3297919058_1019. Courtney Barnett – Tell Me How You Really Feel

After the runaway success of her 2015 debut, Courtney Barnett went through an extended bout of writer’s block. She tried writing only on a typewriter. She took a break to make a fun, freewheeling album with Kurt Vile. It was all worth it. Tell Me How You Really Feel is a darker, more conflicted work, a floodlight shining on a noisy world, overflowing with fake friends and sexist trolls. Everything you need to know about the album’s emotional grey areas is built into the first song title, “Hopefulessness.” Featuring a string tuning down, a tea kettle screeching, and lines like “It’s okay to have a bad day,” it’s not forthcoming with easy answers. The rest of the album is equally honest, but also sneakily catchy. Especially “Crippling Self Doubt and a General Lack of Confidence,” which boasts a delightful power-pop crunch that belies its title. When Barnett and her band launch into the chorus, it’s like they’re simultaneously having one of the most depressing and freeing adult realizations – everybody is making it up as they go along. “I don’t know anything!” they harmonize. If certain powerful men were strong enough to admit this, the world would be an unrecognizably better place.

220px-Teyana_Taylor_KTSE_Cover_Art18. Teyana Taylor – KTSE

Teyana Taylor knows a thing or two about staying positive. Even though she signed to Pharrell’s label way back in 2007, her debut album didn’t drop until 2014. And by the time LP2 finally arrived this summer, it had zero chance of untainted publicity, thanks to the public self-immolation of its executive producer, Kanye West. Which is a goddamn shame, because KTSE packs enough joy into its 23 minutes to counteract even the heaviest dose of dragon energy. The title stands for “Keep That Same Energy,” and Taylor’s commitment to the mantra is something to behold. Her voice is tinged with reflective wisdom. It’s a confluence of talent and life experience, a direct ancestor of The Miseducation of Lauryn Hill. West provides little more than spartan soul samples on most of these tracks, and it’s all Taylor needs. Until “WTP,” that is. A ballroom-inspired ’90s dance tour de force, complete with clips from Paris Is Burning, “WTP” closes this record with a deliriously satisfying blast of self-confidence. “Save your tears honey,” advises guest emcee Mykki Blanco. “You’re a motherfucking diva!”

https_images.genius.comd556b68ca7ed856d1efd2badd494260a.1000x1000x117. Jean Grae & Quelle Chris – Everything’s Fine

Study after study has shown that life in America is stressful AF. And the imaginative indie rappers Jean Grae and Quelle Chris have taken a deep dive into the causes of this collective anxiety, and our continuing addiction to baseless claims that it’s all gonna be okay. They bring in authoritative-sounding comedians like Nick Offerman and John Hodgman to repeat the album title over soothing elevator music, giving the record its own brand of insidious, hilarious propaganda. As a result, Everything’s Fine is that rare rap album where the skits are essential, because they put these formidable emcees on the offensive. Grae & Chris rap with fire and irony about police violence and lost childhoods, exposing the lie of the album title over hazy, atmospheric production. Grae is especially dynamic, her verses an encyclopedic whirlwind, her shit-talk positively elegant: “Fire, brimstone, magma, lava, Dylan, molten granite, dollars, kimchee / Longer it sits, stronger the MC.” On the next track, Offerman tries to make us forget. “Why would you have to do anything about issues that don’t directly affect you?” he purrs. This record is a herculean battle between truth and comfort; nutrition and junk. It’s like watching the news, if pundits were poets.

https_images.genius.com408f28c254a33a5d96647336a9e972cd.622x622x116. Tierra Whack – Whack World

Sometimes, limitations are an artist’s best friend. Like John Lennon having to belt out “Twist and Shout” with a hell of a cold, and only 15 minutes of studio time left to do it. 15 minutes also happens to be the running time of Philadelphia rapper Tierra Whack’s debut album – that’s 15 tracks, at precisely one minute a piece. I call Whack a rapper, but Whack World is so much more than a rap album. Within these cozy confines, she bounces from moody trap to sunshine pop, introspective R&B balladry and a full-on country twang. She sings about board games and dead pets, and raps with feeling about how she loves to see her mother laugh. Every transition feels effortless. And the same can be said about Whack World’s accompanying video, which depicts the artist’s ideas with the technicolor verve they deserve – imagine if Lemonade was shot in Pee Wee’s Playhouse. This album is a complete artistic statement; a celebration of an independent spirit, alive with humor and humanity. And it’s over in the time it takes to boil an egg. “Music is in my Billie genes,” she boasts. It’s the only explanation for how she could have pulled this off.

https_images.genius.comaee8d20d98f75c9f52ae97a5ebd8637c.1000x1000x115. Vince Staples – FM!

Exposing the illusion of California as a sun-dappled promised land has been a go-to writerly pursuit since Steinbeck was in his prime. But it’s hard to think of any artist who has broken this spell with the muscular precision of Long Beach rapper Vince Staples. On his perpetual motion machine of a third record, Staples plays with our expectations like an especially sly feline. Track one is called “Feels Like Summer,” and it outlines a different kind of heat wave, an ever-present danger that makes the artist sweat all year round. “Cold weather won’t stop no gunner / Wrong hat, wrong day, I’ll kill my brother,” Staples raps. (His everyday challenges would make the Beach Boys shit their shorts.) The genius of FM! is how Staples balances these grim street narratives with infectious energy. Whether he’s rapping about the sun coming out or the guns coming out, his flow is the great equalizer, delivering this stark street poetry with exhilarating percussive force, the perfect foil for the gritty minimalism of producer Kenny Beats. It’s the 2018 equivalent of Ice Cube’s “It Was A Good Day,” except the good times rarely last for a whole couplet, let alone 24 hours. When Staples raps, “Broad day, I’m ’round your way / SK, come out, let’s play,” it almost feels like kid on summer break, until we learn that an SK is a Soviet semiautomatic weapon. It’d be enough to make your head shake, if it wasn’t already bobbing like crazy.

https_images.genius.com24c0326732e628586966e81c5ca9ea27.700x700x114. Slugdge – Esoteric Malacology

It all started with a pun. UK metalheads Matt Moss and Kev Pearson couldn’t believe that out of all the sludge metal bands with animal obsessions, none had connected “sludge” with “slug.” So in 2012, Slugdge was born, complete with its own crackpot theological backstory, centered on a vengeful, slimeridden, interdimensional god named Mollusca. After years of wriggling its way through the metal underground, Moss and Pearson’s band truly burst from the soil in 2018, with the release of its fourth LP, Esoteric Malacology. The Lovecraftian mythology and Pythonian absurdity have reached delirious new heights – “The walls shall liquify beneath / The force of Rhaexorog’s harrowing screams.” And the duo has developed its own particular brand of pummeling prog-metal, proving that very heavy music can also be clear and accessible, without upsetting too many die-hards. The riffs writhe like tentacles, undulating to their own arcane rhythms as they rise to blot out the sun. Clean, worshipful harmonies sit shoulder to shoulder with low demonic growls. When it all comes together, like on the relentless track “Crop Killer,” Slugdge is metal at its most ridiculously fun – painstakingly crafted compositions played with whizbang ability, and delivered with utter dedication to a bonkers sci-fi narrative based on a tortured pun. All. Hail. Mollusca.

