Reviews for Normal People

Hi. I review things.

The 25 Best Movies of 2017 — March 23, 2018

The 25 Best Movies of 2017

Well, this took a lot longer than it should have. I know I’ve been moving away from movie reviews on this blog for a long while, but it’s only because music comes out at a much faster pace and takes up much less time to consume/digest. I still care deeply about movies, and to prove it, here are some of my favorites from 2017. I was holding off on this list until I saw Phantom Thread. I didn’t care for it, but that’s a story for another time. For now, here are my favorites, starting off with some movies I wasn’t able to include.

Honorable mentions:

Lots to talk about here; this was a pretty solid year for movies. I had to give it up for the stylized spy thriller Atomic Blonde. Some felt the film’s convoluted plot set it back, but I thought the killer soundtrack and visual style, as well as the much-discussed “stairwell scene,” were enough to make it up for me. Another female-led action flick, Wonder Woman, impressed me this year, standing on its own better than just about any other superhero movie this decade. Its biopic cousin Professor Marston and the Wonder Women also deserves a mention, bolstered by dynamic direction from Herbie: Fully Loaded director Angela Robinson. Another biopic that I appreciated more than I was expecting was Darkest Hour, which went above and beyond typical Oscar bait through the odd, at-times abstract direction of Joe Wright. Following allegations against James Franco, The Disaster Artist was largely removed from the conversation, but it should be noted that it was a well-done, surprisingly tender picture and one of the year’s best movies about filmmaking. Ingrid Goes West is a terrifying Single White Female for the Instagram era, and star Aubrey Plaza delivered one of the year’s finest performances. Another criminally-underrated, utterly creepy lead performance came from Disney Channel star Ross Lynch, who brilliantly channeled serial killer Jeffrey Dahmer in the little-recognized My Friend DahmerBeatriz at Dinner was another captivatingly-weird little movie with lots to love, but let’s not limit ourselves to indie movies here. Two of the most fun-filled, visually-stunning blockbusters in recent memory came out this year: Guardians of the Galaxy Vol. 2 and Kong: Skull Island, the latter of which was perhaps the year’s most pleasant surprise. While it hasn’t left as much of an impression as some of Scorsese’s great films, I still remember being blown away by Silence, and I had to give it a shout-out. Finally, there’s a film that may not deserve top honors, but definitely didn’t get a fair shake: the most underrated film of 2017, Power Rangers. With all that out of the way, here’s the top 25.

25) TRAGEDY GIRLS (dir. Tyler MacIntyre)


X-women Brianna Hildebrand and Alexandra Shipp star in Tragedy Girls, the indie comedy horror film best described as a cross between Heathers and Scream with an added helping of gayness and blogging. Immediately, it sounds right up my alley, and the film largely delivered, thanks in no small part to its tremendously-talented young leads. These girls are two of my favorite actresses on the come-up, and they are electric in this movie, creepy in a way that makes them engrossingly likable while still making believable killers. That’s sort of the magic of this movie: as twisted as their plans are, their personalities suck you in, and you can start to understand how they have the whole town wrapped around their finger, even as they blatantly murder people. One of the film’s highlights is a gut-busting cameo by Josh Hutcherson.

24) BATTLE OF THE SEXES (dir. Jonathan Dayton and Valerie Faris)


Battle of the Sexes didn’t make the awards season splash it was aiming for, but don’t count it out just for that, because it’s still one of the best sports movies in recent memory. It’s from the same directing duo responsible for Little Miss Sunshine, and its idyllic harshness is engrossing in much the same way. Admittedly, it’s hard to shake the feeling that you’re watching Emma Stone and Steve Carrell, but who’s complaining? It’s a fun, engaging story with excellent dialogue (it was written by Simon Beaufoy, the man behind classics like Slumdog Millionaire and 127 Hours) and some of the best homoerotic haircut scenes in film history.



One of the most debated films of the latest awards season, it seems like everyone’s got an opinion on Three Billboards. I do, too: it’s pretty good. Is it Best Picture? Nah. Its message is muddled and it feels like Martin McDonagh started writing with no idea where the story would go. On the other hand, it is an engrossing, twisted tale with complex characters, tons of unexpected turns, and a stacked cast. It’s a film that could’ve easily been a by-the-numbers, Tarantino-esque revenge fantasy, but instead chose to present a story with no clear heroes, no easy plot signposts, and a message that, while hard to swallow, definitely gives you plenty to chew over.

