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The 25 Best Songs of 2017 (So Far) — June 23, 2017

The 25 Best Songs of 2017 (So Far)

I mainly made this list because I saw that a lot of other music reviewers were doing it and I didn’t have much else going on. I’m not sure if 2017’s been an especially good year for music or if this is just how music is now. Anyway, there’s tons of good stuff to get through, so I won’t waste much time. This list is primarily based on personal preference, though in some cases I account for other factors like impact. I tried to limit it to one song per artist, but there are a few minor infractions. Let’s kick it.

25) COMPUTER BOY – Poppy

Poppy’s been bubbling up for a couple of years now, and she’s developed somewhat of a cult following, for lack of a better term. Her brand of bubblegum pop with a sinister twist has attracted many and led to countless conspiracy theories and Reddit threads breaking down her extensive lore. I’ve enjoyed her music and all this… other stuff she’s doing for quite some time, but “Computer Boy” might be her best song yet. Commenting on a recent trend towards technology fetishism, the song is about Poppy falling in love with her laptop. It’s got an amazing hook and really solid production. In an age where a lot of Top 40 music has gone flaccid, it’s nice to hear some pop that packs a punch.

24) PASSIONFRUIT – Drake

Drake’s latest not-album finds him comfortably within his zone, taking elements from all over the world to create the truest reflection of himself that we’ve heard to date. Nowhere is this more evident than on the “playlist”‘s biggest single, “Passionfruit,” one of the few songs on the album that lists Drake as the only writer (other than its producer, Nana Rogues). Drake’s wrote a lot of mopey breakup songs, but none as complete as “Passionfruit.” The soft, tropical riddim perfectly complements Drake’s mature, resigned voice. It’s also extremely well-written. Genius did an article about how the emphasized words in the chorus (“passionate,” “passive,” and “passing”) as well as the titular passionfruit, all come from the same Old French and Latin roots referring to the suffering of Christ. The passion fruit, and passion flower, are particularly common in tropical regions, and missionaries in Brazil called them “the flower of five wounds” in reference to Jesus’ crucifixion. So that’s pretty cool, huh?

23) DOVES IN THE WIND – SZA feat. Kendrick Lamar

This song is about pussy. That’s not an oversimplification: the word “pussy” is said no less than 23 times throughout the song. SZA’s new album Ctrl immediately took the music world by storm. Fans and critics swooned over her nimble pipes, warped beats, and sheer differentness. To me, “Doves in the Wind” is the best representation of what SZA has to offer. It’s a moody, noir outlet for her and TDE labelmate Kendrick Lamar to wax philosophical about vaginas for four-and-a-half minutes. Not every artist could’ve pulled this off, but these two ran with it and stuck the landing.

22) DESPACITO (REMIX) – Luis Fonsi and Daddy Yankee feat. Justin Bieber

This song basically came out of nowhere and is quickly becoming inescapable. After spending six weeks on top of the Hot 100, the radio finally caught wind, and just this Saturday (June 17) alone, the song was played over 10 million times on iHeartRadio stations. The video for the original racked up over 2 billion YouTube views and is now the eighth-most-watched video of all time, but I’m a filthy American and I like the Bieber version better. I just really love how Justin Bieber has the clout to take some random-ass Latin pop hit and get Americans to bump it. Bieber’s contributions to the song are much appreciated, but of course Luis Fonsi and Daddy Yankee deserve some recognition, too. It’s just a really solid pop song. I’m sure it’ll be overplayed in a matter of days, but I can appreciate it for now.

21) GALWAY GIRL – Ed Sheeran

Ed Sheeran put out his third studio album, ÷, this year, and reception was… mixed. It’s an okay album, but I can’t say I remember much from it. But there was this one song. You see, Sheeran’s been moving in two wildly disparate directions, and the clash between them is what made this album fall flat. He’s brought in more folk influences and more hip-hop flair, creating a jarring, dissatisfying listening experience. But then there’s “Galway Girl,” the perfect hybrid of Irish folk and mid-’00s hip hop. it’s catchy, sweet, simple, and fun without being too full of itself. One of Sheeran’s biggest weaknesses is over-writing songs meant to be heartfelt. “Galway Girl” is sloppy. It’s off-beat. It’s goofy. And that’s who Ed Sheeran really is. That’s why the song works so well.