https_images.genius.com2a57c6ea1f460c4a71f44de202ea1330.620x620x113. Neko Case – Hell-On

“I’m an agent of the natural world,” proclaims Neko Case on her self-produced sixth LP. The singer/songwriter has long favored themes of mother earth as a sleeping giant; her discography is full of tornadoes and floods, pent-up cyclones and hovering bees. But Case has never written as caustically about our impending doom as she does here. “Don’t you tell me I didn’t warn you,” she sings omnisciently over the gloomy waltz of the title track. In fact, Hell-On finds the artist so appalled by our collective eco-ignorance that she goes full Howard Zinn, telling stories about groups that tend to be ignored by the conquering generals who write our history books – extinct lions, female sailors, traumatized children. If Case wasn’t such a skilled producer, all of this foreboding might make for a tough sit. But this is her lushest album yet, with each track possessing some kind of fulfilling sonic surprise. Like the ’60s pop bounce of “Bad Luck.” Or the swelling wave of a chorus that crashes over “Winnie”: “We were warriors!” The seven-minute “Curse of the I-5 Corridor” is a stone-cold spine-tingler, pairing the artist’s touching remembrances of her first days on the road with duet partner Mark Lanegan’s reassuringly scratchy basso. If we’re all going down with the ship, then what better time to sing?

Lucy Dacus_ Historian12. Lucy Dacus – Historian

Lucy Dacus songs unfold like realizations. Where pop artists tend to prefer briskly discovered a-ha moments, this Virginia singer/songwriter explores the periphery and then works her way in. So by the time we realize that addictions can be interpersonal, or that our homeland isn’t as homey as we hoped, or that death is coldly, poignantly final, the whole experience has been enriched by context, the volume rising steadily like the tide. Historian is Dacus’s first LP with Matador Records, who won a very public label war for her services. All signs point to the execs staying out of her way. Otherwise, the fantastic chorus from the opening track “Night Shift” would’ve been burned off within 30 seconds. Instead, Dacus spends more than three minutes painting a picture of a relationship in ruins, including an image of a man staring at his feet, waiting for his guilt to be lifted, that works pretty well as a metaphor for what’s wrong with the world. Then, only when we understand, does it happen. The chord progression changes; the band drops out; and Dacus sings, “You’ve got a nine to five / So I’ll take the night shift.” It’s more than a cool breakup line. It’s a rejection of everyday drudgery, and Dacus sings it more confidently each time, as if she’s realizing in the moment that she deserves better. Historian is full of songs like these. Ideas that develop in steady crescendo, until they blossom as breakthroughs – bright, and loud, and true.

Love-loss--and-autotune-by-Swamp-Dogg11. Swamp Dogg – Love, Loss and Auto-Tune

By the time an artist gets around to releasing their 22nd album, the best we can usually expect is a respectable return to form under the guidance of a savvy producer – a Time Out of Mind or American Recordings. But since he began dropping eccentric cult R&B records under the name Swamp Dogg in 1970, Jerry Williams Jr. has done anything but what we’d expect. His 22nd album is absolutely influenced by his producers, but its similarities to other late-career triumphs ends there. True to its title, Love, Loss and Auto-Tune layers Williams’s beautifully weathered tenor in pitch-correcting robotics. But it’s not like his voice needs help, or that the material requires some kind of chilly remove. Like Eno with a synthesizer, this is just a boundary-pusher exploring new frontiers. Whether he’s crooning a Nat King Cole standard, begging his love to wait up for him so they can sip “Dom Perignon ’69,” or busting out a spoken word screed about our fucked-up economy, the effect is absolutely unique – and stop-you-in-your-tracks emotional. This isn’t some novelty record. The love swells. The loss hurts. And the Auto-Tune elevates it all, more then any dumb guitar solo could.

https_images.genius.comf9fec989d8a03a8204fd4ff1189d2dd5.1000x1000x110. Sophie – Oil of Every Pearl’s Un-Insides

When the Scottish dance-pop enigma Sophie released a collection of singles in 2015, she gave it the perfect title – PRODUCT. Because this DJ and producer has made her mark by turning lifeless hitmaking technology against itself, resulting in shamelessly mechanical, outrageously plastic earworms. This astounding trademark sound is still evident on her proper studio debut, Oil of Every Pearl’s Un-Insides, but this time, her mission is a therapeutic one. It might be twisted and distorted beyond recognition, but Sophie begins this album by featuring her own singing voice for the first time, on a gentle, spectral ballad called “It’s Okay To Cry.” “I hope you don’t take this the wrong way,” she shares. “But I think your inside is your best side.” Then there’s “Immaterial,” a hand-clap-driven pop reverie that presents our metaphysical selves as our true selves, resulting in a pure expression of freedom. “Without my legs or my hair / Without my genes or my blood / With no name and with no type of story / Where do I live?” Throw in some classic Sophie anti-pop – “Faceshopping” sounds like a Casio being shoved down a garbage disposal, stray pieces skittering across the linoleum – and you’ve got an album unlike any other, that celebrates how each of us is unlike any other.

https_images.genius.comce9271c9c0f795669e05dfd21bf39cdd.1000x1000x19. Caroline Rose – Loner

Is it possible for an artist to be low-key ambitious? To explore all kinds of fertile new ground without being all in-your-face about it? Caroline Rose’s second album leads me to believe so. Loner finds the former Americana singer/songwriter leaving that down-home strumminess in the dust, using a phalanx of synth patches and a chameleonic singing voice to hearken back to ’60s garage rock, ’70s punk and ’90s trip hop. Along with co-producer Paul Butler, Rose manages to corral all of this mood- and genre-hopping into a small-group setting. Other than the keyboards, the instrumentation pretty much doesn’t change. All the hard work is left to the songs and players. And rightfully so. Loner should be, on paper, a fairly depressing record. Narrators sit alone at diner counters, and lose their sense of wonder in a homogenized world. But Rose approaches every song with a sardonic grin. She’s not hopeless; she’s bemused. And she’s at her absolute best when taking on the satirical role of a crass, Randy Newman-style huckster: “We’re gonna put you in the movies and on TV / All you’ve gotta do is put on this little bikini!” As the guitars churn and the synths rain down, the last thing we’re thinking about is the genre. We’re too busy being electrified.

https_images.genius.com8b54877e9543c6577be5d6e963e02452.750x750x18. Denzel Curry – Ta13oo