22) LOGAN LUCKY (dir. Steven Soderbergh)


Steven Soderbergh is like a box of chocolates: you never know what you’re gonna get. Going from the fun, stylish, free-wheeling Ocean’s Eleven trilogy to Che, one of the most ambitious films of the 21st century, from pulse-pounding thrillers like Contagion and Haywire to the placid male stripper masterpiece Magic Mike, there’s no telling what Soderbergh’s gonna have for us next, but it’s always a fun time. This year, he gave us Logan Lucky, an endearing Southern-fried heist comedy starring the surprisingly-great duo of Adam Driver and Channing Tatum. The two play bumbling brothers who steal millions from NASCAR with the help of an all-star ensemble cast. Effectively, the film is a sort of reverse-Ocean’s Eleven, replacing fancy suits and high society with DIY ingenuity and stark poverty. It’s a silly movie, but like many of Soderbergh’s sillier movies, there’s more to it than you might think.

21) MOTHER! (dir. Darren Aronofsky)


Mother! was easily the most polarizing film of 2017, and with good reason. It’s not the most welcoming movie: it meanders in placid pointlessness for over an hour before anything exciting happens, but if you give it a chance, the end result is more than rewarding. It wasn’t until I made the very final edits to this list that I even decided to include mother!; I came out of it decently impressed, but not exactly blown away. It’s only really stuck with me the more I’ve thought about it; earlier today, I saw Phantom Thread, a film that attempts a similar structure and, in my opinion, fails utterly. It’s upsetting, hard to sit through, and so blatant in its various larger meanings that it forgoes narrative sense altogether, but mother! will stick with you in a way few movies do.

Continue reading

Top 50 Best Albums of 2017 — February 10, 2018

Top 50 Best Albums of 2017

Yes, the wait is finally over. These are my top 50 favorite albums of 2017. The wait has been long, and while I can’t promise this list is any good, it allowed me to reflect on a lot of the great and not-so-great music released this year. In my opinion, 2017 saw a lot of exciting new artists and sounds, but didn’t have quite the wealth of excellent albums we got in 2016. I mean, Bruno Mars just won the Grammy for Album of the Year, and his album didn’t even come out in 2017, and he kinda deserved it. Still, it was a real struggle to narrow this list down from the 200+ albums that made my shortlist, and a lot of excellent albums got left in the dust. For instance, I’d like to give an honorable mention to Belly’s Mumble Rap, Foo Fighters’ Concrete & Gold, HAIM’s Something to Tell You, the National’s Sleep Well Beast, and Syd’s Fin. With that out of the way, let’s get things started with one of 2017’s most revelatory debut solo outings.

50) HARRY STYLES – Harry Styles


Harry Styles, the album, suffered from a typical case: a finely-tuned, perfectly solid record terminally overshadowed by its lead single. Sure, “Sign of the Times” was a perfect move for Harry Styles: an undeniable, breathtaking single to elevate him from boy band leftovers to exciting pop up-and-comer. But of course, there’s no way the rest of the album could live up to it. Still, “Sign of the Times” fits neatly in the album’s winsome catalogue of capable, resonant throwbacks. One Direction’s solo outings have yielded mixed results, but at the very least, it can be said that Harry’s got it going on. Niall’s album was pretty good, too.

Best songs: “Sign of the Times,” “Carolina,” “Only Angel,” “Kiwi”

Worst song: “Sweet Creature”

49) NO DATA – Daye Jack


There were a lot of exciting breakthrough albums by up-and-coming rappers this year (as there are every year these days), but one of the most tragically overlooked has to be Daye Jack’s phenomenal, retro-futuristic debut LP No Data. The album combines space-age grooves and pounding hip hop to create something fresh and thoroughly enjoyable. The apparent Justin Timberlake influence lends itself to Daye Jack’s still-hungry raps and surprisingly solid singing voice. I’ll admit I hadn’t heard anything from Jack before this year, but his suave, fluid energy is sure to keep me coming back for more.

