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30 tracks for 2018 you won’t be able to get enough of

A collaboration w/ Tyler Pavlas

1) “Deep Down Body Thurst” — N*E*R*D

• Tyler: From the moment Donald Trump took office in 2017, Pharrell was uncompromising, advocating for change everywhere including an award show, commencement address, interviews, and the vast majority of the eponymous N*E*R*D album. We all loved listening to Rihanna rap in “Lemon”, but another overlooked favorite of mine is this track. It’s a straightforward melodic tune, sustained by alternating eighth notes from a few keyboard chords, setting the tempo and providing a base to which percussion and guitar is added as the song fills with intensity. For me, what makes the track unique is how a song that is inherently theatrical is bolstered with anti-establishment lyrics fit for a protest or punk song. The way the lyrics are paired with instrumentation is counterintuitive, but in my opinion, a creative way for a group to stay true to their sound and a great start to our playlist.

2) “Nostalgia” — NAO

• Mike: When I get to know a song, I do it front-to-back — from the spine tingle I get the instant I first hear it and progressing down to the minor blips I glean from the instrumentals and intricacies known only to those who run the song ragged. I can become lost in a song for weeks on end, dissecting it until I squeeze out everything I can get, short of interviewing the artist or writing the damn song myself. NAO’s “Nostalgia” drove me mad, each day discovering new pieces to a great, moving Verdine White inspired puzzle (mention the ninth month by name in a funk record and all the fanboys lose their minds). Stuff’s real cool, real funky and the escalating synthesizer and vocals that lead into the chorus make it hard not to smile.

3) “Pineapple Skies” — Miguel

• Tyler: In “Pineapple Skies”, Miguel channels the overly-optimistic identity of the “Happy” Pharrell we know. Cotton-candy smooth, I can’t help but imagine this dreamy tune as the ideal queue for a bounce at a trampoline park made of clouds. Damn, that sounds fun. I just really love Miguel’s whole aesthetic. On second thought, maybe I just love Miguel.

4) “Gone Insane” — Lucius

• Mike: Two girls shifting and grooving from Berklee to Brooklyn to a black box, draped in gold, screaming for their lives, melting and spiraling around and around each other until you’re so dizzy you nearly fall out of your chair…this track, from the group’s excellent sophomore effort Good Grief, is an adrenaline shot. It’s built over an icy, kickstep beat that surges far beyond the point of no return and somehow still includes a bass-drop, evoking memories from shitty relationships in such a real, nightmarish, fever-induced dream. Catch heavy David Bowie influence in both vocal performances (Good Grief’s tracklist includes a cover of “Let’s Dance”) making for one hell of a theatrical show.

5) “Chameleon” — Pnau

• Tyler: This was easily my song of the summer and actually ended up being my most-streamed track in 2017. I’m a little embarrassed about how I found it, but I’ll tell you because I think there’s a good lesson to be learned from the story. Alright, here we go. So I’m aimlessly scrolling through my Facebook News Feed and I stumble across a video of Dillon Francis rating songs “Lit” or “Not Lit”. For some reason, I’m intrigued. I don’t even like Dillon Francis, but I know he made that “get low when the whistle blow song” with DJ Snake, which is indeed “Lit”, so I keep watching. Turns out to be a great decision. “Chameleon” plays. Francis rates it “Quite Lit” and I’ve got my favorite track of 2017. Moral of the story: Inspiration can come from anywhere. Always waste time on social media.

6) “Crabs In A Bucket” — Vince Staples

• Mike: If they wore loafers and slacks, I might see these crabs on the MTA just about every day, fighting to squeeze through the squeaky doors of a subway car already far beyond normal operating capacity. Vince uses the crabs as a metaphor for anyone trying to keep him down. With Life of Pablo-esque hiccups and harmonies squeezed into a fax machine this jam keeps hitting hard and it will continue to do so, complete with lilting outro, through 2018.
• Tyler: Vince Staples synth-fused experimentation prevalent throughout his 4th full-length release demonstrates a fearlessness akin to the aformentioned Pablo. Always outspoken with something interesting to say, I’ve loved watching and listening to this iconoclast’s creative progression.

