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Top 20 Songs of the Month (October 2017) — November 11, 2017

Top 20 Songs of the Month (October 2017)

To be honest, I’ve been putting off this list for a couple days. I definitely really like all these songs, but something about the compiled list feels a little lackluster. I just couldn’t put them in a ranking order that satisfied me. So, this month’s list is actually not going to be in order, but just a collection of my 20 favorite songs to have been released (not including album tracks) in the month of October. There’ll also be a Spotify playlist of all of them at the end, and songs near the bottom of the article will generally, though not necessarily, be the ones I appreciate most. Still, these are just twenty of the many, many songs that came out this month, so if you had any favorites you wanted to bring up, let me know in the comments.

SHOW LOVE – Everything Is Recorded feat. Sampha and Syd

“Show Love” is a threefold collaboration: The Internet lead singer and queer R&B up-and-comer Syd, British soul singer and Kanye West collaborator Sampha, and XL Recordings president and influential dance producer Richard Russell, as Everything Is Recorded. Of course, Russell and Sampha have worked together a few times already, so the real takeaway from this track is the magnetic chemistry of Sampha and Syd. Both artists dropped phenomenal debut albums earlier this year, and despite their soulful styles and similar writing chops, somehow, no one’s ever thought to bring them together on a track. It’s beautiful, catchy, and at times fun in its own way. It’s perfect rainy day music, and it shows that these two artists are likely to be here to stay.

HEADPHONES – Walk the Moon

Walk the Moon garnered the public’s attention with their 2015 hit “Shut Up and Dance,” one of the biggest hit songs of that year. With their new album What If Nothing, they seem to be out to prove they’re not a one-trick pony. While some of their new singles got a bit too far into Maroon 5 territory for my tastes, “Headphones” is quite the opposite. It’s a thrashing, electric rock track built around exhilarating guitars and witty, referential lyrics about bitter jealousy. It’s a relentlessly fun track that definitely shows a side of Walk the Moon we haven’t really seen before.

ONE CHANCE TO DANCE – Naughty Boy feat. Joe Jonas

Being an electropop song built around a shamisen sample is interesting enough to warrant a mention, but “One Chance to Dance” has a surprising amount of history to it. Naughty Boy first announced the song in 2014 as the next hit single from… One Direction.  The song was apparently cowritten by Zayn Malik and Emeli Sande, and Naughty Boy announced it just as 1D was rolling out their album Four. Of course, “One Chance to Dance” didn’t make the album, and if a 1D version of the song was ever recorded, we haven’t heard it. Things took more interesting turns after that, when Zayn left the band just six months later and immediately linked up with Naughty Boy, drawing ire from 1D’s remaining members and fans. Zayn said they were best friends, then that they weren’t friends, and things generally took a lot of weird turns, but now, all of three years later, we have “One Chance to Dance.” Frankly, the song works much better as a Jonas Brothers song than a One Direction song, even if only one JoBro appears. It’s a neat, inspirational pop jam with (as previously mentioned) a really cool beat. It’s also got a catchy hook, and Joe’s really flexing his range, where most of what we’ve heard from him recently is in his goofy DNCE falsetto. I’m glad the song came to see the light of day, even if it wasn’t necessarily worth all the drama.

LOOK AT YOUR HANDS – Tune-Yards

Honestly, I haven’t had a chance to check out Tune-Yards yet. As I understand, this eclectic mix of rudimentary electronic sounds is generally what I can expect from them, with some occasional ukulele. I gotta say, I do like the song. In spite of its apparent messiness, it’s earnestly catchy at times, and I really like the way it plays around with Merrill Garbus’ distinctive vocals. It has a very retro-techno feel, but still feels decidedly new. And Garbus’ vocals are great, by the way. She’s got a uniquely androgynous voice that seems to transition seamlessly between mellifluous and shrill, and helps convey the really interesting lyrical content in a fitting way.

ANITA (REMIX) – Smino feat. T-Pain

Anyone who knows me IRL or has been with this blog for long enough knows I’m an absolute thot for the soulful sounds of T-Pain. Here, his bombastic Autotuned crooning is paired with the soulful Chicago instrumental of Smino’s “Anita.” Smino delivers some brand-new bars of his own, more of the wry flirting that made the original track so charming. Of course, T-Pain’s presence adds a lot, giving the song a certain aged gravitas, a worldliness that sort of takes its concept to a new level. It also gives T-Pain a chance to show off his long-underappreciated rapping skills.

COLORS – Beck

I really dig Beck’s new album. Some feel it’s a shallow step towards soullessness relative to his previous (unjustly) Grammy-winning album, but I think Beck’s sheer pop craftsmanship shouldn’t go unrecognized. “Colors,” the album’s title track, is a great example of Beck’s ability to tie his quirky songwriting and unique instrumental ear into a polished, perfectly danceable pop package. It’s catchy, interesting, and magnificently weird, all the things I want to hear from a Beck song.

MAN LISTEN – Belly

Criminally-underrated Weeknd signee Belly is back with another phenomenal album that you probably haven’t listened to. If you haven’t heard what he has to offer, or you’re not quite convinced yet, check out “Man Listen.” It’s got a catchy hook, a great MMG-type beat, and clever, layered lyricism, all delivered with Belly’s signature swagger. It’s a pitch-perfect brag rap track: you can play it in the clubs, you can play at the gym, you can play it at home, it’s got a great beat and dazzling poetics that’ll keep you on your toes. It showcases Belly’s many talents in a concise package.

MOTOR SPORT – Migos feat. Cardi B and Nicki Minaj

One of the biggest acts of 2017, Migos, are back yet again with the first single off their anticipated album Culture 2, “Motor Sport.” Or “MotorSport.” It has many of the same charms as “Bad and Boujee,” the smash hit that catapulted them to superstardom, with some added elements to push it even further (Takeoff has a verse! And a good one!). All three members come through, though Quavo’s verse is pretty lackluster. And then there’s the featured artists. You’ve got Cardi B, the biggest breakout rapper of 2017, Offset’s fiancee, the hottest newcomer on the scene with one of the bestselling singles ever released by a female rapper. Then you’ve got Nicki Minaj, the queen of the game for the better part of this decade, an artist whose monumental celebrity has allowed her to go two whole years without a hit single and still be relevant. After a lot of speculation about them possibly feuding, they came together on a track, and it is divine. Both artists come through, with Cardi B showcasing some new flows and witty punchlines while Nicki effortlessly slips from deliberate to rapid-fire in an exhilarating 24 bars.

FAKING IT – Calvin Harris feat. Kehlani and Lil Yachty

“Faking It” is the latest single off Calvin Harris’ veritable single goldmine Funk Wav Bounces, Vol. 1 (“Cash Out,” one of the best songs on the album, still hasn’t been made a single yet). It features the dulcet tones of Kehlani, a surprisingly sweet verse from Lil Yachty, and an introspective funk beat with elements of ’80s techno, courtesy of Harris. It’s actually really similar to “Honor” by DJ Cassidy, another funky retro dance jam about relationship woes featuring a DJ, an R&B songstress, and Lil Yachty. That song remains one of my favorite songs of the year, and this song, while maybe not quite as catchy, has many of the same elements that make that song great, plus some elements that are done even better (Kehlani is probably a better singer than Grace, and Harris is probably a better producer). Still, I’m basically just trying to put “Honor” on the list again.

FEELINGS – Hayley Kiyoko

I know this makes me a homophobe, but I’ve never been particularly into Hayley Kiyoko. She was great in Lemonade Mouth, but her music’s always seemed a bit… dry. I’ve come to appreciate “Girls Like Girls” a lot more than I did when I first heard it, but it doesn’t really fit her voice. It’d do better in the hands with someone a little more dynamic, like Sia or even Halsey. “Feelings” feels much more within Hayley’s zone, and it’s phenomenal. She sounds so fucking cool on this song. She’s got an incomparable swagger that works in tandem with the dynamic electropop beat. On songs like “Gravel to Tempo,” it sometimes feels like Hayley drains the energy from the song. On “Feelings,” someone else could’ve done it, but no one else would’ve sounded so awesome doing it.

MEDICATION – Nick Murphy

I never listened to Nick Murphy when he was Chet Faker. I guess I don’t really “listen to him” now. This was a bad way to start this entry. “Medication” is a great song. It’s sort of reminiscent of Superorganism’s “Something for Your M.I.N.D.,” which I believe was on last month’s list, in that it’s experimental and kooky and sometimes the music cuts out entirely right in the middle, but somehow it’s still really catchy. Structurally and lyrically, there’s no reason this can’t be classified as a pop song, but the shapeless electronic beat, varying vocal distortions, and aforementioned instrumental disappearances say otherwise. It’s still got a great hook, and as heavy as it sounds at times, it’s generally a pretty fun song. Maybe I should start listening to Nick Murphy. Or Chet Faker.