Best: “Deep End (Jayvon Remix),” “Finish Line,” “Bully Bully,” “Casino”

Worst: “Lady Villain”



Primus isn’t exactly a love-’em-or-hate-’em band, but they’re pretty close. In their transition from exciting new sound to weirdo-rock legends, they’ve always had their fair share of detractors. The Desaturating Seven, their latest album and the first since 2011 to feature their original lineup, is no exception. To some, Primus’ whole “thing” is exhausting, but criticisms for this album also noted its unusually short length and relatively unchanging sound. I can certainly see where folks are coming from, but I was sort of sold on this album from the get-go. In addition to its unique concept (it’s based on an Italian children’s book about rainbow goblins), it also features some tightest songwriting of Primus’ entire career, as well as some absolutely jaw-dropping bass playing by frontman Les Claypool.

Best: “The Seven,” “The Trek,” “The Scheme”

Worst: “The Ends?”

47) BOO BOO – Toro y Moi


I’ve known about Chaz Bear’s lo-fi Toro y Moi project for a while now, and I’ve always liked the guy, but something about it never quite stuck with me, up until Boo BooBoo Boo is a gorgeous album, quiet and ambient with an undeniable groove that sets it apart from the rest. It’s fun, it’s bittersweet, it’s personal, it’s full of captivating quirks in writing and production that give it what Chaz just might have needed all along: personality. To purists, it may read as Bear “going pop,” but the pep and polish gives it an aesthetic that sets it apart from past Toro y Moi albums and makes for something fun, thoughtful, and new.

Best: “Mirage,” “Mona Lisa,” “Don’t Try,” “Labyrinth”

Worst: “Windows”

46) GOOD FOR YOU – Aminé


Amine first found a following in 2016 with his delightful breakthrough hit “Caroline.” The single boasted a kooky instrumental, off-the-wall sense of humor, and penchant for pop culture. With that in mind, Good for You delivered everything we could’ve hoped for. I’d challenge anyone to listen to this album without smiling, which is saying a lot because there’s a lot of great albums that’ll never elicit anything close to a smile. This breezy, bouncy, at times impressively insightful record is one of the better feel-good rap albums I’ve ever heard, and it sets Aminé apart as an artist apart from his contemporaries, a voice we’ve yet to hear in hip hop.

Best: “Spice Girl,” “Wedding Crashers (feat. Offset)”, “Sundays,” “Heebiejeebies”

Worst: “STFU”

Continue reading

Top 20 Best Hit Songs of 2017 — December 28, 2017

Top 20 Best Hit Songs of 2017

Yes, with the worst out of the way, it’s time to count down the best. In a lot of ways, this year was a mixed bag. A lot of pop was very formulaic, but “pop” as a genre was much less prominent on the charts than in previous years, allowing pop artists like Lady Gaga, Kesha, and Calvin Harris to branch out in exciting new directions while non-pop artists like Kendrick Lamar and Childish Gambino found their way into the mainstream ear. So there was a lot of middling shit, but an above-average amount of great shit as well. Here are my personal favorites. Note: for the purposes of these lists “hit” refers to any song that made its way onto Billboard’s year-end Hot 100 or into the top 20 at any point this year.

20) MOTORSPORT – Migos, Cardi B, and Nicki Minaj

In a way, this song acted as a bookend for the year in pop rap. It acts as the first single off Migos’ upcoming Culture II, the follow-up to their January Culture album which dominated the culture for much of 2017. It features Cardi B, who made waves this year with her smash hit “Bodak Yellow (Money Moves)” and became the first solo female rapper to earn a #1 single this century. Nicki Minaj had a busy year herself, including high-profile beefs, a few talked-about verses, and a top-ten hit with Yo Gotti’s “Rake It Up.” In October, these five titans came together for “MotorSport,” a surprisingly-lowkey but still undeniably catchy track featuring outstanding verses by the two female MC’s and solid work from Migos. A bit overlong, perhaps, but I don’t think there’s anything I’d take out (except maybe Quavo’s verse).

19) LOVE GALORE – SZA feat. Travis Scott

“Love Galore” is the lead single off SZA’s earth-shattering debut Ctrl, and it gave mainstream audiences the first taste of the R&B songstress’ unique vocals and penmanship with a distorted, deep-groove sex song. The marriage of styles between SZA and Travis Scott goes as wonderfully as you’d expect, with Travis’ woozy psychedelic rap juxtaposed against SZA’s syrupy pipes to create something strange, but undeniably enjoyable.