There’s a throughline connecting the rise of grunge in the ’90s, nü metal in the ’00s and Soundcloud rap in the ’10s – new generations flocking to the sound of young men venting. In all three cases, this has resulted in a lot of entitled, peacocking garbage. But with the release of Florida rapper Denzel Curry’s second LP, Soundcloud rap may have found its ideal torchbearer. Ta13oo features many of the building blocks of this much-derided/beloved genre. Confessional lyrics flow like open veins. Dark, electronic beats swoosh past like rusted throwing stars. A working knowledge of Nirvana, Korn and Stephen King is made clear. But Curry elevates the formula beyond your typical teen angst, by just writing and rapping his ass off. “Sky is the limit / I could die any minute / Got my mind in a skillet / Suicide not the mission,” he spits over the light, strolling synths of “Black Balloons,” beautifully encapsulating the painful uncertainties and careening energies of youth. He begins the record by pledging to always be there for a partner who suffered childhood abuse. He uses Kurt Cobain’s suicide as a cipher for materialism. He references Chowder and Jimmy Neutron and South Park and Black Sabbath. He reaches rap nirvana, over and over again.

https_images.genius.com22ebcc3f86cf57b0438e81d03b492955.1000x1000x17. CupcakKe – Ephorize

When a brilliant, charismatic rapper is just starting to blow up, there are few things more exciting for a listener – being there for that moment, pressing play on the album that could put them on the short list for Best Rapper Alive. Which is just what Ephorize has done for CupcakKe. The third LP from this prolific, seemingly unstoppable Chicago rapper was a significant leap forward from 2017’s excellent Queen Elizabitch – pairing her sharply honed lyricism and whitewater-rapids flow with club-ready production that sends all the positive vibes into the stratosphere. The artist is most famous for explicit, sex-positive bops, and she delivers one of her greatest here with the Statue of Liberty-referencing “Duck Duck Goose.” But Ephorize is equally defined by themes of personal growth and celebratory wokeness. “Most people already skipped this song cause it ain’t about sex and killin’,” she raps on “Self Interview,” a fearless recitation of her anxieties that ends with a vow to be true to herself. When this inward empathy explodes outward, CupcakKe is in rarefied air. “Boy on boy / girl on girl / Like who the fuck you like / Fuck the world!” she proclaims over the sax-laden dancehall groove of “Crayons.” It’s like we’re riding a rainbow rollercoaster, double guns drawn, the Best Rapper Alive at the controls.

DirtyComputer6. Janelle Monáe – Dirty Computer

Janelle Monáe’s talent has always been enough. Her ear for indelible hooks, adventurous arrangements and effective collaborators has made her records feel like signposts for the future of R&B – despite the fact that all of them were weighed down by an utterly confusing dystopian sci-fi premise. Until Dirty Computer, that is. Monáe’s third LP is technically a concept album. But for the first time in her discography, it doesn’t really matter. The songwriting reckons with real life. In this world. In 2018. “I’m not America’s nightmare / I’m the American dream,” Monáe declares over the confident ’80s pop synths of “Crazy, Classic, Life.” This is the album in microcosm – a stark acknowledgement of the challenges facing the black and LGBTQ+ communities in Donald Trump’s America, and a simultaneous declaration of exuberant badassery. It’s the most politically present, and openly romantic, she’s ever been – and the melodies bubble up and embrace us like they always have. “Pynk” turns an Aerosmith sample into a test tube of life-sustaining sunshine. “Screwed” boasts one of the snappiest guitar riffs of the year. And “Make Me Feel” finds Monáe doing justice to Prince’s memory by fusing funk and pop and lust and love into an interplanetary cocktail of truth. What a perfect time for her to shake things up, and give us all the feels.

https_images.genius.com639af7c3779547263444a0acdd2ffcde.1000x1000x15. Noname – Room 25

As we’ve learned the hard way in this country, the people who loudly brag about how strong and smart they are tend to be the weakest and stupidest of the bunch. On her patient, radiant second album, the Chicago rapper Noname calmly delivers verses about struggling to find yourself, the frustrating Venn diagram of sex and love, and the frightening impermanence of existence. It’s powerful because it’s not trying to sound powerful. Featuring live musicians playing low-lit, after-hours R&B vamps, Room 25 has a restorative quality. It’s hot soup on a cold day. When Noname admits “Everybody think they know me / Don’t nobody really know me,” producer Phoelix supports her with a synth patch that sounds like a music box – the sound of the adolescence she’s leaving behind. As she ponders the human condition on “Don’t Forget About Me,” the gentle snare hits and burbling organ are a balm. And on the opening “Self,” where she proves that quiet confidence can shatter foundations, we get an absolute motherfucker of a Fender Rhodes soul groove. It sounds like good news, like a long kiss, like maple syrup on your oatmeal. And Noname drops the verse of the year over it, hurling a pie in the face of rap’s patriarchal gatekeepers: “My pussy teaching ninth-grade English / My pussy wrote a thesis on colonialism / In conversation with a marginal system in love with Jesus / And y’all still thought a bitch couldn’t rap, huh?”

a3868691890_164. Khruangbin – Con Todo El Mundo

Khruangbin makes dreamy, contemplative funk instrumentals. But that description doesn’t do them justice. I’m not nearly cultured enough to properly convey what this Houston trio’s second album sounds like. It bears more passport stamps then every record on this list combined, incorporating Thai, Spanish and Middle Eastern influences into the kind of grooves that will turn any walk into a strut. Mark Speer’s acrobatic guitar playing is center stage, slithering its way through “Maria También” with venomous grace. But that song would be mere noodling without Laura Lee’s searching bass and DJ Johnson’s breezy drums. The end result sounds like Ennio Morricone recording for Stax. I could listen to it on repeat. This cosmic chemistry is all over Con Todo El Mundo, which showcases the most beautiful thing a band can be – an interconnected support system of otherwise-impossible sounds. When they dip their toes into jazz balladry on “Hymn,” Johnson’s congas and sleigh bells are the perfect top notes to the reverb-drenched guitar and beseeching bass. And when they do decide to add vocals to a track, it’s profoundly minimal. After the sand-dune-smooth riff that opens “Evan Finds the Third Room,” Lee voices what we’re all thinking: “Yes!”

b266198ecaf03cafb955bee91d331fa75e2398ad3. Esperanza Spalding – 12 Little Spells

“There’s a vibrational current between every fingertip and the unseen,” declares Esperanza Spalding on 12 Little Spells. In the context of the soundscapes she builds around it, this line feels like incontrovertible truth. Because the artist we could once describe as a “Grammy-winning jazz composer, singer and bassist” has reached heights of sonic expression that transcend genre. Or song structure. Or the physical plane. Only in this rarefied air could she take on this album’s lofty and amorphous challenge – sing a dozen songs about physical reactions to art, and transfer her own feelings to listeners. Spalding’s arrangements are largely percussionless, freeing up her bass lines to bob and weave around our expectations – even the low end is rising skyward. Resulting in music that makes us feel like that batty old man in Mary Poppins, floating to the ceiling in his pajamas, laughing at the wonder of it all. What’s even more amazing is that, at its heart, this is a pop album, meant to connect with as many of us as possible. Few things stuck in my brain in 2018 like the gentle, swaying funk of “Thang.” “‘Till the Next Full” evokes Hejira-era Joni Mitchell with its swirling, nocturnal acoustics. The title track swells like a old movie score, toeing the edge of dissonance but always choosing beauty. Making us feel the way the artist must have felt – entranced and inspired, our goosebumps rising like voices.