ACHOO! – Keith Ape and Ski Mask the Slump God

South Florida weirdo Ski Mask the Slump God has quickly become one of my favorite new rappers of 2017. He’s funny, endearing, relentlessly fun, he has a really interesting voice and always pulls through with excellent, unique flows. On “Achoo!,” he’s joined by Korean rapper Keith Ape to teach you how to be sick, like a sneeze. Ski Mask spits rapid-fire references to R. Kelly and Reese’s Pieces, Keith Ape says some things I’m sure are also cool, and along the way, bass is served and the word “sick” is said 104 times. This club has everything.

ALMOST LIKE PRAYING – Lin-Manuel Miranda and Artists for Puerto Rico

Sure, it’s for a great cause, but this is also just a really solid song. LMM is a master producer, flipping West Side Story into a fun-yet-urgent Latin pop bop, joined by Latinx artists ranging from Fat Joe to Gloria Estefan. There’s a chance it’ll get caught in your head, which isn’t something you can say about a lot of benefit songs. I mean, who would’ve thought that a song that, for all intents and purposes, is just a list of places in Puerto Rico would be so darn catchy?

ALL WHILE DOING A RUBIK’S CUBE ONE-HANDED – Lupe Fiasco

Releasing two-minute singles on Twitter is a move so disastrous from a business standpoint that only Lupe Fiasco could be behind it. The rap legend returns with some of his finest bars in a long while, delivered over an excellently mellow soul beat. Highlights include the brilliant “Trust all these Einsteins if you want the facts / Fuck Harvey Weinstein if you want to act.” These new songs are likely standalone projects to hold us over while we await the release of Lupe’s next album, DROGAS Wave, and they’re solid enough content to last us a while, as short as they may be.

HOW LONG – Charlie Puth

I’ve joked that Charlie Puth’s hit single this year, “Attention,” was his “one for the gays,” but he really seems to be keeping this funk train rolling. “How Long” is arguably an even better single than “Attention,” with a swagger and ear for hooks that recalls Timberlake in his prime. I never thought I’d be so into Charlie Puth, especially after “Marvin Gaye,” but I’m rooting for the guy at this point. In my opinion, you can never have too much funk on the radio, and I’m glad Puth’s keeping the spirit alive while Bruno Mars and Justin Timberlake are between albums.

WALLOWA LAKE MONSTER – Sufjan Stevens

I’ve had some out-of-character artists make it onto these lists, but Sufjan Stevens may just be my biggest leap yet. I am actually a fan of the guy, though I didn’t love Carrie and Lowell, the album this song seems to be a reject from. If I was a little bit more of a dick, I would say it was left off the album for being too interesting. But anyway, this is the type of shit I like to hear from ol’ Suf-Jan. It’s got his soft, folky elf boy vocals, but it’s also just fucking bonkers conceptually and lyrically, with inspiring instrumentation that lends to an overall feeling of epicness.

DIANE – Cam

As a young country singer, it takes some serious guts to make a response record to Dolly Parton’s “Jolene,” one of the best country songs of all time. But Cam’s got guts, and the sheer power to pull it off. “Diane” is certainly different from “Jolene,” but at its best moments it carries the same immense weight as the original. It’s hard to imagine a “Jolene” response record coming terribly close to the original, but this comes closer than anything else I’ve heard. Suffice it to say, have you ever seen a country song so high up on one of these lists before?

ALWAYS ASCENDING – Franz Ferdinand

It’s been a few years since we’ve heard from Franz Ferdinand in the form of a proper single, but they did an anti-Trump thing last year, and a collaboration with Sparks the year before that, and brought back the Sparks collaboration this year, so they’ve certainly been keeping busy. Now, they’re back full-force with “Always Ascending,” an epic art rock track where the “Always Ascending” referenced in the title, in addition to its lyrical meaning, also refers to the rising sound effect perpetually happening in the background for the entire song. It’s also got layered electronic drums, real guitars, and Alex Kapranos’ weirdly deep-high voice. It’s not the kind of music I’m best at describing, but it is a really good song.

SPICE GIRL – Aminé

This song will be stuck in your head for days. I’ve already talked a bit about Aminé, the Portland rapper who sprung into stardom this year, developing a sound that’s uniquely his own and releasing a number of charming, relentlessly catchy, goofy hip-hop jams. “Spice Girl” is one of the finest of the bunch, a delightful little tune that’s an even better showcase of Aminé’s charms than his big debut single, “Caroline.” I don’t want to give too much away, but just listen to the song. At least the first ten seconds. You won’t regret it, if you don’t mind an earworm.

PILLS – St. Vincent

It’s possible that “Pills” isn’t that good a song. It overwhelms me every time I listen to it, from its electro-clusterfuck production to its sunny ’50s soap jingle hook to its strangely hopeful, cinematic outro, it’s got enough song in it that it could’ve taken up this entire list. It works really well in the context of St. Vincent’s (fucking amazing) new album MASSEDUCTION, but it’s sort of a concise narrative on its own. It’s got dystopian and sci-fi elements, personal exploration, a beginning, middle, and end, and sexual moaning. It’s a trip, for sure, but I’m glad I took it a few times.

Here’s a Spotify playlist of all the songs on the list (except Lupe’s, which as I said, was released on Twitter), in case you’d like to listen to all the songs on the go.

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Top 20 Songs of the Month (August 2017) — September 12, 2017

Top 20 Songs of the Month (August 2017)

This one’s super late. Starting college, all that. It didn’t help that it wasn’t a particularly easy list to narrow down. The initial shortlist was over five pages, including four songs apiece by Brockhampton, Leikeli47, and Migos, all but one of which were knocked off the list. It seemed like practically everyone released music this month, including notorious recluses like MF Doom and wild cards like Lil Wayne. As a result, even though all the people I’ve mentioned so far have been rappers, this is perhaps the most sonically diverse of these lists I’ve done to date. For those of you who don’t know, this list doesn’t necessarily include the best songs that were released this month, but the ones that were released separate from an album (typically as a single). This means that a song that’s been out for over a year could still be eligible while many songs released during the month would be ineligible. It’s complicated, but it works. Let’s get it underway.

20) RIGHT NOW – PHresher feat. Cardi B

Against all odds, stripper-turned-reality-star-turned-rapper Cardi B is on her way to becoming a megastar. Her single “Bodak Yellow” is the #3 song in the country right now, she’s all over the news, and she’s working with some of the biggest names in hip hop today. Of course, PHresher isn’t one of those people. He’s an off-the-wall, erratic underground MC who had a song with Desiigner in 2014 (it was called “Danny Devito”). But like Cardi B, PHresher is a force of personality, and the two of them coming together on a track creates a menacing romp reminiscent of B.o.B and Nicki Minaj’s “Out of My Mind.”

19) CAROLINE – Steve Martin and the Steep Canyon Rangers

If there’s anything that doesn’t need to be said, it’s that Steve Martin is a master wordsmith. We’ve seen him bring his one-of-a-kind wit to the screen, stage, and page, and also to folk music work with the Steep Canyon Rangers. “Caroline” is sort of the folk tune equivalent of a Judd Apatow movie (right down to the casting). It’s goofy, with an askew worldview and sharp sense of humor. It’s a tale of lower-upper-class white people falling in and out of love. And it’s pretty damn emotionally affecting if you let it be.

18) WATER ME – Lizzo

It’s become increasingly apparent that Lizzo is a star in the making. She’s already won over a devoted base of listeners with her empowering ’60s soul-infused hip-pop stylings, and now that she’s signed to Atlantic Records, it seems like she’s not going anywhere. “Water Me” is more of what we’ve come to expect from Lizzo, but it packs a hard EDM punch that makes it stand apart amongst the rest of her discography. You might not hear this one on the radio, but you’ll be hearing from her sooner rather than later.

17) COCAINA – Captain Cuts feat. Rich the Kid and Daniels

Rich the Kid is a trap artist of the new school who’s got a nice energy but doesn’t quite stand out among the crowd. Daniels is another rapper that, as far as my research seems to indicate, only existed for the three minutes it took to record this song. Captain Cuts is the production team behind “Shut Up and Dance.” What do you get when you put them all together? A potential pop hit, believe it or not. I don’t know how comfortable the radio companies will be with a song very explicitly named after cocaine being played on their stations, but the Weeknd made a song about coke that won a Kids’ Choice Award, so who knows? And this song fucking slaps. It’s sort of got that island flair that’s been all the rage this past year and a half, but it’s a bit less dancehall and a little more reggae. The rappers are fun, and the chorus is super catchy, but Captain Cuts are the stars of the show.