18) FRIENDS – Justin Bieber feat. BloodPop®

There’s something about that big ’80s synth sound I just can’t get enough of. On “Friends,” Justin Bieber reunites with producer BloodPop, who worked on five songs from Bieber’s last album Purpose, including the smash hit “Sorry.” You can definitely hear the “Sorry” in this track, an upbeat-yet-forlorn plea to an ex-lover punctuated by weird EDM sounds and a deep, driving groove on the verses. It’s simple, but not to the point of being cut-and-dry; it still feels real in spite of its universal “Can we still be friends?” conceit.


Not since Bobby Shmurda has an up-and-coming rapper made this much of an impression with a solo single. For the latter half of 2017, “Bodak Yellow” was inescapable.  People who’d never listened to it knew half the words. There’s the famous video of an entire subway station gathering together to turn up to it. And it’s not a bad song, either. It’s simple, sure, but there’s a power in it; an infectious quality that can’t be understated. It’s a common concept (“I didn’t have money, but now I do”) handled elegantly by a rapper with a lot of potential. A lot of big singles by new rappers turn out to be flukes. I don’t think Cardi B is going anywhere.


Lady Gaga’s pivot towards country was met with mixed reception. You’ll recall I rather dug the album, putting Joanne somewhere in the upper twenties on my 2016 Album of the Year list. A lot of people hated that album, most agreed it could’ve used an edit. One thing less polarizing than the album: the hit single, “Million Reasons,” which enchanted fans and critics alike by taking Gaga’s commitment to country and going all the way with it. Like “Bodak Yellow,” it’s simple: a wistful guitar-and-piano tune with pretty repetitive lyrics, but it’s Gaga’s vocal performance (one of the best of her career) that really makes the song. Of course, the simplistic folky concept does have a certain Paul Simon quality to it. It’s a perfectly timeless song, a sandbox that could be covered and transformed a million different ways. But I just need one good one to stay.

15) DESPACITO – Luis Fonsi and Daddy Yankee feat. Justin Bieber

Hello again, Bieber. Look, what do you want from me? Justin Bieber had like, a half dozen hit singles this year. He’s gonna have to show up on the list. You’re lucky I didn’t also throw in “Let Me Love You.” Anyway, it was a weirdly brilliant idea to throw Bieber on this track. He complements the Latin guitar surprisingly well, he gave the song the crossover appeal it needed to top the charts in the US for a billion weeks, and the way he says “despacito” is just honey on the ‘drums. Also, say what you will about Luis Fonsi, but the dude’s got hooks on hooks. In a year of hit-free hits, “Despacito” was refreshing not only for its language, but because it was an actual summer song. With how absurdly overplayed it was, it may take a few years to appreciate in quality, but I think history will be kind to “Despacito.”


Is Drake any good? The question’s haunted me for quite some time. On the one hand, you’ll recall how “Both” made my worst list, and I put “Fake Love” and “Free Smoke” in the running as well. He’s definitely not putting very much effort into some of his music these days. More Life is a fine not-album, but there are a lot of songs on it that were pretty clearly made not out of inspiration, but out of a commercial need to put something out. On the other hand, there’s “Passionfruit.” I don’t know whether or not Drake uses ghostwriters, but assuming he doesn’t, this is probably his most impressive song to date. It’s got a brilliant, poetic structure to it; it almost feels like a St. Vincent-type art-pop song, but with a lo-fi Caribbean flair. I don’t think anyone would be doubting Drake if he put out more tracks like this.

13) FEEL IT STILL – Portugal. The Man

There’s no surer sign that the pop machine is dying than the fact that, for the better half of 2017, Portugal. The Man had a top ten hit. Yes, the indiest of indie bands finally found its way onto pop radio with “Feel It Still,” an undeniably catchy send-up to ’60s protest culture. How did these oddballs score a hit? Well, the short answer is commercials. As it’s become harder for lesser-known artists to make a living in the age of streaming, bands have started turning to advertising companies, who have been working for years to make indie rock synonymous with cars and Vitamin Water. Most heard “Feel It Still” for the first time in a commercial featuring Aaron Paul dancing on a treadmill. It picked up steam from there, thanks to its unshakable groove built around a sample of the Marvelettes’ “Please Mr. Postman,” and the rest is history.

12) ROCKABYE – Clean Bandit feat. Anne-Marie and Sean Paul

Yeah, I still love this song. I know I’ve written about four different blurbs on it already, but what can I say? It’s such a bizarre concept, handled by the most extra name in EDM, featuring conscious raps from Sean Paul. From Paul’s opening ad-libs “All the love and devotion / Calling the moms, adoration / Foundation / A special bond of creation” to the melodramatic violin outro (represented in the video by a woman in her underwear solemnly pole dancing), it’s the most bizarre EDM-pop track to find its way onto the radio this year, and I love it dearly.