7) “Blood On Me” — Sampha

• Tyler: A man of many musical talents with a hairstyle dope enough to be the inspiration for a new Dragonball Z character, “Blood On Me” is Sampha’s crowning single from his latest album Process. An adrenaline rush of sound, the track follows Sampha as he is being chased. Metaphorically, it is by his inner demons. With a premise like that, you can see that Sampha embodies what it means to truly be an artist, and has the prowess to match his music’s complexity.

8) “Show You The Way (feat. Michael McDonald & Kenny Loggins)” — Thundercat

• Mike: The liner notes are evidence enough of current positive progression in genre-bending: Grammy award-winning recording artists and music industry legends Kenny Loggins and Michael McDonald teaming up with also-Grammy-award-winning bassist and producer Thundercat, one of many geniuses behind To Pimp A Butterfly, to create awesome music that is altogether current, nostalgic and timeless? Sick. And it is sick. Thundercat’s funked production warbles through this record, but here he ties this funk together with such a strong 80s realness, it’s tough not to crack a smile after McDonald’s husky voice fades out.
• Tyler: Do not sleep on Michael McDonald because of the Nursery Rhyme ties à la Old McDonald. He is the only artist with a song sampled by Warren G & Nate Dogg that could also be used to impress your Dad who likes 70’s soft rock. That’s a musical combo as satisfying and well-rounded as an actual McDonald’s McGriddle + Hash Brown.

9) “Leave Me Alone” — KAYTRANADA (feat. Shay Lia)

• Tyler: If there is one catch-all genre that living in California forces you to interact with, it’s electronic music. In this genre, Kaytranada stands out as a niche, unique piece in a collage of sub-genres that hover around “electronic” — how the music is ultimately categorized. To describe his music to the best of my ability, I would call it R&B-fused house. Definitely something you can dance to, I highly recommend playing Kaytranada when you’re trying to turn the pregame groovy.

10) “Take Me Apart” — Kelela

• Mike: As difficult as love and sounding off about it can be, Kelela makes it seem so easy. This song is so rewarding upon each new listen that it now soundtracks my subway rides on a regular basis. Kelela’s voice invokes classic 90s R&B timbres but vibrates with intent about the complexities of a modern love. When I was younger, I built and collected small model cars — part of my long-running fascination with the automobile. It stoked my curiosity and grew my understanding, taking apart and putting back together again. Kelela gets it and is demanding it: “Don’t say you’re in love baby / Until you learn to take me apart.” We all get it, nod uh-huh, and picture our own relationships commanding that level of understanding and respect. Plus it just sounds cool as hell, like some rhythmic, sci-fi, grunge banger.

11) “Anything” — SZA

• Tyler: Formerly one of the underrated artists of TDE — the label housing Kendrick, Schoolboy Q, and other talented Californians — SZA broke into the mainstream with her 2017 album Ctrl. Here’s a shorter one you might have missed in which SZA tries to figure out how to turn a fling into something more. Relationships are a primary focus throughout the album, a reason why 3 of her tracks were featured in the latest season of HBO’s hit show, Insecure, including an exclusive specifically for the soundtrack. In addition to Insecure, standing O for Atlanta, The Get Down and Master of None. These playlists are fire.
• Mike: Those playlists are fire. “Anything” is a radical song, especially with repetition of her question of longing, “Do do you even know I’m alive?” It’s aggressive, but it’s so vulnerable. It appears SZA emotes effortlessly, as she throws her voice all over the damn place. What a stand-out artist.

12) “Swim” — Her (feat. Zefire)

• Mike: I mean, all I really need in a song to sign on board is a thrilling post-bridge alto sax solo. As a bonus, this track includes slick hooks and handclap beats along with a great finger-snap intro in a year where the sound was omnipresent and indecipherable. Ridiculous throwbacks of mid-noughties Gavin DeGraw in a poppy second verse, but the sound is so much more full and stimulating. You get the feeling the lyrical decisions were more chosen on sonic and aesthetic presence over narrative construction, but it’s not fluff — it just works.