RobynHoney2. Robyn – Honey

Nobody used dance music as a weapon of resilience like Robyn did in the first decade of a scary new millennium. The Swedish singer, songwriter and producer wielded bass drum eighth notes like emotional armor, resisting despair’s powerful undertow, bravely choosing to dance on her own. But in the eight years since her absolutely essential Body Talk albums turned our insecurities into ecstasies, a lot happened in this artist’s life. Relationships ended. A close friend and collaborator passed away. And the world kept spinning ever more out of control. So it shouldn’t be a total shock that Robyn has left her suit of armor hanging on the castle walls. On Honey, the pain of the past comes flooding in, exposing universal human weak spots – nostalgia, grief, love. Instead of being repelled by otherworldly pop hooks, their power is captured, and harnessed for good. “Because it’s in the music / Yeah, we’re dancing to it / I’m right back in that moment / And it makes me want to cry,” she sings, in perhaps the clearest example of how her perspective has evolved since 2010. But the track’s rolling, playful bass line and frolicking synth strings communicate the therapeutic nature of her words. Robyn pulls off this trick all over Honey, processing these emotions through the language of adventurous dance-pop, without blunting their impact. It’s a genius songwriter at work. And when she takes a break from soul-searching, we get the avant-garde banger “Beach2k20,” an entrancing ’90s dance concoction during which Robyn has a muffled conversation with herself arranging a beach trip. The only words that bubble completely up to the surface are “Let’s go party!” You’d think nine tracks wouldn’t feel like enough after an eight-year absence. It’s as generous as music gets.

Golden-hour-Kacey-Musgraves1. Kacey Musgraves – Golden Hour

“Oh what a world / Don’t wanna leave / There’s all kinds of magic / It’s hard to believe,” sings Kacey Musgraves, on one of the many standout love songs that form the spine of her flawless third album, Golden Hour. For all its grandiosity, it never feels the least bit trite. Because this songwriter has no time for sunsets. The “magic” she feels is like seeing the Aurora Borealis. “These are real things,” she marvels. Golden Hour is largely about these “real things.” In fact, its songwriting is so focused, it makes me realize how so many of our idioms for romance have to do with not seeing straight. Clichéd love makes us “starry-eyed.” It “knocks us off our feet.” It makes us “crazy about” someone. Musgraves approaches the subject from a variety of angles, from the lovely ache of missing someone to the frightening joy of trusting them. And her vision never blurs. “I used to be scared of the wilderness, of the dark,” she sings. “But not anymore.” This clarity is also evident in Golden Hour’s production. It’s based in the honeyed pop-country gloss that defined her first two records, but takes some exhilarating liberties. “High Horse” is a swirling disco anthem. “Oh What a World” features a chorus of robotic voices. “Slow Burn” introduces a string motif that waxes and wanes like something off of Beck’s Sea Change album. But for all these feats of songcraft, the moment that moved me the most was as simple as can be. The band drops away, and it’s just Musgraves, at her piano, telling her love the one thing we all want to hear: “It’ll all be alright.”

Honorable Mentions (in alphabetical order): Against All Logic – 2012-2017; At the Gates – To Drink from the Night Itself; Behemoth – I Loved You at Your Darkest; Brockhampton – IridescenceCardi B – Invasion of Privacy; Mariah Carey – Caution; City Girls – Period; Cupcakke – Eden; Earl Sweatshirt – Some Rap Songs; Flatbush Zombies – Vacation In Hell; Future – Beast Mode 2; JPEGMAFIA – Veteran; Jonny Greenwood – Phantom Thread; Hermit and the Recluse – Orpheus vs. The Sirens; Horrendous – Idol; Jeremih & Ty Dolla $ign – Mih-Ty; Kero Kero Bonito – Time ‘n’ Place; Lil Wayne – Tha Carter V; Mammoth Grinder – Cosmic Crypt; Parquet Courts – Wide Awake!; Pistol Annies – Interstate Gospel; Natalie Prass – The Future and the Past; Pusha-T – Daytona; Rhye – Blood; Rico Nasty – Nasty; Saba – Care for Me; Screaming Females – All At Once; Sofi Tukker – Treehouse; Anna St. Louis – If Only There Was a River; Tenacious D – Post-Apocalypto; Kurt Vile – Bottle It In

Songs of the Summer 2018

It’s that time of year when eggs fry on sidewalks and toast toasts on windowsills. Summer! Here’s a playlist of music that should go perfectly with your 2018 barbecues, beach blanket bingo tournaments and dead skin peel-offs. You can find song by song analysis below that. And below that? Nothingness. An eternal void. HAPPY SUMMER EVERYONE!


1. Janelle Monáe – “Make Me Feel”

Who better than sci-fi R&B diva Janelle Monáe to use the raw materials of Prince’s “Kiss” as a launchpad to something entirely new? “Make Me Feel” achieves the kind of bliss that turns summer flings into engagement rings.

2. Caroline Rose – “Soul No. 5”

“I got soul” is a gutsy thing for any singer to claim. But as Caroline Rose belts it over a relentlessly catchy new wave riff, we accept it as a matter of fact.

3. Khruangbin – “Maria También”

Old school strutting music from a trio of surf-lounge-funk instrumentalists. What, you were just gonna walk?

4. Cardi B – “I Like It”

“They call me Cardi B / I run this shit like cardio.” After hearing the most satisfying bass drop of the summer, how could we argue?

5. Natalie Prass – “Short Court Style”

A lush, breezy disco groove that waves like palm trees – requiring zero effort to enjoy.

6. Pusha-T – “If You Know You Know”

Why did Push and his producer Kanye West make us wait 37 seconds until the incredible beat drops on this track? Because they knew we’d appreciate its luxurious stereophonic glory even more. They knew.

7. Kacey Musgraves – “High Horse”

“Oh I bet you think you’re John Wayne,” goes this effervescent disco track from country singer Kacey Musgraves. Defenders of the way things used to be have never been eviscerated so neatly, or joyfully.

8. Parquet Courts – “Wide Awake”

One of our most dependable rock bands expands their scope from Ramones pep and Velvety churn to include Fear ofMusic-era Talking Heads, resulting in a shout-along funk gem that boasts the bass line of the year.

9. Sofi Tukker – “Batshit”

A New York EDM duo channels Right Said Fred in a song about losing your mind, and wouldn’t you know it – I’m doing my little turn on the catwalk.