16) STROBELITE – Gorillaz feat. Peven Everett

The latest single off Gorillaz’s surprisingly bounteous latest album Humanz was criticized by some for really just being a Peven Everett song. And while that may be true, it’s still an absolute banger. The electro-disco groove is some of the finest, most danceable production work to come out this year. And Everett’s vocals are nothing to sneeze at. He carries a certain passion that drives the surprisingly-complex lyrics home.

15) MY STYLE – Poppy feat. Charlotte

If you’ve been reading this blog, then I don’t need to tell you who Poppy is. That being said, this song carries a whole different energy from most of her other work. Usually, the menace of her music is subdermal, obscured under layers of bubblegum. This one’s lowkey frightening from the get-go. A simplistic, droning beat accompanies equally repetitive lyrics and a creepy, hypnotic video aesthetic. The lyrics mostly seem like nonsense, until the chorus kicks in. “Poppy is an object / Poppy is your best friend / Poppy will break your neck / Poppy will be your pet.” The computerized voice (“Charlotte”) only makes the song more skin-crawling, and seems to point towards Poppy’s narrative going in some bizarre new directions.

14) FLOOD WATCH – Juicy J feat. Offset

Even in his Three 6 Mafia days, I never really thought of Juicy J and friends as anything more than “okay.” That being said, I seem to find myself getting into just about every song he puts out. “Flood Watch” is decadent right from the start. Inspirational, almost cinematic pianos accompany J’s muffled chants of “Get up, bitch, get up.” It approached heavenly levels when the drums subtly kick in. Juicy J and Offset are both pretty average rappers, and their verses on this track are not their best by any means, but it all comes together in a really enjoyable way.

13) LOOK WHAT YOU MADE ME DO – Taylor Swift

Yes, I know. I love joking about how bad this song is as much as the next person. Whose idea was it to turn “I’m Too Sexy” into a Disney villain song? What did we make her do? She doesn’t like my keys? But in the end, I gotta come clean: this song also slaps. Taylor Swift always comes through with great pop music, and when you pair her with Jack Antonoff and a newfound acceptance of her role as the villain, the results are a fun techno-pop track perfect for when you want to feel like that bitch.

12) ACROSS THE MULTIVERSE – Dent May feat. Frankie Cosmos

This one’s so out of my comfort zone that I’m not sure I’ll be able to describe it, but I liked it enough to put it on the list so I guess I’ll hope for the best. I’d describe it as a psychedelic indie pop track with airy sci-fi disco vibes, like “Star Wars Theme/Cantina Band” with an Angel Olsen twist. The mix of funk guitars, space-age synths, and big band disco horns really does it for me, y’know?

11) BABY SCALE – IDK feat. Yung Gleesh

When we last saw the artist formerly known as Jay IDK, he was treating us to The Empty Bank, one of the finest self-released hip-hop records of 2016. His star quality shines even harder on “Baby Scale,” a jazz-infused track that mixes equal parts introspection and braggadocio to create an intricate piece of work. IDK’s flow has progressed a ton in just the past year, and his lyrical prowess is as high as ever. Yung Gleesh’s part is fine.

10) FRIENDS – Justin Bieber and BLOODPOP®

At the end of the day, is “Friends” just a harder version of “Sorry”? Absolutely. But “Sorry” is great, and that ’80s driving synth is great, so what’s not to like? The Biebs’ transition from punching bag to heavy-hitter seemed to come in a flash, but looking back on it now, it seems like we just got tired of hating him. After a few years of near-constant radio play, some people have changed their tunes once again, but there’s still comfort in knowing you’ll no longer be mocked mercilessly for liking a Justin Bieber song, or forced to pick apart things you hate in something as purely and genuinely good as “Friends.” So that’s nice.

9) PEOPLE SAY – Wu-Tang Clan feat. Redman

Of course I had to make room for the Wu. In their first public outing since their 2014 album “A Better Tomorrow,” the Staten Island MC’s are as sharp as they’ve ever been. The beat by Mathematics is some classic New York shit, and all five rappers featured on the track are spitting, though I think my favorite verse is Inspectah Deck’s. Wu-Tang forever, indeed.

8) THE SEVEN – Primus

Bieber to Wu-Tang to Primus; how’s that for diversity? I’ve always appreciated Primus and their uncanny ability to just do the weirdest shit 24/7. “The Seven” is no exception. I honestly have no idea what this song is getting at, or if there are any layers of meaning to it, but on the surface it seems to be about seven malevolent creatures, representing the colors of the rainbow, that just go around ruining things for everyone. It’s hard to describe it any further, but if you’ve listened to Primus, you know what you’re in for, and if not, let this be your introduction.

7) LIKE A MAN – ONHEL feat. Lil Wayne

I was wary about considering this one for the list, because I first encountered it in an article saying it was a leak from one of the Carter albums. However, everything I can find about it now says that it’s just a brand new single from Lil Wayne (and longtime engineer ONHEL). That’s pretty exciting just on its own, but it also finds Tunechi in rare form, spazzing about sex, drugs, and skateboarding with a craftsman’s precision and an artist’s spirit. He’s got crazy rhyme schemes, bizarre imagery, killer puns, and everything else that once had legions of fans calling him the best rapper alive. It’s hard to call it the second coming of Wayne, especially since he drops a song of this caliber about every two years, but it’s still a rare treat.

6) I DON’T WANT IT AT ALL – Kim Petras

People who know what they’re talking about have called Kim Petras the next Britney Spears. We’ll have to wait and see where her career goes from here, but “I Don’t Want It At All” showcases a star power that’s rare for an artist as new as she is. After first making headlines for transitioning at an unusually young age (Remember when that was enough to make headlines?), she started releasing music and this song, her major label debut, is already blowing up on Spotify. This is another one that might make big waves on the radio this fall, and it’s perhaps the most delightful of any of them. It’s schlocky pop perfection, reveling in vanity and hedonism over sunny synths. It’s an absolute joy from start to finish.

5) TRUE LIGHTYEARS – KMD feat. Jay Electronica

Hmm, how do you top entries from legendary rappers like Lil Wayne and the Wu-Tang Clan? I know, how about the new song from MF fucking DOOM. If you don’t mind the high-pitched flute sample, you’re treated to an otherworldly lyrical onslaught by two unparalleled MCs. Jay Electronica might have been a rarer treat a couple years ago, but he’s still much appreciated. And Doom’s as marvelous as ever, mixing layered intellectual poetics with unapologetically goofy punchlines to create something beautiful.

4) HOMEMADE DYNAMITE – Lorde

Not to give away any spoilers, but Lorde’s Melodrama is a strong contender for album of the year. It’s just so distinct, so raw, so layered, so enjoyable and thought-provoking and troubling all at once. “Homemade Dynamite” is, in some senses, the cornerstone of the album. It’s certainly the song that feels most radically different, from production to vocals to content. It brings home the album’s themes of, well, melodrama, taking the teen spirit that was idealized on Pure Heroine and showing the darker side of it. It’s a magical moment when a song as weird and sad as this one still works as a pop song, but here we are.

3) HAVANA – Camila Cabello feat. Young Thug

This song is so goddamn good. Camila Cabello’s output since leaving Fifth Harmony has ranged from interesting (“Crying in the Club”) to atrocious (“Bad Things”), but “Havana” is in a whole other boat. I want this to be all over the radio. I want it to shatter records. And here’s the thing: everyone knows I’m a Young Thug stan. I rave about Young Thug all the time. But my appreciation for this song has nothing to do with him. If he wasn’t on the song at all, it’d probably still be right here. What makes this song is some phenomenal production work by Pharrell, an insanely catchy hook, and Camila’s lovelorn vocals painting a picture of regret that’s so enjoyable and relatable and just great. But for what it’s worth, Young Thug’s verse is really good too.

2) THE NO PANTS DANCE – TWRP feat. Ninja Sex Party

“The No Pants Dance” just might be a masterpiece. It features the goofy, hypersexual lyrics of NSP, the killer electro grooves of TWRP, and it’s called “The No Pants Dance,” for god’s sake. If you can’t appreciate a song about dancing with your pants off, I don’t know what to tell you. I’ve always found Danny Sexbang’s vocals to be a bit jarring on some of the songs NSP chooses to make, but it fits so perfectly with the vibe of this one. It just works on so many levels. But it’s not song of the month.