20) ME ENAMORÉ – Shakira

Where’s the love for Shakira? Eleven albums and 27 years into her career, she’s still pulling in solid numbers and making one great pop album after another, but living in the US, a lot of people wouldn’t know that. One of her most recent singles, “Me Enamoré,” features elements of her typical Latin singer-songwriter sound, reggaeton, and EDM pop. On it, the 40-year-old Shakira flips the conventional fetishization of young girls by older singers in Latin pop and music in general, telling the love story between her and a man noticeably younger than her (Gerard Piqué, the Spanish footballer ten years Shakira’s junior who she’s been dating since 2010). It’s fun, absurdly catchy, and doesn’t take itself too seriously. What more could you ask for?

19) DREAMER – Charli XCX feat. Starrah and Raye

After going from rising pop superstar to cult icon with a single four-song EP last year, Charli XCX returned this year with Number 1 Angel, a mixtape full of the same menacing, devil-may-care electro-pop that we know and love. “Dreamer” is pop with a hip hop attitude, and it features the rap game’s most-sought-after songwriter, Starrah, who delivers a sung rap verse that could equally pass as a hook. Honestly, genres don’t even mean anything anymore. It’s just an empowering song.

18) UP IN HUDSON – Dirty Projectors

This nearly-8-minute track off Dirty Projectors’ self-titled seventh album finds the band’s lead singer (and only current member) Dave Longstreth in full Phil Collins swag. Jazzy brass and tribal drums punctuate breezy, lovelorn melodies, making for the shortest eight minutes of my life. This song isn’t great in concept, but the extent to which it works amazes me. It’s downtrodden and hopeful, juxtaposed against some of the gloomier tracks on this album. It’s just really nice to listen to, in a way that Dirty Projectors, even at their best, rarely is.

17) DENT JUSAY – Matt Martians feat. Syd and Steve Lacy

This song’s just an absolute pleasure to listen to. There’s really not that much to say about it. It’s just three members of alternative R&B band The Internet coming together for a scientifically-perfect feel-good bop. That’s enough for me.

16) FRAGMENTS – Blondie

This song, on the other hand, is devastating. It’s the final track on Blondie’s underrated eleventh album Pollinator, and a cover of a 2011 song by alt-rock project and YouTube film reviewer An Unkindness, a.k.a. YourMovieSucks, a.k.a. Adam Johnston. It starts out depressing and slow, but when it picks up, it fucking picks up. It’s actually a really unique choice for Blondie and it’s neat to see that even 50+ years into her music career, Debbie Harry’s still genre-hopping as effortlessly as ever.

15) HARD TIMES – Paramore

From one generation’s genre-defying blonde pop rock queen to another. Hayley Williams and Paramore are back and better than ever with a disco-infused electro-pop record hearkening back to the likes of Blondie, No Doubt, and even Talking Heads. And that’s just on this one song. The catchy tropical riff and goofy “Weird Science” backup vocals mask some pretty depressing lyrical content. It’s a really fun and infectious song on the surface, but it can be appreciated on just about every level. It’s a solidly great song.

14) WHITE MAN – Macy Gray

I’ve always been a little bit baffled by Macy Gray’s lack of broad appeal. She’s got a really unique voice, she’s been consistently dropping great music since the ’90s, she’s a good writer, good singer, she can do R&B, she can do soul, she can do pop, what’s missing? Her latest single, “White Man,” is an EDM pop track infused with tribal drums and chants addressing the racial climate in the world today and calling for forward motion and unity. It’s a quality banger with insightful commentary and a really cool video. I don’t know what more you people want.

13) BAMBI – Jidenna

Jidenna dropped one of the most breathtakingly unique albums of 2017, and “Bambi” is the standout track. It captures such a particular sense of wistfulness, it’s catchy and enjoyable yet still devastating. There’s no other song like it. Jidenna addresses the woman he’s singing to as “Bambi” not only as a “dear/deer” pun, but to illustrate the feeling of protectiveness he has for her, and the feeling that he’s left her alone in a harsh world, a victim of cruel circumstance. He’s become a womanizer because society compels him to be one, but only realizes in retrospect that he lost his true love in the process (“Bambi”), who is now getting married and leaving him in a web of unfulfilling, problematic relationships. As the doo-wop/nursery rhyme beat fades into the abyss, Jidenna’s defeated voice quiets to a whine as he sings “I just wanna see my baby, that’s my Bambi, that’s my dear.” Is Bambi true love or an obsession? We’ll never know, and neither will he.