10. Drake – “Nice for What”

You can argue about the legitimacy of Drake’s feminist stance here, but can we do it when the song is over? That flow over an expertly deployed Lauren Hill sample is positively infectious.

11. Azealia Banks – “Anna Wintour”

Speaking of music great enough to drown out uncomfortable conversations, problematic human Azealia Banks continues to fuse dance music with hip hop in breathtakingly organic ways.

12. Screaming Females – “Fantasy Lens”

Marissa Paternoster is the best guitar player.

13. Cupcakke – “Cartoons”

“I don’t look for n****s so fuck Waldo / Bitch I’m cocky like Johnny Bravo.”

14. Khalid & Swae Lee – “The Ways”

The high point of the stacked Black Panther soundtrack is this agave-drizzled island love song from a burgeoning singer/songwriter and half of Rae Sremmurd.

15. 2 Chainz ft. YG & Offset – “Proud”

Rappers usually turn to balladic form on songs dedicated to their moms. 2 Chainz opts for a burbling, insidious trap groove – the perfect balance of sweetness and grit.

16. Frank Ocean – “Moon River”

I used to think “Moon River” was a trifle of a song, propped up by a legendary actor in a hit movie. The lyrics are meaningless! Then Frank Ocean sang it, harmonizing like a motherfucker over gentle, ringing guitar chords. And I can’t stop crying. End every party with this, and even the lame ones will feel meaningful.

The Top 25 Songs of 2017

So you’ve read my Top 20 Albums of 2017 and find yourself wanting more. Here you go, person who doesn’t exist! It’s my Top 25 Songs of 2017. My all-time favorite songwriter is on here. A segment from a radio show is on here. And Fergie is on here? Yes, Fergie is on here. There’s a full playlist below, after I’m done yammering.

25. Fergie ft. Nicki Minaj – “You Already Know”

Over a dynamite interpolation of Rob Base and DJ EZ Rock’s “It Takes Two,” Fergie catches fire, outrapping her legendary guest against all odds.

24. Laura Marling – “Soothing”

“I banish you with love,” croons Laura Marling over one of the grooviest bass lines of the year. Getting dumped never sounded so good.

23. Young Thug – “Do U Love Me”

This preternaturally melodic rapper sings a love letter to himself over a sprightly dancehall beat, teaching us the difference between ego and self-confidence.

22. Randy Newman – “She Chose Me”

If you’re lucky enough to know how it feels to have a partner you don’t deserve, this stark ballad from our greatest living songwriter hits hard.

21. Courtney Barnett & Kurt Vile – “Continental Breakfast”

Two brilliant slacker/songwriters, singing about their intercontinental friendship over a loose, rolling groove. Should be played in lieu of presidential speeches to the UN from now on.

20. CupcakKe – “Barcodes”

This sex work empowerment anthem is a blast of exuberance from a Chicago rapper on the rise. “Pay the damn price or go home to your wife,” CupcakKe demands, backed by the funkiest horns we heard all summer.

19. Bebe Rexha – “I Got You”

A pop song about building trust, with a chorus that feels like falling into somebody’s arms.

18. Brockhampton – “Gummy”

We get a few seconds of lush, harp-trilling Disney music before the plug is pulled, the feedback squeals, and rap’s most energetic crew takes off.

17. Kreator – “Side By Side”

The loudest anti-fascist music in 2017 was made by Germans. The pealing riffs and pummeling drums of “Side By Side” are almost as explosive as the rallying cries.

16. Offset & Metro Boomin – “Ric Flair Drip”

Metro Boomin beats don’t hook us. They mesmerize us. So while Offset unleashes his masterful triplet flow on “Ric Flair Drip,” it’s the producer’s dark, pinging synths that linger on in our memory.

15. Carly Rae Jepsen – “Cut to the Feeling”

On paper, lyrics about breaking through the ceiling, dancing on the roof and playing with the angels are pretty cliché. But when paired with the sonic equivalent of carbonated helium, they’re perfect.

14. Nnamdi Ogbonnaya – “Hop Off”

The dive-bomb bass and chirping synths are fun enough on their own. Then one of the most elastic voices in hip hop jumps in, and we reach a whole new plane of party.

13. Thundercat – “Tokyo”

An electro-jazz-yacht-rock bass virtuoso sings about how a great vacation can bring out the kid in us: “Gonna eat so much fish I think I’m gonna be sick / Gonna blow all my cash on anime!”

12. Power Trip – “Executioner’s Tax (Swing of the Axe)”

The headbanger of the year, with a riff that chugs like a locomotive from hell, and a chorus that demands to be shouted at top volume, like a bloodthirsty Queen of Hearts.

11. Big Boi – “All Night”

The still-underrated half of Outkast made this year’s anthem for the blissfully monogamous. “Hit you with your bonnet on by the nightlamp,” he raps, over a big toothy smile of a piano loop.

10. SZA – “Drew Barrymore”

This devastating breakup song was inspired by Drew Barrymore’s insecure character Josie Geller in Never Been Kissed. There’s no Hollywood ending here. But when the strings swell, so do our hopes for one.

9. Black Thought – “Hot 97 Freestyle 12/14/17”

Sometimes, nothing is flashier than stamina. Like when the voice of The Roots hopped on Funkmaster Flex’s radio show and unleashed 10 minutes of fiery, perfectly crafted bars. By the end, he was sweating. And so were we.

8. Feist – “I’m Not Running Away”

I can’t shake this tune. Bold declarations of loyalty are held up by little more than Feist’s stark, bluesy guitar. She finds a kind of rhythm that drummers can’t reach.

7. Drake – “Passionfruit”

Over a swirling dream of a dancehall groove, a narrator mourns a fading long-distance relationship. It’s emotional and entrancing – in other words, a signature Drake summer smash.

6. Jeremih – “I Think of You”

Jeremih seriously flirts with MJ status here, making sunset references sexy again over an utterly joyful, marimba-inflected beat.

5. Julia Michaels – “Uh Huh”

This accomplished pop songwriter has apparently saved the best material for herself – especially this starry-eyed acoustic gem that crescendos to an instant high of a chorus.

4. Calvin Harris ft. Frank Ocean & Migos – “Slide”

A smooth-as-ever Frank Ocean sings about moments when “whatever comes, comes through clear” over a breezy disco groove from Calvin Harris. Corona wishes they could bottle this.

3. Haim – “Little of Your Love”

Our finest purveyors of ’80s adult contemporary singalongs serve up a chorus so effervescent, it made this especially heavy year feel lighter.

2. Kendrick Lamar – “DNA”

Over the levitating sitar n’ bass rumble of the year’s best rap song, Kendrick Lamar brags about his ability to reach nirvana in yoga class. As his rapid-fire syllabic mastery carries us away, we get a real idea of what he’s talking about.