1) TAKE ME – Aly & AJ

Aly and AJ Michalka were true rock stars of the Disney Channel age, winning over a generations of kids and teens with their 2007 classic hit “Potential Breakup Song.” But soon after, they split from Hollywood Records, did some solo acting projects, and took a strange turn towards indie rock under the name 78violet. Now, finally, they’re back as Aly & AJ, and so we enter “Take Me.” The song starts slow, but immediately attention-grabbing, with muffled drums and synths that seem to have been recorded via VHS. Aly materializes, wisping wistfully about the trappings of dating in the modern world. Suddenly, things start building up, and like “In the Air Tonight” for the girl power pop set, drums pummel us into another dimension as AJ cries “When you gonna take me out?” The song is pure bliss, a perfect union of Carly Rae Jepsen and The 1975 that stands out as one of the finest pieces of pop music to be released in 2017. I think we all needed a little more Aly & AJ in our lives.

Top 20 Songs of the Month (July 2017) — August 9, 2017

Top 20 Songs of the Month (July 2017)

What a month. I know I say something to that effect every month, since there’s more good music being put out than there’s ever been before, and in all honesty, my shortlist this month was actually shorter than usual, but still. We got great new music from the likes of Capital Cities, Kamaiyah, The All-American Rejects, Jennifer Lopez, Nine Inch Nails, Mystery Skulls, Shania Twain, Wyclef Jean, Demi Lovato, The Darkness, BØRNS, Mick Jagger, and those are just the ones that didn’t make the list. This month, we’ve got some triumphant comebacks, some steady mainstays, and a few impressive newcomers. Let’s get things underway. Remember: for the purposes of making these lists easier to make, I generally only include songs that were released in some form outside of an album. That can be in the form of a single, a video, or a few other things, but it generally can’t be something I put or almost put on a previous list. This means that a song could have come out on an album years ago and still make the list if it was just released as a single or video this month. I also try to avoid having more than one song to an artist on each list, but there’s one notable exception to that this time ’round.

20) RUN FOR COVER – The Killers

The Killers are a bit hard to get a read on, in terms of public opinion. Most, I think, became infatuated with them for a glimmering moment in the mid-2000’s and then came to be annoyed by them. Still, they have a rock-solid fanbase, and at least one of the best songs of all time (“Mr. Brightside,” naturally). Last month, they put out a single called “The Man,” the first off their forthcoming fifth album. That song is, uh, not good. It showcases everything that caused the general populace to quickly grow tired with the Killers, a song that’s equal parts generic and trying too hard. “Run for Cover,” I think, does a better job showcasing what many people (myself included) still admire about the band. Brandon Flowers’ Modest Mouse-lite crooning is a bit more subdued, leaving room for a song that’s goofy, but still enjoyable on a base level.

19) RAGE – Vic Mensa

“Rage” is arguably Vic Mensa’s most self-indulgent song to date. There’s nothing wrong with that; self-indulgence is a staple of hip-hop and music in general. But for some, this song could definitely be a bit overwhelming. It opens with Vic singing about planes crashing, at first alone with a bit of reverb, then with a passionate, almost theatrical piano accompaniment. The refrain of the song is “I want you to rage into the night,” and the beat consists of Mike Dean and Om’mas Keith doing their finest Alex da Kid imitation, with the usual rocky drums, important-sounding synths, a barely-noticeable choral backing, a much more noticeable “aaaaaayyy” backing, and ranch on the side. Still, it’s an effective and at times moving ballad with some solid wordplay and an interesting metaphorical conceit.

18) I AIN’T GOT TIME! – Tyler, the Creator

Sure, it’s one of the less resonant cuts on Tyler’s brilliant new album Flower Boy. It’s not nearly as introspective and syrupy as, say, “911” or “Glitter.” But it’s a damn good track. It’s hard to even describe the instrumental, but it’s a noisy Middle Eastern-sounding beat with obvious Pharrell influence that perfectly matches Tyler’s gravelly tones. And of course, nestled between cheesy boasts is the most buzzworthy revelation on an album full of them: the already-famous “I’ve been kissing white boys since 2004” line. Way to go, Tyler.

17) LET’S MAKE A VIDEO – Poppy

I feel like I’ve already said more than enough about Poppy in recent articles, so I’ll keep it brief. Poppy’s great. This song is great. I love the bubbly synths. I love the corny pop lyrics. I adore the hook, especially the non sequitur “I love you when you’re happy, I love you when you’re down.” It’s just great.

16) P.O.P. – Belly

After presenting it at multiple stops on The Weeknd’s Starboy tour, Palestinian-Canadian rapper Belly bookended the month of July by releasing his latest single, “P.O.P.” The title, of course, stands for “power of pussy,” and the song follows various men, Belly himself included, being ensnared by greedy women. It’s sort of like an even more misogynistic version of “Gold Digger,” but like “Gold Digger,” it’s also really funny and well-written, so we’ll give it a tentative pass.

15) BIG B’S – Chance the Rapper and Young Thug

After apparently saving SoundCloud from the brink of collapse, Chance the Rapper celebrated with a new loosie, joined by Young Thug. Both rappers have sort of become recurring characters on these lists, and on this track, you can see why. Despite representing different cities and different factions of the rap game, both rappers have an unshakeable charisma and off-the-wall energy that makes them irresistible, and an absorbing way with words to sweeten the deal. “B’s” means “business,” by the way.

14) THE PAIN – Rapsody

Having come around at the turn of the decade, Rapsody’s already built a reputation as one of the finest conscious MC’s working today, and one of the great female rappers of all time. Her latest single, “The Pain,” showcases the subdued wisdom and intricate wordsmithing that gave her that reputation. Over Nottz’s urgent production, Rap describes “the pain,” in order, “of watching us kill each other,” “of black men/women disrespected by the world,” “of a man who never knew the man that made him,” “of a daddy’s girl without a daddy,” “of a mother who went half on a baby and got a whole lot to deal with,” and “of a man that wanna raise his child, love his child / Baby mama crazy, she don’t ever let him see his child.” It’s the exact kind of deep, powerful bars we’ve come to expect from the brilliant mind of Rapsody.

13) WEDDING CRASHERS – Aminé feat. Offset

Aminé dropped his debut album Good For You this month, and on a preliminary listen, I thought it was really good. Still, a solid contender for best track is the single he released the week before the album, “Wedding Crashers.” It’s a cheeky ode to old flames centered around weddings that features a goofy Rugrats beat and a solid if forgettable Offset verse. Aminé’s verse is packed with dense wordplay and references, some of which appear to be inside jokes with himself. Still, the highlight of the song is the irresistible hook. It’s fun enough to be enjoyable while still delivering the bite its subject matter deserves.

12) MIDNIGHT – Jessie Ware

English singer/songwriter Jessie Ware’s throaty, soulful pop tunes have led to the respect of some of pop’s heavy-hitters, and a fair amount of being mistaken for Jess Glynne. “Midnight” is one of the best songs I’ve heard from her to date. I love how the beat builds itself around her devastated vocals, taking the tone from mournful to triumphant without skipping a beat. I love it for its bouncy R&B refrain, but the more tender parts of it are still captivating.

11) CATCH ME OUTSIDE – Ski Mask the Slump God

BIG shoutout to Ski Mask the Slump God, an artist I hadn’t even considered considering at the start of this month. After some solid work with XXXTentacion, “Catch Me Outside” is the song that made me realize just how brilliant this guy actually is. Over Timbaland’s classic Missy Elliott “She’s a Bitch” beat, Ski Mask fires off wild wordplay reminiscent of Missy herself. Before the song even begins, he’s bringing out killer wordplay. “Shoutout my mucus, ’cause you know that be my slime,” he announces just as the beat kicks in. From there, it’s a two-and-a-half-minute whirlwind of blink-and-you’ll-miss-it wordplay and references. Congrats, Ski Mask. You have my attention.

10) WOULD YOU MIND – PRETTYMUCH

PRETTYMUCH is Simon Cowell’s latest boy band find. Based off this one single, it’s hard to say if they have any staying power, but they certainly can crank out a great pop tune. “Would You Mind” pays homage to more than one of history’s great boy bands, borrowing the a cappella harmony intro from the Beach Boys, the new jack swing sound of Boyz II Men, the futuristic breakdowns of *NSYNC, and One Direction vocals to create a wholly enjoyable earworm with a little something for every pop listener.