12) MOMENTZ – Gorillaz feat. De La Soul

Here’s a hot take for you: “Momentz” is the best song on Humanz. Granted, it’s not an easy decision to make. Gorillaz’s fifth album took the music world by storm, and remains one of the more talked-about albums this year. I first heard “Momentz” in my friend’s car, a day or two before I listened to the rest of the album. The way I see it, every great Gorillaz song has three things: a killer hook, something about the apocalypse, and weird shit. This song packs all of that in spades. I love the “moments” clip. The beat is fantastic. The verses are great. The hook might be the best on the whole album. It’s a phenomenal, breakneck party track that sounds like the Black Eyed Peas on more coke than usual.

11) CUT TO THE FEELING – Carly Rae Jepsen

Yes, I’m one of those music critics. CRJ could release a track of herself having a sneezing fit over a Lil Jon beat from 2002 and I’d probably give it an honorable mention. That being said, “Cut to the Feeling” is actually a great song. The beat is quintessential power pop, aided by Carly Rae’s starry-eyed vocals and rising “ahhh”s leading up to the euphoric chorus. But when you look at the themes of the song, it’s pretty funny, too. Carly’s going steady with this guy and he’s trying to be all romantic and she’s being like “Yeah yeah, let’s get on with it already.” She wants to live out only the transcendent experiences, the fairy tale romance. That’s kind of what this song feels like. It doesn’t waste time with soulful melodies and slow builds. It cuts right to the feeling.

10) HONOR – DJ Cassidy feat. Grace and Lil Yachty

I feel like this song should have been a lot bigger than it was. It works as a dance track, it’s extremely catchy, and it’s got Lil Yachty, who can give any schmuck a Top 10 hit these days. This is actually the best Yachty verse I’ve ever heard. Usually, he sounds like an emotional teen, figuring things out, still not quite sure how the ins and outs of music work but just happy to be there. Here, he gives off an air of wisdom, someone who’s been through the wringer a few times and can look back on it all now, offering advice and warning with a resigned chuckle. The rumbling electronic beat provides the perfect accompaniment for his verse, as well as Grace’s nasally vintage pipes on the sneakily enticing hook.

9) FAMILY DON’T MATTER – Young Thug feat. Millie Go Lightly

Young Thug is the future. “Family Don’t Matter,” the first song off his critically-acclaimed debut studio album Beautiful Thugger Girls, opens with Thug in a space we’ve rarely seen him in before. Over the course of his already-storied career, he’s found a chaotic, unique voice and transitioned from straightforward trap into something completely new. As the song begins, we get Thug’s lone voice, accompanied only by an echo and the jangling of his chains. Then in a flash, the song goes from nothing to everything. Tranquil, country-inspired acoustic guitar, then the soothing tones of British songstress Millie Go Lightly, then a sweeping, cinematic backdrop for Thug’s erratic bars and melodies. Then he says “Yeehaw.” Perfection.

8) CHANEL – Frank Ocean

“Chanel” took the world by storm when Frank Ocean first premiered it on his Beats 1 show “blonded RADIO.” The song’s opening lines, “My guy pretty like a girl / And he got fight stories to tell / I see both sides like Chanel, C on both sides like Chanel” quickly became a queer rallying cry, and the song stays pretty consistently brilliant from there. Ocean effortlessly swims in the song’s moody piano beat, going from high to low, singing to rapping, heady to mundane, and all without breaking a sweat. There’s also a version with a phenomenal A$AP Rocky verse at the end, but good luck finding it.

7) DUCKWORTH. – Kendrick Lamar

Another scalding hot take: “DUCKWORTH.” is the best song on DAMN. The last (or first) track on Kendrick Lamar’s latest instant classic features incredible production, rapid-fire flows and lyrical dexterity, along with one of the best twists in music history. It’s not as radio-ready as other album favorites like “DNA.,” “LOYALTY.,” and “HUMBLE.,” but it’s a stark and compelling hood cautionary tale telling the incredible true story of Kendrick’s mentor and his father. I’d argue it’s one of the best songs on the album from a lyrical standpoint, and it definitely boasts one of the record’s best beats, courtesy of the legendary 9th Wonder.