11) LOCATION – Khalid

This is another song that could be described as “weird,” but less in a cornball way and more in a “this guy’s gonna be huge” way. It’s simple, layered, and completely unforgettable. Khalid’s voice is soft, weary, but unique, and works perfectly in tandem with the desperate lyrics. And the beat is unlike anything I’ve ever heard before. bubbly synths create the illusion of a somber acoustic guitar while barely-there vocal samples give the track an otherworldly feeling. This song transports you to a strange, liminal space, and it’s easily one of the most moving songs on the radio this year.

10) ATTENTION – Charlie Puth

After a couple years of sappy, schlocky, insipid piano pop, Charlie Puth finally gave the gays what we want with “Attention.” Granted, this could’ve easily been another stupid piano ballad, and it would have been only slightly less shitty than the rest. But that groove, man. Who would’ve thought funk and Charlie Puth go so well together? Hopefully Charlie’s learned his lesson now: if your song’s gonna be stupid, it at least has to be fun. “Attention” is fun.

9) I FEEL IT COMING – The Weeknd feat. Daft Punk

If I recall correctly, this song was rather high on last year’s list, but in fairness, my standards for last year’s list were ridiculous. This year, “I Feel It Coming” was actually a hit, and I’m glad too, because it’s still an amazing song. That ’70s groove is Daft Punk at their finest, and The Weeknd’s mellifluous crooning brings it to another level. It’s pure campy disco bliss.

8) 24K MAGIC – Bruno Mars

Hey, speaking of camp. An earlier version of this list had “That’s What I Like” in the top ten, but upon further consideration, I’m ready to say definitively that “24K Magic” is a better song. It’s a brilliant send-up to the entire history of R&B, and a perfect intro to Bruno Mars’ delightful 2016 album of the same name. Sure, it’s not the type of doe-eyed piano ballad that made him big, nor is it a bold new direction, but if Bruno Mars just kept remaking “Uptown Funk” in slightly different genres for the rest of his career, I would not complain.

7) BAD LIAR – Selena Gomez

I was a fool for sleeping on this song when it came out. I let the fact that Selena Gomez has literally never made a good song before get the better of me and failed to see how absolutely brilliant this track is. It’s catchy, it’s funny, it’s relatable, and above all else, it’s super fucking weird. Selena murmurs through gonzo verses over a classic Talking Heads bass line leading up to a hook that doesn’t have any right to be as catchy as it is. One can only hope we get to see more delightfully weird shit from Selena Gomez in the future.

6) HAVANA – Camila Cabello feat. Young Thug

It took the combined star power of Young Thug, Pharrell, and Starrah, but I’m finally a Camila Cabello fan. It’s not that I hated her or anything, but between her shitty collaboration with Machine Gun Kelly, her unremarkable work with Shawn Mendes, and “Crying in the Club,” which is fine, I just kinda didn’t see what she had going for her. It turned out, all she needed was to get on a Pharrell beat. I probably listened to “Havana” more than almost any other song this year. I instantly loved it. And it’s not just the Pharrell production, or Starrah’s pen, or Young Thug’s idiosyncratic warble; I love Camila on this song. I love her voice, I love the lyrics, I love how she fits with the beat. To me, this proved that Camila is more than just a bland pop star, and I’m excited to hear what she comes out with next.

5) SIGN OF THE TIMES – Harry Styles

Here’s another song I’ve already gushed to death about. We were all ready to be excited about Harry Styles, just waiting for him to come out with something worth talking about, and by god, he delivered. Once his debut album finally dropped, some folks didn’t love it, but this song’s still pretty great, right? It’s a meticulously-paced, gorgeously-produced glam rock ballad, the sort of thing that elevates the standard for a post-boy-band debut to live up to. “Cry Me a River?” Please.

4) HUMBLE. – Kendrick Lamar

With other folks’ end-of-the-year lists coming out, it’s clear that fans and critics alike just can’t get enough of Kendrick Lamar’s DAMN. While I hear a lot of praise dumped on that album and think “Well, I don’t know about that,” I will say this: “HUMBLE.” is an amazing song. That dirty piano beat, the endless quotables, the sheer swagger of it all. Kendrick’s always been a pretty vulnerable, introspective artist, so to hear him come for rappers’ necks like this is really refreshing. When you’re the king, you get to gloat, and “HUMBLE.” revels in that glory to delightful returns.