9) MISS ME – Leikeli47

Leikeli47’s been a long time coming for this list. Ever since a surprise endorsement by Skrillex and Diplo back in 2015, the masked MC has been one of the most compelling new rappers on my radar. “Miss Me” is laced with unflappable confidence and a killer beat, again reminiscent of Timbaland’s seminal turn-of-the-century production. It simply oozes swagger.

8) DON’T GET CAPTURED – Run the Jewels

Run the Jewels is another act I’ve already covered extensively on this blog, but I’ll go into it again. El-P’s dystopian electronic production is as strong as ever on the latest single from Run the Jewels 3, “Don’t Get Captured,” which explores racial injustice from two different perspectives. Killer Mike takes a more typical angle, examining class struggle and corruption as someone who came from a poor neighborhood watching gentrification sweep through. El-P takes on the role of a ruthless, crooked cop delighting in his ability to oppress and murder with no repercussions. It’s a message that could’ve been delivered in a simple, straightforward manner and served just fine, but leave it to RTJ to go above and beyond.

7) ONE NIGHT ONLY – The Struts

The Struts are a newer English glam rock band, and like many modern glam acts, it can be hard to tell to what extent they’re being serious and to what extent they’re joking. What I can say, for sure, is that this song is epic. It’s got an overpowering stadium hook, some really solid guitar work, and it’s packed to the gills with flair. My favorite moments include the guitar solo and when he rolls the R in “riding.”

6) BOYS – Charli XCX

One of the biggest surprises in music this month was the release of Charli XCX’s “Boys” video. After her excellent Number 1 Angel mixtape, Charli could’ve easily taken the rest of the year off, but she decided to grace us with a phenomenal pop track and one of the best music videos of 2017. The song and video flip the music industry’s objectification of women on its head, with the help of over 50 male celebrities in varying degrees of undress. It’s also a great pop tune, with a really cool electronic beat and potential to become another sleeper hit for Charli in the coming months.

5) NEW YORK – St. Vincent

This is another song that pop heavyweights like Lorde lost their shit over this month. And with good reason, quite frankly. St. Vincent’s been winning over critics and other listeners for a full decade, and her last album left a huge impression. While “New York” is generally much more straightforward than what we’re used to hearing from Annie Clark, her bitter lyricism is as sharp as ever. The sheer emotional buildup in this song is amazing. It’s St. Vincent’s answer to “Green Light” by Lorde, and that’s a good thing.

4) THE STORY OF O.J. – Jay-Z

One of music’s most major events this month was the release of Jay-Z’s acclaimed 13th album 4:44. The album’s first “single,” if it’s even worth calling it that (they can’t exactly play this one on the radio), is “The Story of O.J.,” one of the album’s crowning artistic achievements. Over a beat that feels refreshing and ancient all at once, Hova implores his community to use their money wisely, if they want to escape the cycle of poverty and failure that white people set them up for. There’s an exhausted quality to Jay’s vocals that gives the track’s devastating truth bombs a sizable punch. One bizarre antisemitic line aside, this could turn out to be one of Jay-Z’s defining tracks.

3) WOMAN – Kesha feat. The Dap-Kings Horns

Here’s this month’s leading music story: Kesha pulled off the most magnificent comeback in recent memory. After a years-long battle for artistic freedom from her abuser, the pop star rose like a phoenix to grace us with three phenomenal pop songs and counting. “Woman” is a goddamn masterpiece. I could make a whole different top ten list of all my favorite moments in this song alone. At one point, she’s laughing too hard to finish the verse, and then it just cuts to the chorus! That’s incredible! This is one of the greatest pop songs I’ve heard in a while, and I wouldn’t be surprised if it places highly on my end-of-the-year list. But for now, there are two songs I thought were better.

2) IT AIN’T FAIR – The Roots feat. Bilal

Bilal is one of the greatest singers alive. Black Thought is one of the best rappers of all time. The Roots is quite possibly the best band in the world. And when you put them all together, you get “It Ain’t Fair.” I’d say the song is this year’s answer to last year’s “This Bitter Land” (Nas & Erykah Badu). It was a relatively quiet release for a soundtrack single that’s political, powerful, and beautiful. It starts very slowly, with about a minute of Bilal singing unaccompanied, followed by some more crooning over a jazzy piano riff. But when it kicks in, by god does it kick in. By the end of the hook, it bursts with glorious color as guitar, drums, bass, brass, keyboards, everything but the kitchen sink comes together beautifully to punctuate Black Thought’s frenetic flows and mature, emotionally-vulnerable bars. This is what world-class talent sounds like.

1) PRAYING – Kesha

Now, this is highly unorthodox for me. I don’t think I’ve ever put two songs by the same lead artist on one of these lists, let alone at numbers 1 and 3. But Kesha isn’t your everyday musical talent, and I truly couldn’t see myself parting with either of the two songs. “Praying” is a thing of beauty. It’s an expertly-crafted pop masterstroke that turned Kesha’s narrative from victim to hero, suddenly becoming one of the most respected figures in music. The lyrics are simple, powerful, and even catchy. The production by Ryan Lewis is phenomenal (proving that Macklemore was actually second banana and Ryan Lewis was the star all along). Kesha’s vocals are jaw-dropping. The sheer freedom encapsulated in this scant four minutes of music is more moving than the fogies who derided Kesha in her heyday could ever hope to be. Dr. Luke may still have a contract, but the world is on Kesha’s side.

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.

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.

Top 20 Songs of the Month (April 2017) — May 7, 2017

Top 20 Songs of the Month (April 2017)

April is the start of summer song season, so there was a lot of fodder for this month’s list. We got new songs from people like Katy Perry, Harry Styles, Paramore, Charlie Puth, Halsey, Lil Yachty, Sean Paul, and every other shlub with a top ten hit to their name. We also got a lot of great new music from old-timers like Blondie, Roger Waters, and members of Fleetwood Mac. Also, Migos. Lots and lots and lots of Migos. But still, not every song can make the list, and here are my top 20 favorite songs released (either as a single or otherwise in a separate capacity from their album) in the month of April.

20) KRYPTONITE – George Maple

George Maple has been bubbling under the surface for about three years now, making waves for her futuristic electropop sound and sultry hook-tipped vocals. This song is no exception. It has the feel of a classic ’90s R&B jam run through a newfangled bleep-bloop machine. It can be jarring at first, but once you really get into it, it’s catchy as hell.

19) GREED – Kemba

Kemba drew some minor buzz as YC the Cynic at the turn of the decade, but his major claim to fame in his current incarnation was being invited on stage and later commended by the best rapper alive, Kendrick Lamar. He’s lyrically dense with a great eye for imagery, though his lyrics occasionally veer towards Hopsin-level preachiness. Still, he’s much more endearing and hard-hitting than Hop’s ever been, and over this sparse, dramatic beat, it’s not hard to see why Kendrick told us to watch out for him.

18) S.H.C. – Foster the People

While Fall Out Boy releases a next-level headscratcher and Imagine Dragons grows increasingly disappointing on an exponential curve, there’s one pop rock act that won’t let us down: Foster the People. The indie rockers who became a phenomenon after the inexplicable success of their 2011 single “Pumped Up Kicks” came back in a major way this month with three new singles, the best of which (in my opinion) is “S.H.C.,” an ethereal funk number about God or a relationship or both. S.H.C. stands for “Sacred Hearts Club,” which doesn’t mean anything. I like all the weird shit going on, the robot choir over the bridge, the three or four different drum patterns on the hook, et cetera. The beat is transcendentally over-the-top, while the vocals are low-key in classic FtP fashion.

17) I’M THE ONE – DJ Khaled feat. Justin Bieber, Quavo, Chance the Rapper, and Lil Wayne

This song turned out to be pretty polarizing, as a lot of Khaled’s releases are, but after going back and forth for a bit, I’m fairly confident I like it. I think it expands on the minimal 2014-era DJ Mustard sound, adding in the pitched-up vocals of 2016 and a little Khaled flair. The hook isn’t particularly catchy, but it’s definitely fun. That’s how I’d describe the song as a whole: fun. It’s easy to get into and keeps you into it the whole way through, although it’s hard not to feel like it’s all downhill after Chance’s “Gucci belt” line.  Still, this is essentially what I expected out of a collaboration between these four, and I’m content with it. Everyone does a really solid job except for Wayne, who delivers the longest and most phoned-in verse at the very end.