6) CHASE ME – Danger Mouse feat. Big Boi and Run the Jewels

“Chase Me” is the lead single off the soundtrack to one of the most acclaimed movies of 2017, Edgar Wright’s Baby Driver. RTJ and Big Boi both put out albums this year (or in RTJ’s case, last year, depending on who you ask), and even worked together a few times, but their standout collaboration, at least in my opinion, is “Chase Me.” It’s undeniably cool, fun, and fast-paced, presenting a happy marriage of all three rappers’ styles and immaculate production by Danger Mouse. It’s the kind of song that feels like an event, even if it’s not. It feels like something that only comes once in a blue moon.

5) PERFECT PLACES – Lorde

In an era where every pop starlet has a little bit of Lorde in them, some wondered if the OG Lorde would feel as fresh as she did in 2011. Those fears were put to rest as the New Zealand wunderkind dropped one remarkable single after another, culminating in “Perfect Places,” the final song on her fantastic new album Melodrama. It sprinkles elements of “Royals” and “Team,” her two huge hits, but it showcases an older, reflective Lorde. It’s a commentary on the unhealthy and dangerous underpinnings of euphoric escapism. Where Pure Herione Lorde was enveloped in the celebration of her generation and their idle victories, Melodrama Lorde perceives it all as evasion, and ponders the consequences of running away from life’s woes. It also absolutely slaps. 

4) AUTOMATON – Jamiroquai

FACT magazine broke the news: “Jamiroquai is back, and they sound like TRON now!” Of course, when their first album in seven years finally did drop, it was actually not all that different from the classic Jamiroquai (not that I’m complaining). Still, I find myself most drawn to “Automaton,” the cacophonous sci-fi funk track that ponders what humans will do with the power of unlimited automation. Everything from the random clicks and whirrs to the expertly-maneuvered vocal effects to the Grandmaster Flash rap breakdown is absolutely divine. Some Jamiroquai fans were upset by how different this song sounded, but I wish more people had given it a chance, because it’s honestly incredible.

3) SIGN OF THE TIMES – Harry Styles

Mark 2017 on your calendar as the year Harry Styles suddenly became his generation’s greatest rock star. Decide for yourself if that image is built to last, but in the moment you first heard this song, it was true. But what’s it about? It’s interesting how few people have really asked this question. Styles said it’s from the perspective of a pregnant woman to her unborn child, after being told that the child would survive but she wouldn’t. In that same interview, he also said that the song has a political meaning, specifically about the cyclical nature of political strife and dire situations. People have also interpreted the song as a tribute to David Bowie, or to Harry’s close friend Matt Irwin. No matter how you slice it, it’s a transcendent experience.

2) QUICK – Tank and the Bangas

Tank and the Bangas got their first whiff of fame earlier this year after winning a contest to appear on NPR’s Tiny Desk Concert series. The New Orleans funk-soul group has a sound unlike any other, an unparalleled style exemplified by the very song that got them on NPR, “Quick.” It’s a space-age neo-jazz soap opera that’s supremely enjoyable on every level. At seven minutes long, it effortlessly bounces between four or five different genres, spinning a vivid and complete tale of high adventure. What could be better?

1) SLIDE – Calvin Harris feat. Frank Ocean and Migos

Do you slide on all your nights like this? Yes, “Slide” is the best song of 2017, just like how “Uptown Funk!” was the best song of 2014 and “Get Lucky” was the best song of 2013. Am I just funk-biased? Perhaps, but all three of those songs are brilliant in their own way. “Slide,” for instance, finds two of the most-buzzed-about acts in hip-hop, brought together by a notorious EDM hit-machine, for a song that’s outside any of their comfort zones. It’s futuristic, yet timeless. Brilliant, yet effortless. Breezy, yet captivating. There’s not a wasted second on the song’s four minutes of funk, from the immediately-recognizable piano opener to the offbeat-yet-catchy hook, from Frank’s masterfully-written ramblings to Quavo’s melodic pop rap to Offset’s smooth, rapid-fire flow. It’s the perfect summer jam.

So, those are the best songs of 2017 so far. Of course, these are all just based on my fickle opinion, so I can’t promise that the end-of-the-year list won’t look totally different. I’ll try and post a few more lists like these in the coming days, since we’re halfway through the year. Let me know some of your favorite songs this year in the comments.