1. Kesha – “Woman”

The New York Times ran a story last July about the health benefits of cursing – including stress relief and higher pain tolerance. The best song of 2017 definitely backs up these findings. When Kesha sings “I’m a motherfuckin’ woman!” punctuated by the profoundly funky Dap Kings horns, the combination of positive vibes and disregard for pop norms is exhilarating. Unlike the way our president talks, “Woman” is not vulgar. It’s defiant, and important, and very, very good for us.

Honorable Mentions: 2 Chainz – “Sleep When U Die”; Bob Dylan – “Braggin'”; Nick Hakim – “Cuffed”; Hus Kingpin – “Wave Palooza”; Jonwayne – “TED Talk”; Kamiayah – “Dope Bitch”; Kesha – “Hunt You Down”; King Gizzard & The Lizard Wizard – “Crumbling Castle”; Kendrick Lamar – “Element”; Aimee Mann – “You Never Loved Me”; Migos – “Slippery”; Frank Ocean – “Chanel”; Angel Olsen – “California”; Pallbearer – “Thorns”; Syd – “Got Her Own”; TT the Artist – “Real Bitch Problems”; Tove Lo – “Disco Tits”; Ulver – “Nemoralia”; White Reaper – “Eagle Beach”; Your Old Droog – “Grandma Hips”

 

 

 

 

The Top 20 Albums of 2017

Music is the best. Nothing that happened this year could change that. For every stress-inducing headline, there was a soothing melody. For every messy situation, there were 16 perfectly constructed bars. Every time we wanted to scream, a great metal song provided an outlet. Here are just 20 of the recordings that made life easier for me this year. The next time you can’t believe what you’re hearing, start listening.


20. Nick Hakim – Green Twins

Nick Hakim approaches his brand of earnest R&B like a master restauranteur, valuing the ambiance as much as the meal. On his debut LP, the gifted Brooklynite refuses to just point and say “isn’t this catchy?” It’s seductive. At first listen, the reverberating piano chords of “Needy Bees” are merely soothing; by listen five, they’re inescapably beautiful, supporting every twist and turn of the melody. As a songwriter, Hakim is refreshingly astonished by things like love, and dreams, and pregnancy. He attains poignancy through simple language, including one of the most romantic sentiments of the year: “If there’s a god / I wonder what she looks like / I bet she looks like you.”

19. Ulver – The Assassination of Julius Caesar

As a legend of the Scandinavian black metal scene, Kristoffer Rygg understands the mechanics of slow-building soundscapes and folkloric songwriting. And on his 11th album fronting the shapeshifting outfit Ulver, Rygg applies these talents within the eyeliner-smudged confines of 1980s goth-pop. It’s remarkable how well it works. Over the nine-plus minute expanse of “Rolling Stone,” the band rides a throaty synth riff until we’re in its thrall. And on “Nemoralia,” Rygg goes full Depeche Mode, his voice floating over hauntingly catchy synths, connecting the pagan feast of the goddess Diana to the tragic demise of the princess of the same name. Obsessed with ancient history and aglow with gloomy beauty, this is a master class in how to experiment with genre without losing yourself in the process.

18. CupcakKe – Queen Elizabitch

This Chicago rapper first garnered attention in 2015 with exuberant, X-rated club tracks like “Deep Throat.” But her music is as much about tension as it is about release. Her second mixtape, Queen Elizabitch, is full of empowering, sex-positive summer jams – she’s got clever genitalia metaphors for days. But these moments are complemented by darker tales pulled from the artist’s childhood, when she spent years living in homeless shelters. After hearing her spit fire about having to share clothes with friends or watch rats run over her mother’s feet, the calendar-exploding swagger of “33rd” and the horn-fueled sex-work anthem “Barcodes” become more than tracks to dance to. They’re states of mind to aspire to.

17. Drake – More Life

Ever the savvy brand manager, Drake decided to follow up his massively successful 2016 by pursuing a little less market saturation. More Life isn’t exactly a “playlist,” as its cover proclaims. But it is a gorgeously sequenced, decidedly low-stakes affair. The Toronto rapper steps down from his chilly CN Tower perch and ups the Celsius levels with forays into pulsing dancehall, UK grime and Atlanta trap. A lengthy guest list promotes the party atmosphere – Young Thug, Quavo and Skepta are given all the bars they need to steal the show. And whether he’s reflecting on pre-fame Applebees runs or picking through the ruins of a relationship, our headliner sounds more comfortable on the mic than he has in years.

16. Aimee Mann – Mental Illness

When it comes to depicting complicated emotions with just a handful of syllables, Aimee Mann is an all-time great. On her ninth album, Mann unpacks feelings of regret, and abandonment, and stubborn hope, in tight stanzas that shimmer with the clarity of a breakthrough in therapy. “It happens so fast / And then it happens forever,” she sings, immediately breaking the hearts of anyone who wishes they could have that one crucial moment back. Buoyed by cozy strumming-and-strings arrangements, Mental Illness glows with a truly reassuring thought: someone else out there feels this way.

15. Jonwayne – Rap Album Two

The first line on this L.A. rapper’s second album isn’t your typical hip hop boast – “You never seen a man so calm in your life.” Released after the artist announced a break from touring due to his struggles with alcohol, Rap Album Two makes good on that initial claim in low-key, redemptive fashion. Jonwayne is a steady, comforting force as a rapper, his reflective bars gelling with serene, meditative loops. As he pours his heart out about his demons, and how he fears his art will suffer without them, the quiet understanding in his voice makes it obvious it’s not an act. “I need to slow down / But I need a good friend to come and tell me how,” he raps. It takes a significant amount of calm to admit that on wax.

14. King Gizzard & The Lizard Wizard – Murder of the Universe

This Australian psychedelic rock septet went on a studio bender in 2017, releasing five full-length albums and showing no signs of letting up. All are worthwhile listens, but Murder of the Universe is the crown jewel – a breathless fusion of propulsive riffs and sci-fi fever dreams that reminds us how fun a concept album can be. As spoken-word narration guides us through tales of human/beast mind-melds, balrog fights and cyborgs who would give anything to understand how it feels to vomit, the Gizzard’s relentless dual-drummer attack feels capable of carrying us anywhere – even to the end of it all.

13. SZA – Ctrl

SZA songs are the sonic embodiment of the phrase “hopeless romantic.” On her striking debut album, she cuts to the quick of how it feels to get cheated on: “I could be your supermodel if you believe / If you see it in me,” she sings to a philandering ex, mourning the self-confidence that could have been. The production is intimate, with little reverb added to contemplative guitar figures and raw, one-take vocals. But there’s a reason this record is called Ctrl. SZA is not wallowing here. She’s settling scores via slow jam, directly confronting assholes by exposing how they’ve hurt her. All while refusing to lose faith in love.