16) WASTE OF TIME – Snow Tha Product

I’m a big fan of Mexican-American female rapper Snow Tha Product, but I’ve always found her singles hit-or-miss, which is why my appreciation for her is rarely reflected in these lists. Thankfully, “Waste of Time” is gold. It has the feel of a Drake song handled by a somewhat more adept MC. Snow’s flows are great as ever as she tears into the guy she’s currently breaking up with. The beat has a cool urgency to it, and the lyrics are vicious. Snow’s never been a great singer, but the point is more that she is a great rapper.

15) ME ENAMORE – Shakira

I’ve developed a real appreciation for Shakira in the last few weeks. She’s been at it for over 25 years and still manages to churn out great Latin pop on a fairly regular basis. She’s the only act to perform at the World Cup three times, “Hips Don’t Lie” was the most successful single of the decade, and she’s managed to stay relevant all this time and all over the world. “Me Enamore” is a great pop song. It’s got an irresistible hook, cool modern EDM-pop production with a little Latin spice thrown in, and it’s cheesy as all hell. Shakira’s one of the most accomplished musicians alive, and if this song’s any indication, she’s not going anywhere.

14) KILL JILL – Big Boi feat. Killer Mike and Jeezy

There’s this peculiar phenomenon where most rappers worth a damn are weeaboos. It sounds ridiculous, but it’s extremely true. Nicki Minaj nicknamed herself the Harajuku Barbie. Kanye West’s favorite movie is Akira. The Wu-Tang Clan’s entire collective persona is based on kung fu movies. And now Big Boi did a song with Hatsune Miku. Yes, it’s technically a sample, but Miku’s voice is simulated to begin with, so isn’t using a sample of it kind of the same as actually collaborating with her? So yeah, as far as I’m concerned, Big Boi’s working with vocaloids. And so is Killer Mike. And Jeezy. Jeezy only handles the chorus on this song, by the way, which is pretty odd, but since Big Boi and Mike are sort of on a wave here that Jeezy could very easily ruin, I’m good with it. Goddamn, these verses are great. It’s also a really cool beat. It’s interesting how as English speakers, we can filter Japanese vocals into noise and let the English rise to the top, even as two vocalists perform at once. I don’t know. It’s dope.

13) ONLY BROTHER (A SPECIAL REMIX) – Taylor Bennett

Chance the Rapper’s birthday was this month, and his brother got him an incredibly fire remix/tribute. Taylor Bennett seems okay with coming up as Chano’s sibling, but he has a great style all to his own. He’s a little lower, more introspective, with speedier pitter-patter flows. The song is incredibly sappy, aided by a soulful D.R.A.M. hook lifted directly from Acid Rap, and I absolutely love it.

12) WHO WANT IT – David Banner feat. Black Thought and WatchtheDuck

And now for something completely different. David Banner is always a treat, known for his in-your-face attitude and undistilled political raps. Black Thought is one of the best rappers of all time, known for intricate verbal patterns and thoughtful social and political messages. The two come together for a bombastic banger lambasting modern politics (especially Trump) and telling the universe to 1v1 them. If I was the universe, I’d be scared.

11) J-BOY – Phoenix

Phoenix is a French synth-pop band that I’m admittedly ill-acquainted with, but this song slaps. As I understand it, they’ve had a following in France since 2000 and their last album reached #4 on the Billboard 200. Their new track “J-Boy” is infectious and maximal, with great bittersweet lyrics and watery new wave vocals. It’s a song I could see myself coming back to in the future, which isn’t something I can always say about the songs on this list. I love this song a lot and I’m excited to see what else Phoenix has to offer.

10) I BELIEVE – T.I.

“I Believe” was the first track on T.I.’s phenomenal 2016 album Us or Else: Letter to the System (one of my favorites of last year, if you’ll recall) and now it’s out as a single, so I had to save a spot for it. The beat is urgent with a dirty South sound, much like the album itself. It gets you invested, but forces you to confront the powerful, deftly-delivered lyrics about institutional racism in all its forms. It’s the hip hop form of a well-reasoned debate, examining and picking apart arguments against itself and presenting indisputable facts as well as reasonable conjecture leading to its grand thesis. You can break it into a hundred pieces and extrapolate each point out into a research paper. Now that’s conscious rap.

9) TOY BOX – Mylene Cruz (Herizen Guardiola) and the Soul Madonnas

Part 2 of season one of The Get Down dropped on Netflix this month, and it is wild. I personally love it, and I think “Gamble Everything” is the best episode of the whole season so far, though fans have pointed out a glaring issue: this is the least ’70s song ever made. Full of electronic honks and songs that sound overly sexual even to some modern listeners, it’s obvious that this was meant to serve symbolic and marketing purposes (they even had Sia write it) more so than to be authentic. But goddamn is it a banger. I love all of it. I love the wispy pillow talk vocals at the beginning, I love the hook, I love the other hook, I love the break, I love how many times she says “games begin,” the whole thing is a sexy club pop masterpiece.

8) YOUNG DUMB & BROKE – Khalid

In an age where so many young songstresses clamor to be the next Lorde, the artist who’s come closest to the essence of her debut album is actually Khalid. He’s got that unique vocal style, the sentimental Marxist cool kid vibe, the slight twinges of ’80s nostalgia, the works. And while we’re comparing, “Young Dumb & Broke” feels a lot like a more pessimistic version of “Team.” Its subject matter is best encapsulated by the title, but it has a really interesting feel to it, equal parts depressing and catchy as hell, with a sparse, gospel-infused beat. It paints such a gloomy picture that it really makes you cherish when the chorus kicks in and you have something fun to sing along/relate to: being young, dumb, and broke. If you’re not there now, you’ve been there before. Khalid appeals to a universal teen experience, allowing him to appeal to both current young’uns and jaded, nostalgic adults. American Teen represents the American teen.

7) BIKING – Frank Ocean feat. Jay Z and Tyler the Creator

Frank Ocean’s mythos is so grand that it feels like it’s Christmas every time he drops something, even now that we’ve fallen into a regular drop cycle for him. Then again, part of that has to do with the sheer quality of his music. He dropped three new pieces of music this month, and while there’s not a “Chanel” or “Slide” in the bunch, we did get this gem. It’s a viscerally enjoyable, thousand-layered song with the unlikely trio of Frank, Jay, and Tyler discussing, of all things, bicycles. Tyler’s verse is great. Frank’s is. Jay’s… isn’t. Give the old guy a break.

6) FRAGMENTS – Blondie

I’ve expressed a level of fondness for Blondie’s new music a few times now, but holy fuck, dude. This song is shattering. It’s a seven-minute epic of heartbreak and the search for meaning in a void. In researching for this list I discovered it’s a cover of a song by YouTube movie reviewer Adam Johnston (YourMovieSucks), which I had a hard time believing until I heard the original. Needless to say, Blondie improves upon it to a degree, but it sort of blows my mind to think about where this song comes from. It fits the album so well, feels so different and yet so uniquely Blondie. It’s a masterpiece. That’s all I can say.

5) IT’S ALL GOOD – Superorganism

Elusive electronic collective Superorganism garnered attention from Fader earlier this year with their captivating single “something for your M.I.N.D.” Now they’re back with another infectious loosie, just as brilliant and nebulous as ever. The pitch-shifted vocals woven into the tapestry of the production, the stuttering guitars, the tambourine, the alarm clock, the multiple separate ensembles that jump in and out at seemingly-random times, the surprising catchiness of it all; every element of this song is more interesting than the last. You could even say it’s all good.

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

As much as I admire Lil Yachty’s persona, I never expected him to end up so high on one of these lists. But this is an exceptional month, and “Honor” is an exceptional song. I recommend everyone listen to it; it has an undeniable classic pop feel. It’ll subversively get stuck in your head for days. The way Grace says “Who else is putting up with this?” feels too right to be new. And Yachty’s verse is actually good. It’s really heartfelt and well-written (if it is written, which it seems like it is. The sparse beat feels odd for a song with this much power, but it works a lot better than it should. That’s how I describe this song in general. It works way better than you’d expect.

3) HARD TIMES – Paramore

Another pop rock act who never disappoints: Paramore. For their new album After Laughter, they’re going full ’80s new wave, and I absolutely love it. “Hard Times” is one of those songs that revels in its simplicity, so I won’t have quite as much to say about it, but it’s fantastic. It’s so weird and different and Paramore, yet so classic at the same time. For a song about the worst days of one’s life, this song sure is a musical barrel of monkeys.