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Top 20 Songs of the Month (May 2017) — June 10, 2017

Top 20 Songs of the Month (May 2017)

May’s a big month for a lot of reasons. Coming right at the start of the summer season, any act who wants a fighting chance at the Song of the Summer crown is gonna drop something this month. As a result, a lot of pop tends to drop in May, but it’s also a month where weirder, more niche artists come out of the woodwork. Critic-pleasing releases tend towards the later end of the year, but May is the ideal month to release a single. This time around, it was also a pretty big month for Migos. They’ve been riding that “Bad and Boujee” mainstream wave for quite some time now, and no less than 12 songs on my shortlist for this month featured at least one member of the trap trio. Still, I managed to narrow it down to 20 singles, ranked for your listening convenience. The lower half of this month’s list is pretty hip-hop-heavy, but it gets more varied as it goes on.

20) BIG FISH – Vince Staples

Kicking off this month’s list, we’ve got critically acclaimed rapper Vince Staples. “Big Fish” is the first release off his forthcoming album Big Fish Theory, and it has all the philosophical flexing, nasal Long Beach twang, and fun-yet-unsettling vibes we’ve come to expect from him. Frankly, the beat’s pretty stale, but Vince’s lyrical chops are as prime as ever and Juicy J lends a welcoming club chorus. A lesser Vince Staples track is still worthy of a mention.

19) PAPER OVA HERE – Quavo

In an interesting change of pace, all three members of Migos each released a solo single this past month. Quavo’s is the weirdest, most memorable, and probably best of the three, but the exercise allowed all three of them to showcase what they all bring to the table as artists, lending a little more appreciation to their combined efforts. “Paper Ova Here” shouldn’t work nearly as well as it does. It’s only two minutes long, sounds like a Napster track from 2006, and it sounds like Quavo and producer OG Parker are fumbling over each other to get the song to function. But somehow, it all comes together. This song probably got stuck in my head more than any other song on this list. I contemplated replacing it with Migos’ “To Hotty,” but there’s something about that hook that just works better than it has any right to.

18) F.B.G.M. – T-Pain feat. Young M.A

The King of Autotune returns with another romantic banger that feels like 2008 all over again. T-Pain sings the praises of an open relationship with an hustling, independent, bisexual woman, The classic “fuck bitches, get money” credo feels as fresh as it ever has, and lesbian gangsta rapper of the hour Young M.A stops by for a really solid guest verse. There’s something about that acoustically-minded ’00s R&B beat that always hooks me.

17) MASK ON – Joyner Lucas

This one’s lower on the list because it’s actually a freestyle over Future’s “Mask Off” and not necessarily a single in its own right, but Joyner fucking snaps as always. Hip hop’s got a lot of different facets and new directions it’s headed in, but I think Joyner’s the next super talented rapper that pretentious white dudes want you to listen to. He’s got an incredible ear for flow, able to spit at a speed that only a handful of rappers can achieve and still maintain unbelievable rhythm. Is it at the expense of content? One could argue that. He definitely does have more to say on his slower tracks. One moment that sticks out on this song, even though he alleges he isn’t calling out anyone with it, is the part where he very clearly and explicitly calls out Logic, another speedy biracial MC that boring white people like. Apparently, Logic took about six months to submit his verse for Tech N9ne’s track “Sriracha” and the verse he did send in was trash. Aside from that chestnut, the song’s mainly notable for technical reasons, but no one handles that better than Joyner.

16) CRYING IN THE CLUB – Camila Cabello

After that whole Machine Gun Kelly fiasco, I sort of tuned out Camila Cabello for a while. I like Fifth Harmony, and she’s partly responsible for arguably the best Shawn Mendes song, but I didn’t see much potential in her as a solo artist. “Crying in the Club” convinced me otherwise. Of course, it later turned out that the first half of the video is actually “Questions,” a totally different and probably better song that she hasn’t released yet, but still. It’s good. Maybe I just really like the title and the image it conjures, but it also feels like a really good song to cry in the club to (you can thank cowriter Sia for that). I am definitely more invested in Camila Cabello’s music than I ever have been before (that new song she did with Major Lazer is good too).

15) RAF – A$AP Mob feat. A$AP Rocky, Quavo, Playboi Carti, Lil Uzi Vert, and Frank Ocean

From the start, this song has a fair amount going for it. An interesting blend of artists from different realms of hip hop, a mesmerizing, sparse trap beat, a funny enough concept. But as one could probably expect, it’s Frank Ocean’s verse that really pushes it over the edge. We start with Rocky, who’s actually been on fire lately. I really hope he has a project on the way, because all his most recent verses have been great. This one’s no exception, as he pitter-patters about fashion while Playboi Carti delivers ad-libs. Rocky’s verse flows nicely into our old friend Quavo’s. His verse is really solid; Uzi’s is not. Maybe some people would appreciate it, but for me, his appeal doesn’t extend any further than 16 bars. It’s Frank’s disjointed, layered bars that bring the track to new heights. Bars like “Sterling silver lasers / Rubies red, my skin too black to blush / This bitch too rare to bust / Seen her in the iPhone pages” feel like they require a whole dissertation to unspool. All in all, the song comes together really well, even though it hits a lull somewhere around the third verse.