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

“Slide” was one of the earliest contenders for song of the year, dropping in late February and staying true all the way through December. It’s an absolute powerhouse of a song, the type of space-age summer jam to be remembered for generations to come. Calvin Harris and Frank Ocean is a fever dream collaboration that has absolutely no business working as well as it does. Frank’s vocals are heavenly as always, Quavo and Offset put in some really solid work (this is actually the song that put me onto Offset as a rapper), and the production just might be Calvin Harris’ finest work to date. It’s almost too perfect, but it’s too much fun to ignore.

2) PRAYING – Kesha

I’ve remarked several times that this song is far too powerful to play on the radio. Whenever I hear it in the car or a cafe or my school’s dining hall, I lose 80% of my brain functionality to absorb its majesty. Ryan Lewis is the best thing to happen to pop music in a long time, and he does his magic on this track to create something baroque and beautiful without falling into cliche or inaccessibility. But of course, the star of the track is Kesha herself, who sets herself apart as one of the best pop vocalists alive in one fell swoop while baring her soul on this intense five-minute track. It feels like a song that should’ve gotten old months ago, but every time I listen to it, really listen to it, it still jerks a few tears out of me.

1) REDBONE – Childish Gambino

In a scant two years, we’re going to start discussing the best songs of the decade. Music journalists will begin the process of throwing together “decade in review” lists, picking out the most impactful, inspired, and enjoyable music of the 2010’s. And at this point, one of the strongest contenders is “Redbone.” It was an instant critical smash when it dropped late last year, and after appearing in two of the best films of the decade (Moonlight and Get Out), it creeped its way onto the pop charts. Now, looking at its impact, the countless memes it spawned, Gambino’s ethereal vocals, the inspired production, and everything else, it’s hard to argue “Redbone” isn’t one for the ages. Our kids will know “Redbone.” Musicologists in the next century will know “Redbone.” Donald Glover has been cementing his place as a pop culture icon for a few years now, but with “Redbone,” we start to see him carve his place into history.

Top 15 Worst Hit Songs of 2017 — December 26, 2017

Top 15 Worst Hit Songs of 2017

Yes, 2017 has finally come to an end, which means it’s time to start looking back at this most recent year in the form of oversaturated listicles. The more positive lists will be out shortly, but we’re starting on a brown note with my personal picks for the top 15 worst hit songs of the year. To be clear, my definition of “hit” includes any song that made it onto Billboard’s year-end Hot 100 or placed in the top 20 at any point this year. In spite of this being an especially mediocre year for pop music, it was kind of hard to pick out songs for this list. It wasn’t too hard to pick out the best, but with so many floating towards the middle, there wasn’t as much fodder to mock for the worst. As a result, I was pretty damn close to including three different songs that were also on last year’s list, but I managed to restrain myself. Anyway, here’s your fucking list.

15) BOTH – Gucci Mane feat. Drake

Now, this song isn’t too bad from the start. Half-decent, innocuous trap beat. Some pretty fun bars from Gucci, an artist who had a particularly massive year. It’s hard to get upset about this song. But then Drake comes in and… oh boy. Oh, buddy. How the mighty who once rapped “I love you like the Ninja Turtles love pizza” have fallen. It’s a grating, unpleasant chorus, already a surefire sign that Drizzy’s not on his best behavior, but it’s only accentuated by one of the worst verses of his entire career. I don’t know if Drake is just so inundated with wealth that he doesn’t know how to properly rap about it anymore, but “used to get leftovers out the fridge” is not it.

14) 2U – David Guetta feat. Justin Bieber

Now, before you write this off as tedious Bieber hate, let me just say you can expect to see Bieber on my best songs of the year list more than once. In fact, this is actually tedious David Guetta hate. Of course, I admire Guetta for a lot of things. As an artist sometimes credited as the “grandfather of EDM,” he’s had a long and illustrious career, and for a time, defined the soundscape of pop radio. The only thing is, now cats like Diplo and Rihanna have started defining the soundscape and your boy David Guetta is having some trouble adjusting. It opens with some downright bizarre lost-in-translation lyrics, but the wobbly, overblown drop really seals the track’s fate. In the age of EDM, a lot of popular songs don’t really have hooks, but they’re written around not having hooks. You can’t build up to a huge hook and then give us nothing. There’s the beginnings of a good song here, but a depressing amount of wasted potential.