13) “California” — The Lagoons

• Tyler: As the whole living in California thing is still somewhat fresh (I’m 16 months in now), I’m a sucker for any jam whose subject is the Golden State. First, there were the obvious ones — “Hotel California”, “California Dreamin”. Then, I moved away from the oldies to modern lesser-knowns — “California Nights” by Best Coast, “leaves” by Miguel. At the moment, I’m keen on a pretty simple one that touches on some California staples. Great vibes.

Yo Mike, what are some of your favorite songs about New York?

• Mike: This year, 12 days before I moved here, St. Vincent dropped “New York” as the lead single from her record MASSEDUCTION. It was important to me more in circumstance than feeling — I listened to it because it felt special, evocative of this crazy place I was diving into. Still cool though, she nails the emoting, wounded lover. Gil Scott-Heron and Brian Jackson’s “Madison Avenue” is funky and slick, capturing a New York that’s all but passed away and exists in memories. Elton John’s “Mona Lisas And Mad Hatters” is a damn solemn ballad with a neat little backstory painting Gotham in two different lights.

14) “You and I” — Toro Y Moi

• Mike: I love songs that discuss topics of change, specifically in a negative or sad, or maybe melancholic, light. Chaz Bear a.k.a. Toro Y Moi tames melancholy and abuses it for emotional effect. The atmosphere created in “You and I” is ambient, absorbing any harsh or abrasive stimuli. It feels like a cocoon wherein you’d reflect on moving forward with your life. Good lessons, everyone. Good lessons.

15) “Replica” — The xx

• Tyler: The xx won me over in 2017 after I witnessed them in concert. Each of the trio is extremely talented with their own respective strengths, but their ability to have complete trust in one another is what makes them rare, collectively. “Replica” is a vulnerable track led by Oliver Sim covering a personal struggle to overcome afflictions that feel hereditary, a part of his DNA. For me, the song sparks a broader conversation on nature versus nurture and leads to introspection on the ways I’m different and similar to my parents. An idea well composed, it is my favorite track from the album.

16) “The Louvre” — Lorde

• Mike: I dig Lorde a lot. Every indication is that her career is a tremendous effort, laborious and rewarding. Songs are detailed, experimental and fun — she’s indignant of listlessness. She serves as the co-executive producer on her record and each bizarre sound, chorus of voices or disruptive drumbeat sounds handpicked and designed by Lorde, for Lorde. Melorama was released while I was staying in Paris a half-mile from the Louvre. “The Louvre” is the rush of the memory of a Parisian vacation, sticky and sweet with lust; it’s an all-terrain ride through a field of tall grass, taking all the jumps along the way while you can’t see where you’re going, all the while having the time of your life. Here, Lorde photographs some of her most specific, relatable moments — like fretting over a lover’s text message punctuation — in ways that feel new and different. The chorus is regressive and reflective, forcing the listener to think about the journey. Traces of stadium-rock guitar twinkle like a U2 torch track.

17) “New Balance” — Jhené Aiko

• Tyler: Honestly, I could just spend this whole bit talking about how much I love Jhené Aiko, but don’t worry, I’ll spare you from that. What I like about “New Balance” is the beautiful way it expresses how love can turn your life around, restoring order to chaos. Do I think Jhené & Big Sean will make it? I’m not sure, but I hope we start getting some better music out of it because their individual stuff is still miles better than their collabs. :0

18) “Midnight” — Jessie Ware

• Mike: This track vibes with intensity after coming into focus at a beginning so elegant and sensual. The shimmering production creates a perfect space for Ware to fill with her cavernous voice, illustrating just how greatly she wants this love. Bump along to the Bennie-style jaunt and feel deep-running emotion in this masterful vocalist’s passionate delivery.

19) “Crew” — GoldLink (feat. Brent Faiyaz & Shy Glizzy)

• Tyler: 2017’s cruise with the top down in a convertible (in a Toyota Prius Uber) up to valet parking (the nearest drop-off zone) and lock eyes with a cutie doing your best version of Blue Steel (stumble out realizing you’ve left your phone connected to the aux cable that didn’t stretch to the back seat) anthem. Also, shout out Shy Glizzy a.k.a. Young Jefe with the bars and I’m convinced, the most effortless, smooth Calabasas namedrop of all-time.