2) DNA. – Kendrick Lamar

I know, I’m a stan. I’m hard-line full-stop KenFolk who would sooner listen to Kendrick having sex with my significant other than a rapper of equal talent going HAM and eggs over a beat produced by God himself. But isn’t everyone these days? You can’t walk a meter without hearing a groundbreaking new thinkpiece about how Kendrick might be [gasp] an all-time great. DAMN. has an average critical score of 95%. He’s got two songs in the top 10 right now and at least a dozen more in the Hot 100. But “DNA.” is incredible. The lyrical content, the layers to it, how it functions as a song and in the context of the album, the beat switch. On lyrics alone, it’s some of Kendrick’s finest work. It’s simple and beautiful, irresistible and off-putting. When I listened to it for the first time, I really did say “Damn.” But it’s not #1.

1) SIGN OF THE TIMES – Harry Styles

This song dropped in the first week of April and instantly earned its spot on the top of this list. The music-listening community collectively nutted when it came out. Old heads, Directioners, and everyone in between raved about it. It’s a goddamn magnum opus that suddenly shot Harry Styles to the front of every face and the tip of every tongue. It has the timeless feel of a song that will live on for decades. It’s possible that this is the peak; that Harry will never get any higher than this. It’s certainly a tough act to follow, but for this one glimmering moment, Harry Styles became a legend. His newest single, “Sweet Creature,” is kind of trash, but listening to “Sign of the Times,” it still feels like he could ride this wave to the top of the world. Let’s see where he goes.

Top 20 Songs of the Month (March 2017) — April 7, 2017

Top 20 Songs of the Month (March 2017)

Ah, March. It’s definitely been an eventful month for me, I don’t know about y’all. We’re just starting to see some of the Song of the Summer contenders seeping through, so we’re definitely seeing a lot of comebacks, with new music from the likes of Gorillaz, Lorde, Drake, Charli XCX, Calvin Harris, Kendrick Lamar, Ed Sheeran, Frank Ocean, and plenty more. Even Chuck Berry put out a new single, and that guy died like, yesterday. But of course, some songs are always gonna stand out as the best, and here are my personal favorite tracks from the month of March. Note: I generally tend towards singles for these lists, so every song on here has been released in some capacity outside of an album, if not technically a single.

20) LOSE MY COOL – Amber Mark

The elusive Amber Mark has been on the come-up since her mysterious first single “S P A C E” dropped last year and caught the ear of heavyweights like Zane Lowe. Given that her new video seems to be literally comprised of home movies, I’d say her reputation as a recluse is probably an overstatement, but she still brings a unique Aaliyah sort of flavor to her music. “Lose My Cool” is sparse, nostalgic, deep, and enjoyable. She’s definitely got a pop sound, but her uniquely moody blend of popping pianos and tribal drums makes for some very interesting tracks. The kid’s going places. Check her out.

19) LONG TIME – Blondie

I’ve been really digging this new Blondie stuff, man. I haven’t listened to any of their more recent albums– apparently, they’re sort of divisive– but I’m definitely interested in their upcoming one, Pollinator. They’ve released three or four songs from it so far, and they’re all pretty good, but I think “Long Time” is the best one yet. It definitely has a timeless feel to it, and it’s written by the brilliant Dev Hynes (a.k.a. Blood Orange), who’s always a gem. It’s a fun-yet-melancholy track that may not stick with you, but won’t ever get old.

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Top 20 Best Songs of the Month (February 2017) — March 9, 2017

Top 20 Best Songs of the Month (February 2017)

Yes, yes, I know it’s late. There was a lot of music this month, and I’ve been having a busy March. But it’s here now and honestly, do you really care? Here’s your goddamned tunes.

20) GOOD DAY – Yellow Claw feat. DJ Snake and Elliphant

The writing on this song is… not great. It’s full of baffling metaphors and meandering storytelling. Really, this song isn’t on the list because of the contributions of Swedish singer Elliphant. It’s here because of the production. Yellow Claw and DJ Snake have both already proven themselves phenomenal at producing EDM-pop, but there’s something about the way they work together on this track. The build-up at the beginning. The hard-hitting grooves of the verses. The way Yellow Claw’s synths commingle with DJ Snake’s signature vocal samples. And the drop at the end is incredible. So yeah, it’s not a perfect song, but when you take a good look at it, it’s a great piece of EDM.

19) MACHINE – MisterWives

After two long years, MisterWives is gearing up to gift the world with their sophomore LP Connect the Dots. “Machine” is the first song we’ve heard from it, and it’s definitely promising. I’ve always found it hard to pinpoint exactly what MisterWives’ sound is; they’re definitely either power pop or indie rock, but they incorporate a lot of diverse elements into it. This song in particular really makes your head spin with the eclectic instrumentation it’s got going on. It’s also extremely catchy, empowering, and above all else it’s just really cool.

18) LIVING OUT LOUD – Brooke Candy feat. Sia

For a song about “living out loud,” “Living Out Loud” is actually pretty vanilla. Sia and Brooke Candy are both openly-queer female pop stars known for their larger-than-life presences. “Living Out Loud” contains a slight feminist message, but seems to go to great lengths to keep its status as a banger. What we’re left with is, yes, disappointingly plain, but still a banger. I like the urgency of the numbers counting down used in the verses. I just wish it had something to be urgent about.

17) THIEF – Ansel Elgort

If anything, “Thief” proves that a ridiculous, clumsy pop song can still work if you have enough confidence. Ansel Elgort is primarily known as the dough-faced heartthrob of films like The Fault in Our Stars and Divergent. Turns out, he’s also a fan of Nick Jonas. He’s got everything from the cool swagger to the cheesy, ridiculous, vaguely-threatening lyrics to the bizarre, unsettling vocal affect. And you know what? I like Nick Jonas. I support more people making Nick Jonas songs. This song is fun.

16) MAKE LOVE – Gucci Mane feat. Nicki Minaj

If I had to complain about one thing about this song, it would be that there’s way too much bass. It’s definitely the hardest song of 2017 so far, but Gucci winds up taking a backseat to Nicki’s methodical, devastating 2-minute verse aimed at Remy Ma and/or Azealia Banks. I could’ve put Remy’s equally hard-hitting 7-minute diss track “ShETHER” on this list, but I feel like that song drags (both kinds of dragging) where “Make Love” stays on topic and lays its disses out gracefully. Point Nicki.

15) GENIE – Busy P feat. Mayer Hawthorne

For the uninitiated, Busy P is the elusive founder of Ed Banger Records, a popular French electronic label home to acts like Justice, Breakbot, and Mr. Oizo. I’m not exactly a fanatic, but this is a phenomenal electro-funk track. It’s got really unique production, combining a classic ’70s sound with little modern flourishes like this cool distorted robot voice effect over the chorus. I previously knew the singer, Mayer Hawthorne, from his work with Jake One as Tuxedo, and while his voice is a pretty generic Ryan Tedder-type, he delivers a solid performance on this song.

14) LONDON – Maty Noyes

If you prefer your ridiculous, clumsy pure-pop tracks with a little international flair, I’ve got just the thing. I love how over-the-top this song is. It starts with this dramatic opener, Maty Noyes doing her best ’50s lounge singer voice, with this rattling piano building up as she does, and then all of a sudden you’re on some Spice Girls shit. That may be unfair, though. This song definitely has a distinct Maty Noyes feel to it, and it’s actually really well-written. It’s got a really fun James Bond feel to it. I highly dig it.

13) OUTLET – Desiigner

Yes, it’s our old buddy Desiigner back again with another pleasantly surprising trap banger. What strikes me most about “Outlet” is that Desiigner can no longer be considered a Future clone. “Panda” and “Tiimmy Turner” were unique tracks, but they still stunk of an artist stuck in Future’s shadow. “Outlet” is a 100% Desiigner original, and it makes the case for Desiigner as one of the most unique voices in the new school. The powerful trumpet beat is fantastic, and Desiigner’s ad-libs are as fun as ever, but more so than any song before it, “Outlet” also makes the case that he may be… a good rapper. At one point, the beat drops out entirely and we’re left with Desiigner by his lonesome, full of raw manic energy, spouting bars on bars on bars. The marble-mouthed maestro remains one to watch.

12) BAGBAK – Vince Staples

“BagBak” doesn’t have the focused concept of a typical Vince Staples song. I think that might be because it was made for a Def Jam compilation and not an actual album of his, but I think it’s still a great track. It’s got this really cool electro-trap Detroit sound to it, courtesy of producer Ray Brady, who’s best known for his myriad work with the Black Eyed Peas. Needless to say, Staples’ lyrics are probably on a higher level than those of the Peas. Even though “BagBak” is ostensibly a club song, he manages to get political and stay there the whole time without losing that banger quality. On the song’s bridge, he tells the one percent, the government, and the president to suck a dick. That’s Vince for ya.