13) COLD – Maroon 5 feat. Future

Count on Maroon 5 to always find new and interesting ways to suck. They almost had me going there, between “Sugar” and “This Summer’s Gonna Hurt Like a Motherfucker.” Even that weak song with Kendrick Lamar seemed like it could have been a step in the right direction. But then we got “Cold.” It’s not uncommon for a pop song to come around that’s not catchy. But rarely do we get one so impossible to get into. There’s nothing; no beat, no hook, nothing to say, nothing to do, just four absurdly long minutes of wallowing. Future gives it his all, but the track ultimately drags him down with it.

12) IN CASE YOU DIDN’T KNOW – Brett Young

I’ll be brief with this one because country’s not really my thing and if you’re reading this, there’s a solid chance it isn’t yours either. I don’t want to comment too much on a genre I have no expertise in, but listen to this song for a quick sec. Just like, 20 seconds, long enough to hear Brett Young sing. Okay, now what the fuck? Why does he sound like that? This isn’t a joke or anything. It’s clearly meant to be a serious, romantic type of thing. I just don’t know how anyone could suspend their disbelief that someone who talks like that could be sexy for a full three minutes. Okay, I’m done. Back to my comfort zone.

11) GUCCI GANG – Lil Pump

To be clear, I understand why people like this song. I understand that it’s supposed to be low-effort, and it’s supposed to provoke your standards for what constitutes a good song. The only thing is it’s also, y’know, a bad song. I don’t need hot lyrics from every song I hear, but it’s not like, catchy or anything either. It’s a bad beat. Bad hook. Bad bars. It’s just a purely unenjoyable song.


You know what’s worse than bad turn-up rap? Bad conscious rap. Purported Christian rapper NF has been building up steam over the past couple years as a sort of Eminem-lite, and he made a bid for the mainstream late this year with a #1 album and a bit of a hit single in “Let You Down.” Now all he needs is a point. For now, he’s content to wallow in pitter-patter platitudes, apologizing to… someone? His dad, I guess? There’s also the shitty, melodramatic EDM beat/hook, and the ingenious rhymes like “disappointment” and “disappointed.” If you thought Eminem was washed up, wait ’til you hear what his successors are peddling.

9) ROCKSTAR – Post Malone feat. 21 Savage

At first glance, this song’s pretty inoffensive. Forgettable, decent beat, pretty solid 21 Savage verse, certainly not Post Malone’s worst. The only thing is, this was the #1 song in the country for eight weeks. What the fuck? How did this cheesy, phoned-in, lame little tune keep audiences coming for so long? The answer seems to be Post Malone’s rabid fanbase, who must have been really clamoring for him to collaborate with lo-fi gangsta rapper 21 Savage, because goddamn. How else do you explain a song with no beat, no hook, that wasn’t even played on the radio, becoming the #1 song in the country? For two months?

8) ROLEX – Ayo and Teo

Shitty Rae Sremmurd impersonators gonna shitty Rae Sremmurd impersonate. Admittedly, this song has a fun beat, and a more tactful rapper (DRAM? Drake? Rae Sremmurd?) could’ve done good things with it. But as it stands, the song itself is annoying, unpleasant, and clumsy. It’s Rae Sremmurd’s ear for hooks and rockstar attitude that makes them so enjoyable; take away the skill and the charisma and you’re left with a bad one-hit wonder meme song like “Rolex.”

7) NOW OR NEVER – Halsey

I like Halsey. She’s got an interesting sound, she’s a solid writer, I like her albums. But man, someone’s gotta help her pick out singles, because she sucks at it. Her previous album Badlands went all in on “New Americana,” arguably the worst song she’s ever released, and the charmingly-baroque follow-up hopeless fountain kingdom staked its bet on “Now or Never,” an obvious rehash of Rihanna’s “Needed Me.” I mean, I’m not crazy, right? It’s literally a beat-for-beat copy. It has the same hook. Fundamentally, it has the same beat. As a fan of a lot of Halsey’s work, I kind of expect more from her.