14) GOLD – Brockhampton

Brockhampton is a goofy, grimy hip-hop collective from California, sort of like a more versatile Odd Future. They put out a lot of singles this month, and they’re all really good, but when it came down to it, I went with “Gold” for this list. A big part of that has to do with the infectious chorus: “Keep a gold chain on my neck / Fly as a jet / Boy better treat me with respect.” Everyone brings something unique to the table and it’s a really fun time.

13) WANT YOU BACK – Haim

Pop rock band Haim came back in a major way this month with “Want You Back,” a shimmering, regretful track off their forthcoming album Something to Tell You. What I like about this song is that there’s a novelty to it but it still feels distinctly timeless. It seems like the kind of song I’ll be hearing in movies for years to come. They released a slower acoustic track called “Right Now” back at the end of April and I was kind of disappointed, but this is definitely a song I can get behind.

12) YOUTH IN REVOLT – Brady Watt feat. Michael Christmas

If you’re a fan of “B.O.B.” by OutKast (i.e. a human being), check out “Youth in Revolt.” Brady Watt’s a producer and bass player who’s worked with the likes of Talib Kweli, Curren$y, Jean Grae, and Joey Bada$$, and he definitely brings that frenetic, immersive sound to the table. Boston backpack rapper Michael Christmas is more than happy to take on the lyrical challenge, showing out with his typical dextrous flows and referential, earnestly boastful lyrics. It doesn’t have a strong hook, per se, but it’s an impressive track that gets the blood pumping right from the start.

11) SWISH SWISH – Katy Perry feat. Nicki Minaj

Katy Perry’s been drawing a lot of attention lately, for better or for worse. People have definitely remarked at her onstage antics and bizarre musical direction, and many feel she’s stealing aspects of marginalized cultures without properly crediting/regarding their originators (known in the pop community as a “Madonna move”). But here’s the thing: her music is better than it’s ever been before. She hasn’t had as strong a string of singles as “Chained to the Rhythm,” “Bon Appetit,” and “Swish Swish” in over half a decade. Of all the people I expected to be in the minority rooting for, I was not expecting Katy Perry. Anyway, “Swish Swish” is a fantastic song. It’s a savage diss track that refashions club tropes into an anthem of self-empowerment. Nicki’s verse is great. “Swish swish, bish / Another one in the basket” is a great hook.

10) HEEBIEJEEBIES – Aminé feat. Kehlani

What can I say? I’m a sucker for earnestly corny choruses. Like “Swish Swish,” “Heebiejeebies” is goofy to the core, as is typical for Portland rapper Aminé. On the chorus, he and Kehlani croon “I’ve never seen your type of species / Give me heebie-jeebies.” I like this song because the phrase “heebie-jeebies” hits me in a way that’s really similar to how I process Aminé. It’s always fascinated me, just how honest about its own cheesiness is. It’s sort of mesmerizing. Aminé’s no master wordsmith, but the inclusion of Kehlani’s nasal pipes and that “heebie-jeebies” refrain make this song feel more sincere and heartfelt.

9) STRANGERS – Halsey feat. Lauren Jauregui

If you’re looking for a powerful, emotional banger for Pride Month, I highly recommend “Strangers.” The two rising pop stars, both bisexual women, sing from the perspective of two lovers (er, strangers), each unsure about where their relationship stands, each craving something deeper and not knowing if their significant other feels the same way. I’m not a huge Halsey fan, and the song sort of takes on a pretentious tone when you put it into the context of the album’s grand Romeo and Juliet metaphor, but on its own, that wistful ’80s-inspired beat and those hopeless-romantic lyrics really hit you.