11) CASINO – Daye Jack

Hip-hop/electro-funk hybrids will be the running theme of this month’s list. Rapper/singer Daye Jack delivers a cool suavity to that blending of genres, spitting a brief rapped intro before going full Jamiroquai on a song that’s equal parts hilarious, inspiring, and irresistibly wavy. There’s not very much to say about it. Just listen and feel it in your bones.

10) IT TAKES TWO – Mike WiLL Made-It feat. Lil Yachty and Carly Rae Jepsen

This song would probably be a few notches higher on the list if it weren’t technically A) a cover and B) a Target commercial. It’s the latest triumphant step in Mike WiLL Made-It’s redemption arc, taking an already-great pop rap classic and turning it into a fresh, fun remake that you can’t help but smile at. I feel like I appreciate Lil Yachty more and more with every new song he puts out. And of course, Carly’s as great as she always is. There’s about half a minute of great content left out of the music video, and you know it’s a great song when half a minute can be such a glaring loss.

9) IT’S NOT DESIGN – Lupe Fiasco feat. Salim

“It’s Not Design” isn’t a single, and therefore shouldn’t technically be on this list. But I felt a need to include it because it’s the best song on DROGAS Light, which is an album I may never get the chance to talk about again. Lupe tends to stumble a bit when trying to maintain his lyrical air without actually saying anything, but I think there are some moments on this song when he really pulls it off. It’s another hip-hop/electrofunk track, and one of the better ones I’ve ever heard, thanks in no small part to the mysterious Salim’s Charlie Wilson-esque crooning on the chorus. I have no idea what this song’s about and it’s probably better that way.

8) COOL YOUR HEART – Dirty Projectors feat. D∆WN

Dirty Projectors’ latest album can get pretty heavy, so it’s great that we have a song like “Cool Your Heart” in the mix. The beat is an incredible avant garde mix of tribal drum rhythms and futuristic bleep-bloops, but it somehow manages to still function perfectly well as a pop song. I’m a big fan of Dawn Richard, and increasingly, I realize, a big fan of Dave Longstreth, so this was really a no-brainer to include on the list.

7) WHITE MAN – Macy Gray

I am a 100% Macy Gray stan. Her voice (both her lyrical one and her actual one) is so powerful, so unique, so weathered and resilient and interesting. “White Man” is probably the poppiest song she’s put out in a while, but it’s still breathtakingly unique. It combines traditional African chants and drums with marks of the soul music she’s most known for, then throws in some EDM for good measure. Her message is bold and singular, not only preaching unity, but unity or else. It’s an urgent and fierce neo-soul masterpiece that proves we all need to stop sleeping on Macy Gray.

6) CHAINED TO THE RHYTHM – Katy Perry feat. Skip Marley

This… hmm. Look, I’m no fan of Katy Perry. I’ve liked maybe three or four of her songs, none of which have come out in the past four years. But this isn’t even like the other Katy Perry songs I like. It’s different. It’s got an unavoidable (if vague) political message to it, and it’s so clever and subtle in how it’s conveyed. It practically chastises you for listening to its lyrics, doubling down on Katy Perry cliches whenever it starts to get political until it finally wakes up the lions during Skip Marley’s verse. It has this really interesting disco/reggae/vaporwave sound, but it could be that Perry’s music is so homogeneous you can apply just about any label to it. It’s like the Katy Perry version of “Hey Ya.” Or something.

5) GROWN UP FAIRY TALES – Taylor Bennett feat. Chance the Rapper and Jeremih

Coloring Book is great, but if you miss the wavy, stream-of-consciousness, lyrically-dense style of Acid Rap, check out “Grown Up Fairy Tales.” Chance and his brother Taylor both deliver fascinating, incredible, beautifully-written bars about growing up. Jeremih handles the chorus, and does an admirable if forgettable job. Really, the headliner on this song is Taylor, who shows up almost two-thirds of the way through to deliver an incredible verse, taking his brother’s style and incorporating his own flair. The genes in this family, I swear.

4) JOHN WAYNE – Lady Gaga

Here’s a hot take for ya: “John Wayne” might be the best song on Joanne. On an album full of dramatic, overdone country flourishes, it delivers what we really wanted from the album all along: Fame Monster-era zany antics with a country twist. I love the intro. I love the verses. I love that little thing on the hook where they make her voice sound like a guitar. The production is fantastic in general. It’s just an immensely enjoyable, pure-Gaga track that I never get tired of.

3) THAT’S WHAT I LIKE – Bruno Mars

When Bruno Mars is brought up as an all-time great, a common strike against him is his ostensible lack of originality. “He hasn’t released an original single since 2013,” they’ll shout. Ignoring the fact that true originality doesn’t exist, if you were worried Bruno doesn’t have fresh cuts anymore, look no further than “That’s What I Like,” one of the more impressive songs on Mars’ latest masterpiece, 24K Magic. It has the same swag-dripping vibes of the rest of the tracks on that album, and even resurrects the character of “Julio” from “Uptown Funk!,” but in terms of music, concept, and all-around feel, it’s as original as they come. And it’s also just an excellent track. It perfectly balances the cheesy ’80s playa aesthetic of his newer tracks with the sappy romantic he played on his first album-and-a-half. It’s more purely, viscerally fun than any other single so far this year.

2) BAMBI – Jidenna

This song, on the other hand, is devastating. We’ve got Jidenna once again finding brand new genres to perfect (trap-calypso), as well as really poignant and interesting new things to sing about. In this one, Jidenna laments about how the womanizing nature of his family and the community that raised him prevents him from staying with the love of his life. Have you ever heard a song about that before? It’s also a really clever title, because there’s a running metaphor about how liars and cheaters (lions and cheetahs) run the jungle and she needs to leave to not be ensnared in it but he really loves her and can’t prove that he’s not the same as the rest of them because, on some level, he is. The reason for the name becomes explicitly clear in the outro, as a downtrodden Jidenna croons “I just wanna see my baby, that’s my Bambi, that’s my dear.” It’s a brilliant song that I just had to give props, even if there is one other track that comes out on top.

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

Really, it was no contest. Before this song even came out, I knew it was gonna be indomitable. From the lush pianos and high-pitched Frank Ocean glamour we get in the first couple seconds to the downright phenomenal Offset verse on the back end, it’s just non-stop excellence. I’d say without much hesitation that this is the best song Calvin Harris has ever made. I hope this is song of the summer. I hope it lands in early April and never leaves. I love every second of it. I see you, Calvin Harris. I see you.

Top 50 Best Albums of 2016 — February 26, 2017

Top 50 Best Albums of 2016

Yes, I’m a little bit behind on this one. I’m sorry that one person with school and extracurricular obligations can’t get an album of the year list out quite as fast as a staff of 50 people who do it for a living. Mine’s probably more thorough than Pitchfork’s anyway. I won’t do too much introduction since you already know what’s coming, but since this album is a reflection of my own music tastes, expect more pop and hip-hop than anything else. If you’re not into all that, maybe don’t bother.

50) DO WHAT THOU WILT. – Ab-Soul

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Kicking off the list, we’ve got the latest album from your current favorite rapper’s current favorite rapper, Ab-Soul. It has a bizarre, jumbled, pseudo-feminist message, but brings plenty of Soulo’s trademark lyrical gymnastics and kooky one-liners. It’s far from perfect, and might not even be good, but I still appreciated it.

Best tracks: “RAW (backwards)” feat. Zacari, “Huey Knew THEN” feat. Da$H, “INvocation ” feat. Kokane, “The Law” feat. Mac Miller and Rapsody

Worst track: “Womanogamy”

49) ANYTHING BUT WORDS – Banks & Steelz

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On the surface, RZA from the Wu-Tang Clan and Paul Banks from Interpol don’t exactly seem like an ideal match. And yeah, they kinda aren’t. But there’s still a lot of things I admire about this album. I really like the amount of sonic variety they were able to include while still keeping true to the marriage of their styles. This album covers everything from ’70s mafia movie soundtrack to Florence + the Machine over the course of its twelve tracks. And both artists are as talented as ever, even if their styles don’t always mesh.

Best: “Giant,” “Sword in the Stone” feat. Kool Keith, “Love + War” feat. Ghostface Killah, “Gonna Make It”

Worst: “Point of View” feat. Method Man and Masta Killa (this shouldn’t have been that hard, guys) Continue reading