6) WHAT LOVERS DO – Maroon 5 feat. SZA

That’s right, Maroon 5’s doing double duty this year. In some ways, this song is worse than “Cold,” but my main reason for putting it this much higher is that they had to drag SZA into it. One of 2017’s biggest breakthrough artists, one of the most exciting voices in R&B today, and she still couldn’t escape Maroon 5’s creative black hole. That tragedy aside, it’s also an insipid, unpleasant song that takes it a step further than “Cold” through A) gratingly repetitive lyrics and B) a beat that’s actually kinda good. It’s nothing special, but they could’ve put Khalid or Sia on this and made a really solid summer jam. Instead, we got “Say say say, hey hey now baby.”

5) HEATHENS – Twenty One Pilots

What? I didn’t say there weren’t any songs from last year’s list making a comeback; I just said I restrained myself. For a song like “Heathens,” I just couldn’t resist. I think I already thoroughly dug into this one on last year’s list, so I’ll keep it short, but this is really a phenomenally bad song. If it hadn’t been #1 last year, there’s a good chance it would be #1 this year. Then again, I’m not necessarily ready to say that any of the songs below are any better. Eh, they probably are. This songs so sloppy, so unfinished, so up its own ass that few can compare. Although, truth be told, it’s a little easier to stomach now that it’s not quite as ubiquitous. Still, they didn’t need to layer fucking chipmunk vocals over everything. Come on, guys.

4) GUMMO – 6ix9ine

This is another ugly, annoying meme song that just barely managed to crack the charts because people were quoting it on Twitter. The only difference is that 6ix9ine, the performer behind it, pled guilty to three felony charges of “use of a child in a sexual performance” in 2015. Earlier that year, when he was 18, he and his friend made a video of them engaging in sexual acts with a then-fourteen-year-old. So that’s, uh, pretty bad.

3) THUNDER – Imagine Dragons

Listening to all of Imagine Dragons’ recent singles, the same thought seems to cross my mind: “How am I supposed to feel about this?” The once-exciting pop rock band has been failing lately at one of the most fundamental, unappreciated aspects of making music: eliciting a specific emotional response. In that sense, “Thunder” may be the worst hit song of 2017. Yes, it’s got that annoying “thun-DAH” thing, a weirdly incongruous tone, and uncharacteristically basic lyrics, but its greatest failure is not nearly as concrete as that. It fails to make the listener feel anything.


Now, this song’s problems are a bit more obvious. You’re comparing a woman to a dirt road, jackass! I could cap it off there, because that’s already enough for high honors, but there’s even more to hate about this song. Namely, the track is a particularly insipid instance of “bro country,” the blight that’s been infecting mainstream country for a few years now. The beat is more DJ Mustard than Dolly Parton, complete with 1-2-snaps and “Ay! Ay! Ay!”‘s. At its core, this song is basically a hybrid of Liam Payne’s “Strip That Down” and Niall Horan’s “Slow Hands,” and while I actually like both of those songs, I don’t think “half as good as One Direction” is something your typical country singer would consider high praise. Still, this song was doomed from the start. “Body Like a Back Road.” Are you fucking serious?

1) 1-800-273-8255 – Logic feat. Alessia Cara and Khalid

Hoo boy. Get your crucifixes ready. Alright, obviously this isn’t actually the worst song of the year, in the sense that on its own, it’s probably less bad than more than a few of the songs preceding it. So if it’s not the worst, why is it at the top of the list? Well, a few reasons. First of all, it should be noted that it is pretty bad. It fails as a serious song because it’s trying too hard to be a radio single, from the Chainsmokers chords to the cheesy ad-libs to the bankable guest appearances. It also fails as a pop song because it’s super depressing and melodramatic. I get that it’s about a really serious topic, but when you hit the point of literally having a dude crying in the background for the last minute and a half, you might be going overboard. Couple that with some pretty poor lyrics (the song’s cowritten by the Chainsmokers, if you can believe it) and a few other very questionable choices (Who can relate? Woo!), and it’s obvious this song isn’t the masterpiece we’re socially obligated to pretend that it is. That’s a huge part of the problem, too: it’s taboo to not like this song. Logic suckered us into bringing his grating, nasally pipes, middle school bars, and masturbatory social commentary to number 3 on the Hot 100. Like with “Heathens,” this song’s baffling ubiquity is a big part of the reason it’s so unpleasant. If it had come and gone, peaked at #8 and raised money for a good cause, the thought to put it on this list at all wouldn’t have crossed my mind. But for the past few months, this syrupy drivel has been inescapable. That’s why it’s the worst song of 2017. Don’t @ me.

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.


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.


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.