8) WHAT THE HELL IS IT THIS TIME? – Sparks

Sparks is an art rock duo started in 1968 that’s been trafficking in weird shit™ pretty consistently ever since. I’m surprised I didn’t get into these guys before; apparently, they’ve been cited as an influence by the likes of Franz Ferdinand, Kurt Cobain, Morrissey, Arcade Fire, Depeche Mode, ABBA, and Paul McCartney. Their latest single is “What the Hell Is It This Time?” It lives up to its title. It’s anthemic, timeless, musically- and lyrically-dense, and just absolutely bonkers. I’m gonna have to listen to more of these guys.

7) COMPUTER BOY – Poppy

Is it disrespectful to put an intentionally-vapid bubblegum pop song right ahead of two guys who’ve been on their grind for half a century? Perhaps. But also, “Computer Boy” might be the best song Poppy’s ever made. It’s unbelievably catchy, viscerally enjoyable while also being just creepy enough to drive the point home. This is a song about falling in love with a laptop and you won’t even care. It has all the makings of a pop classic, which makes that menacing film of technology fetishism and demonic undertones all the more tantalizing. It tells so much of a story while leaving so much to the imagination, and I know I’ve said this already but it’s so goddamn catchy.

6) STOP ME – Andreas Moss

This is possibly the most memorable song I’ve heard this month. It has a really unique, sparse electronic beat, and Swedish singer Andreas Moss blends a lot of different genres to breathe a unique life into the song. I’ve heard it described as nu-R&B, and Moss definitely has a voice for nu metal, but there are also elements of pop, electronica, and soul in there. The lyrics are reference-heavy and blunt, and the part where he randomly starts singing in Swedish is delightfully pretentious. Maybe not catchy, per se, but it will definitely stick in your head.

5) FAKE MAGIC – Peking Duk and AlunaGeorge

One group that I don’t feel has gotten the attention they deserve, both on these lists and in the public eye, is AlunaGeorge. Sure, they’re decently big in the UK, and they had that one song with DJ Snake, but they’re so good. Aluna Francis has a really nice voice, they do great production work, and they’re really good songwriters. On “Fake Magic,” they team up with Australian house duo Peking Duk (they’re big in Australia) for an infectious funk track that sort of snuck up on me. I put it on the list when I first heard it, but it took a few days for it to creep into heavy rotation. It’s not the best song on the surface, but it’s the kind of song you never get tired of. And every once in a while, you need a song like that.

4) PHANTOM OF ALEPPOVILLE – Benjamin Clementine

Hey, what the fuck?

3) CHASE ME – Danger Mouse feat. Run the Jewels and Big Boi

I was already excited for Baby Driver, the next film by one of my favorite directors, Edgar Wright, but “Chase Me” may have pushed me over the edge. The song teams up Danger Mouse, one of the greatest producers alive, with the most acclaimed duo in hip-hop today (Run the Jewels) and a Southern rap icon (Big Boi). The result is quite possibly the coolest song of 2017. The beat is an instant classic, and all three rappers throw down insane verses. What’s not to love?

2) CUT TO THE FEELING – Carly Rae Jepsen

The rightful queen of pop, Carly Rae Jepsen, returns with another pitch-perfect power ballad, one of over 200 outtakes from her 2015 critical darling E•MO•TION. It’s hard to even break into a piece of pop as immaculate as “Cut to the Feeling.” First of all, that titular refrain: “I wanna cut to the feeling.” It’s a sentiment that’s certainly been expressed in pop before, even by Jepsen herself, but the breathless holler with which she delivers it is unforgettable. It’s inspiring, empowering, and downright delightful.

1) QUICK – Tank and the Bangas

I saw Tank and the Bangas’ performance on NPR’s Tiny Desk Concert series and instantly fell in love. The New Orleans funk-soul collective is unpredictable, brimming with creativity, and endlessly energetic. They’ve performed “Quick” in a number of settings before, but only released it as an official single this month, and I’m so glad. The frenetic, off-the-wall soap opera of a song is absolutely irresistible. Tank and the Bangas is on the fast track to becoming one of my favorite bands if all their songs are as much boundless, mind-bending fun as this one is.

Review: Wonder Woman v. Captain Underpants: Dawn of Summer ’17 — June 6, 2017

Review: Wonder Woman v. Captain Underpants: Dawn of Summer ’17

Technically speaking, the summer movie season kicked off in earnest in late May, following the consecutive releases of Alien: Covenant, Diary of a Wimpy Kid 4, Pirates of the Caribbean 5, and Baywatch. However, since all those movies flopped, we’re gonna go ahead and pretend that didn’t happen. So, the summer movie season kicked off last weekend with the release of two long-anticipated superhero flicks: Warner Bros.’ Wonder Woman and DreamWorks’ Captain Underpants: The First Epic Movie. True, these two don’t have much in common, but they both star iconic heroes making their big-screen debut. How do they both hold up, against each other and on their own?