12. Brockhampton – Saturation II

This summer, the self-described hip hop boy band Brockhampton filled up two mixtapes with enough personality and adrenaline to distract the grumpiest pessimist. The first was like hearing young wizards beginning to master their power. On the second, they start wielding their magic. Saturation II finds bandleader Kevin Abstract and producer Romil Hemnani zeroing in on a shared vision: rappers getting shit off their chests over party-ready golden-age beats. It’s compulsively listenable music, full of instantly memorable choruses and effective, cathartic verses. How they made a record featuring seven rappers feel this light is beyond me. All I know is, I want more.

11. Power Trip – Nightmare Logic

God bless the power chord. Just three notes splitting an octave to create a simple, beautiful symmetry. As the Dallas thrash band Power Trip proved this year, these compact sonic gifts can be utilized to brutal, exhilarating ends. These guys aren’t just out to detonate your eardrums on their punishing second LP. Chaos isn’t their game. Instead, Nightmare Logic is a relentless succession of irresistible guitar riffs, which were crafted with as much attention to rhythm as volume level. Whether it’s the chugging eighth notes of “Executioner’s Song” or the circular triplets that kick off “If Not Us Then Who,” this shit swings. As frontman Riley Gale cries out against “the slumber of reason” in his strangled yawp, those power chords roil and slither underneath, girding us for whatever nightmare the world’s gonna belch up next, reminding us of the power inherent in noise.

10. 2 Chainz – Pretty Girls Like Trap Music

2 Chainz has been a reliable source of fun, wordplay-encrusted bangers since “I’m Different” kicked off his second wind in 2012. But the Atlanta veteran has never made a record like this. Pretty Girls Like Trap Music finds the rapper formerly known as “Tity Boi” slipping wistful drug-game reminiscences in between inspired bursts of fantastical materialism (this time he’s got a see-through fridge). His knack for painting pictures is buoyed by a vibrant and versatile slate of beats – the opening “Saturday Night” features a dramatic torch song groove from the always-in-demand Mike Will Made It. “I went to work and I made an abundance / Gucci flip flops with the corns and bunions,” 2 Chainz raps over the sinister synth strings and throbbing bass of “Riverdale Rd.” All that hard work is paying off.

9. Haim – Something to Tell You

If you didn’t already feel grateful for Wilson Phillips, the rise of Haim should correct that problem. On its second album, this trio of California sisters continues to revel in the supermarket pop of yesteryear, harmonizing about big-time emotions over even bigger drums and effervescently processed guitars. The best songs are the singles, which pair catchy choruses with quirky production wrinkles – on “Want You Back,” it’s a horse’s whinny; on “Little of Your Love,” it’s someone falling asleep at the pitch bender. The sum and total of this commitment to fizzy pop hooks is a significant amount of joy. Even during this very, very difficult year, it made me sing in my car like a fool – helping me hold on for one more day.

8. Nnamdi Ogbonnaya – Drool

In 2014, while pursuing a degree in electrical engineering and playing drums in several bands, Nnamdi Ogbonnaya wrote this on his Chicago apartment wall: “You’re not normal, so why are you trying to be?” Three years later, the restless artist turned his focus to rapping and made a record that is thrillingly, definingly weird. Drool weaves together squelching synths, programmed drums and rat-a-tat sing-raps like distorted DNA strands, with Ogbonnaya exploring his full vocal register in the process. It’s not as intimidating as that sounds. “Hop Off” marries thrumming bass with chirping organ runs, and when the rapper enters the fray, we get within a stone’s throw of the radio. It’s purposefully off-kilter, yet easy to enjoy – a sign we’re dealing with a serious talent. We should follow him closely, even if he doesn’t necessarily want us to.

7. Kreator – Gods of Violence

The legendary German thrash band Kreator released its 14th album one week after Inauguration Day. It was a bomb to my headphones, and a balm to my nervous system. “Resistance must rise when freedom has died,” screamed Millie Petrozza in a voice as violent and alive as it was in ’85. Gods of Violence is full of visceral rallying cries like this. It stares fascists in the face, catalogs their sins, and tells them to beware the power of the people, over jet-fuel drums and riffs full of manic, Pixie-stick energy. It’s a goddamn reckoning. And by the time we make it to the penultimate track, “Side By Side,” Petrozza has decided that catharsis isn’t enough. So he makes an oath: “As we crush homophobia / We’ll never let the shame turn our vision to ice / And I’ll remain by your side.”

6. Feist – Pleasure

A decade after a song called “1, 2, 3, 4” made her a star, Leslie Feist is thinking even simpler. Her fourth album, Pleasure, finds new depths within her moonlit folk aesthetic. It’s been six years in the making, and it feels like it’s been in a slow cooker for that entire time. Each arrangement has been boiled down to its essential elements, finding its rhythm in the marrow. The fortunes of “I’m Not Running Away” rest completely on a swaying blues guitar riff, and it’s as exciting as a high wire act. “Any Party” relies on a chorus of non-singers to deliver its grand romantic refrain. “Century” breaks down time itself into its smallest components. And through it all, Feist’s voice is strong and clear, never straining to get its point across. It’s the sound of an artist in complete control.

5. Thundercat – Drunk

Through his session playing alone, bassist Stephen “Thundercat” Bruner has made his mark. Erykah Badu’s New Amerykah and Kendrick Lamar’s To Pimp a Butterfly are just a few of the modern classics that have entrusted their low ends to him. But as the cover to his third solo album depicts, the potential of this artist is only beginning to emerge. Drunk is the work of a versatile, funny, kaleidoscopically imaginative songwriter. The music is rooted in his fluid, beautiful bass lines, and it’s one hell of a gumbo: fiery jazz, chittering electronica and straight-faced yacht rock. In a voice that shifts into falsetto with ease, the artist sings about mundane late night rituals and fun Japanese vacations with the same awestruck, childlike energy. As a result, Drunk makes you feel the opposite of wasted.

4. Laura Marling – Semper Femina

Happily ever after is great and all. But if we felt nothing but fairytale bliss, we wouldn’t get to appreciate art that traffics in shades of grey. Like Laura Marling’s stunning sixth album, for example. Each of the nine tracks on Semper Femina takes its own distinct sonic path as it searches for meaning in an unfulfilling relationship. “Soothing” rides a mournfully funky bass line. “The Valley” basks in pastoral acoustics. “Nothing Not Nearly” brings in stabs of fuzzbox guitar. And it’s all tied together by Marling’s empathetic pen. As she deals with love, and loss, and love that doesn’t go away even though it’s lost, she maintains a passion for the whole flawed phenomenon of human coupling that’s as impressive as the impeccably produced surroundings. On the final chorus, Marling makes her mission statement clear, just in case we weren’t paying attention: “Nothing matters more than love.”

3. Pallbearer – Heartless

It’s appropriate that Pallbearer uses Roman numerals instead of typical track numbers on its staggering third album. The Arkansas quartet has written an honest-to-god symphony – a grand, interconnected composition that takes its time to unfurl, demanding to be seen as a whole. Heartless draws a direct line from the cavernous power chords of doom metal to the immersive atmospherics of Pink Floyd’s “Shine On You Crazy Diamond.” In between long, seamless suites of guitar music, which bellows and soothes as it seeks our emotional core, singer Brett Campbell belts gorgeous vocals about the end of the world. It’s like hearing tectonic plates moving, conspiring our demise in ancient, beautiful ways.