Let’s start with Underpants, the one I saw first. Based on the popular (and phenomenal) children’s novel series by Dav Pilkey, it follows two enterprising school-age funnymen who wind up hypnotizing their mean principal into thinking he’s a superhero from the comics they wrote, and then accidentally giving him actual superpowers. Also, he wears underpants.

Overall, I thoroughly enjoyed Captain Underpants, even more than I was expecting. It distinguishes itself from much of the DreamWorks crop with really unique character design and animation. Of course, the animation is very tight, fluid, and fun, but it also isn’t afraid to look thoroughly cartoony where mainstream CG animation has recently tended towards realism. The comedy of the movie is a relatively even mix of potty humor and wittier stuff, but they cram as many jokes into this thing as possible, and a good amount of them hit. It also has a surprising amount of heart, and some truly emotional moments.

Next, there’s Wonder Woman. Directed by Patty Jenkins, it was interpreted by many as a last-ditch effort to save the DC Extended Universe, which has been marred by unpopular and underperforming releases thus far. Jenkins is said to have had much more creative control than DC directors Zack Snyder and David Ayer before her, and the film was screened for critics months in advance, although official reviews weren’t allowed to be released until several days before the film’s release.

I went into this one with a critical eye, knowing that the general consensus was that it was good and wanting to bring something new to the conversation. But it hooked me, and fast. I came out of it feeling that it was an unambiguously very good movie. It had the style and action I loved in Zack Snyder’s DC movies, but was scores better by virtue of not having its head up its own ass. The characters feel real, the structure is even, and it’s possibly the most cohesive superhero movie of all time. One could argue the romantic subplot was unnecessary (in this rare instance, I disagree), but it just fits into the rest of the movie so seamlessly. It feels like a complete, unilateral vision. It has a few flaws, of course. The origin story is rushed (I know we say we’re tired of origin stories, but we’ve never seen Wonder Woman’s before), Gal Gadot’s performance is a step above Batman v Superman but still at times one-dimensional, and there are serious inconsistencies with the Amazons’ knowledge of the outside world: Wonder Woman reads Socrates and speaks modern English, but has no concept of a gun or a penis or ice cream or fashion. It’s also less philosophical than previous entries in the DCEU, and while this can be seen as a positive (see: Granny’s peach tea), I was annoyed by the extent to which all characters in the movie, regardless of what species they were or what side they were on, was stuck on the idea that fighting and things that fight are inherently bad. And that mentality never changes. Sure, Wonder Woman comes to understand that humans are never simply good or bad, but she’s still laboring under the idea that fighting is some kind of mortal sin, an attitude seemingly shared by the rest of the Amazons, the entire Greek pantheon, and even the humans. Still, none of these took away from the overall experience of the film for me, which I felt was dazzling.

Now, pretty much every action movie in the present day is expected to, on some level, be a parody of itself, so a superhero comedy like Captain Underpants going up against a legitimate, even historically-significant film like Wonder Woman isn’t as much of a disparity as it once was, but it needs to be said that Wonder Woman is not a comedy. It’s more lighthearted than its predecessors, and has a lot of fantastical and heartfelt moments, but if you’re going into this looking for humor, you won’t find much. In fact, the closest classical classification for the film’s genre is actually that it’s a war movie. It takes place during World War I, and portrays some of the horrors of war with stark realism. Where Wonder Woman subverts tropes and roles of the superhero genre, Captain Underpants is an outright parody of it. The titular hero is a delusional man with no powers who’s made to believe he’s a character cooked up in the minds of two immature young artists. Captain Underpants needed to be faithful to the spirit of its source material, and did so beautifully. Wonder Woman needed to take the DC cinematic universe in a bold, strong new direction, and it also did so beautifully.

Both films get high marks across the board from me, though neither is without flaw. I’d give Captain Underpants: The First Epic Movie an 86/100 and Wonder Woman a 90. I highly recommend both of them, but definitely see Wonder Woman first (which seems to be what most people did anyway, according to box office numbers). They signal a really solid start to what’ll hopefully be a great summer movie season, and ideally, a new dawn for both DC and DreamWorks.