2. Kesha – Rainbow

“I’m waiting for my spaceship to come back to me / And I don’t really  care if you believe me,” sings Kesha on her ambitious, assured comeback album. Released in a year when “I believe the women” began to be said out loud, in public, Rainbow is both a zeitgeist-capturing statement of what it means to be a survivor and a canny, genre-bending ’10s pop album par excellence. Kesha deftly augments the pulsing dance-pop we’ve come to expect with elements of arena rock, modern country, piano balladry and twee folk. She belts out sweeping anthems of empowerment, threatens a would-be cheater with a wink and a smile, and looks to the skies for hope, revealing an impressive vocal range for the first time on tape. Rainbow sounds better than anything Kesha ever recorded with her longtime producer Dr. Luke, who the artist sued in 2014 for sexual assault. She lost that lawsuit in all-too-familiar fashion. But no court can stop this album, this free-spirited outpouring of emotion, from inspiring others to believe – in UFOs, in basic human decency, and in themselves.

1. Kendrick Lamar – DAMN

In March 2015, Kendrick Lamar released a song called “How Much a Dollar Cost,” about ignoring a panhandler who turns out to be God. Throughout the sprawling crisis of faith that was his To Pimp a Butterfly album, this was one of the most overt pleas to trust in humanity. Then, a year and a half later, Election Day came to prove him wrong. Lamar didn’t make any public statements after Donald Trump’s victory. I can’t imagine how it’s affected him. But this spring, with the release of his laser-focused fourth album, it became clear that the effect on his art has been extraordinary. Determined instead of conflicted, realistic instead of religious, DAMN outlines a vital artist’s transformed approach to navigating a fucked-up world: Have faith in yourself. It’s a “back to basics” record both psychologically and sonically, where the artist has stripped away everything he can’t count on in the world and started over from there. That’s why DAMN is, to me, the best album of 2017. It’s titanically satisfying music that’s driven by the kind of visceral, personal feeling that will never stop being relevant. “Ain’t nobody praying for me,” the rapper shares, over and over again, throughout this album. The first time he says it, it’s a plea. Eventually it becomes a mantra. By the end, it’s a declaration of independence. We may not be praying for you, Kendrick. But to our great benefit, we’re listening.

Honorable Mentions: 21 Savage, Offset & Metro Boomin – Without Warning; Courtney Barnett & Kurt Vile – Lotta Sea Lice; Beachheads – Beachheads; Big K.R.I.T. – 4eva Is a Mighty Long Time; Bjork – Utopia; Bob Dylan – Triplicate; Hus Kingpin – 16 Waves; Kamaiyah – Before I Wake; Migos – Culture; The Mountain Goats – Goths; Randy Newman – Dark Matter; Angel Olsen – Phases; Syd – Fin; Waxahatchee – Out in the Storm; Young Thug – Beautiful Thugger Girls

2017 Songs of the Summer

Call me a cheeseball, but I’ve always been excited at the prospect of new summer music. One of the best things you can say about a song is that it sounds perfect blasting out of a car window, air conditioning be damned.

I remember exactly how it felt to discover my first song of the summer, in May 1992, when one of Buffalo’s 17 classic rock stations debuted the new Black Crowes single “Remedy” just as my mom was pulling into the driveway. I ran inside to catch the rest of it. To this day, when those incredible backup singers come in on the chorus to bolster Rich Robinson’s shaggy blues riff, I get chills. I will forever associate that moment with feelings of warmth and possibility.

25 years later, figuring out the “Song of the Summer” has become its own cottage industry. We make our predictions in May and declare the winner in September. And for the most part, the criteria is the opposite of most pop culture analysis – mainstream acceptance is a must. In 2013, Daft Punk’s “Get Lucky” won the season not just because of its pristine, inescapable disco hook, but because the Internet was obsessed with it as well. It’s easy to be cynical about arbitrary “awards” like this – it is the the essence of music blog clickbait, after all – but it’s important to talk about music we can generally agree on as a culture once in a while. The more I hear that our country is hopelessly divided, the more I want to prove that wrong. Searching for, and honoring, these shared musical moments every year is one tiny way to do it.

Plus, I really really like to make lists of songs. So here are the ones I’ll be running into the house to tape off the radio this summer.


Jeremih – “I Think of You”

Jeremih flirts with MJ status, yearning for a mistletoe moment in July over an utterly joyful, marimba-inflected beat.

Thundercat – “Tokyo”

An electro-jazz-yacht-rock bass virtuoso sings about how a great vacation can bring out the kid in us: “Gonna eat so much fish I think I’m gonna be sick / Gonna blow all my cash on anime!”

Haim – “Want You Back”

This California trio finds a sweet spot between Fleetwood Mac and Wilson Phillips. Hope they luxuriate in it for a while.

Bebe Rexha – “I Got You”

A pop song about building trust, with a chorus that feels like falling into somebody’s arms.

Kendrick Lamar – “HUMBLE.”

The best rapper alive, tearing a monster Mike Will Made It beat to shreds. Bring on the Summer of the Low-Register Piano.

Power Trip – “Executioner’s Tax (Swing of the Axe)”

The headbanger of the summer, with a riff that chugs like a locomotive from hell, and a chorus that demands to be shouted at top volume, like a bloodthirsty Queen of Hearts.

Bob Dylan – “Braggin'”

The more Dylan digs into the Great American Songbook, the happier I get. This sprightly shuffle off his excellent Triplicate album is a pure pleasure, full of folksy, spot-on commentary on what passes for leadership these days: “When you should be busy plowin’ and a-plantin’ / You stand there a-rantin’ / Get no harvest tootin’ your horn.”

Calvin Harris (ft. Frank Ocean & Migos) – “Slide”

A smooth-as-ever Frank sings about moments when “whatever comes, comes through clear” over a breezy disco groove from Calvin Harris. Positive vibes abound.

Beachheads – “Your Highness”

Shimmering, harmony-laden power-pop that sweeps you up like a hang glider.

CupcakKe – “Barcodes”

This sex work empowerment anthem is a blast of exuberance from a Chicago rapper on the rise. “Pay the damn price or go home to your wife,” CupcakKe demands, backed by the funkiest horns you’ll hear all summer.

Drake – “Passionfruit”

Over a swirling dream of a dancehall groove, a narrator mourns a fading long-distance relationship. Emotional and entrancing, it has all the makings of signature Drake summer smash.

Feist – “I’m Not Running Away”

Sparse, introspective blues songs don’t usually make me want to bat a beach ball around. But I can’t shake this tune. Its mix of slinky guitars and bold declarations are as thoroughly bad-ass as the Power Trip song on this list. I’d suggest throwing it on while a bonfire is burning.