20) “Hit The Ceiling” — LION BABE

• Mike: Maybe you first heard this track during the title sequence for the premiere of the second season of HBO’s Insecure (hope you’re getting the point that it’s a kickass source for new hot tracks) but if you were tuned into the LION BABE show before that feature, marvel at the progression from earlier tracks like “Treat Me Like Fire” and “Jungle Lady” to this undeniably catchy and positive jam. Makes you wanna do the cabbage patch wearing huge bangle earrings and a flowy, cotton shirt. Producer Astro Raw delivers a vibrant and raw beat, a phenomenal soundtrack to walking the city streets and taking in the scenery because you sold your car and really miss jamming out like that but it’s alright because at the end of the day you’re walking around Manhattan and it could be worse so just hit that ceiling already!

21) “Whateva Will Be” — A Tribe Called Quest

• Tyler: Few groups in hip hop reach a level of dopeness that can transcend time, but even after an 18-year hiatus, A Tribe Called Quest reclaims superstardom in the hip hop stratosphere. Both a statement album on social issues and posthumous tribute to Phife Dawg, “Whateva Will Be” is beats, rhymes, and life, from the East Coast icons in top form.
• Mike: This record straps your seatbelt and cruises back in time, bridging the group’s hiatus like an immediate sequel. The content is biting and juicy as ever, and certainly is current, making little attempt to guise emotions.

22) “Everybody Knows” — Kimbra

• Mike: Kimbra rips apart an abusive ex-lover in this serious dance record, channelling dancefloor heartbreak queen Robyn in the catchy sing-song chorus. Kimbra, ever improving her impressive vocal control, creates a quiet rage that builds really well until it suddenly spills over. I walk to work often now (except literally right now during this Nor’easter when this guy doesn’t have his snow boots yet) so many of my song choices are made to set pace — this track I listen to when I’m running late. That rage-build unleashing puts a leap in my step until I feel like I’m running and realize I should probably slow down, but it’s just too invigorating of a song to move slow.

23) “Feng Shui” — Sunni Colonmost

• Tyler: Urban Dictionary’s definition of “Feng Shui” — “A divination tool based on a mélange of astronomy and astrology, geology and geomancy, and intuition and reason, used by superstitious folks to “prevent disharmony between positive and negative energies.” That is the most California shit I’ve ever heard, but superstitious or not, Feng Shui will bring the energy of any room to perfect harmony.

24) “emotional haircut” — LCD Soundsystem

• Mike: Just really showing appreciation for the title tbh. James Murphy sells the hell out of this song, and you feel it, too, when you read that David Bowie played a part in reuniting LCD Soundsystem so they could record this electric track. Gnarly guitar riffs thrill and amaze. Extra bonus points scored to impress an apathetic coworker that’s a music snob.

25) “Enjoy the Silence” — Depeche Mode

• Tyler: It’s 80’s night at Barbarella in Austin, TX. This song comes on. For those 4 minutes and 17 seconds, I am both infinite and complete.
• Mike: *Reads liner notes* …Released 16 January 1990… *Reads a bit further* …Recorded in 1989…Alright, it works for 80s night. Yeah, this would be killer on that dance floor, and would school the Barbarella in Houston — 80s night DJs are in need of a playlist intervention.

26) “Pain” — The War On Drugs

• Mike: Stevie Nicks dances cheek to cheek with the icy ghost of Jim Morrison, round and round an empty, candlelit Gruene Hall, dressed in black. Stevie’s got on a wide brim hat. Jim’s voice has grown thinner and more elegant in the years since his death — he sounds just like Adam Granduciel. This song kicks into gear and cruises at comfortably toe-tapping speeds, vocals floating meticulously above the still more meticulous construction of the instrumental underneath. Guitars, acoustic and electric, complement Granduciel’s voice so well that this record, released in 2017, sounds both seasoned and shiny-new like a time capsule. Studio wizards at work.
• Tyler: Can we take a moment to appreciate the haunting imagery you just beautifully laid out there for us, Mike? I mean, hot damn!

27) “Taxi’s Here” — Tame Impala

• Tyler: When it was announced we’d get a B-Sides to Currents, I was ecstatic. The album has had rent-controlled space on my playlists since its release in 2015. “Taxi’s Here” is an interesting concept, a nice built-up track about facing your fears and the unknown. I’d like to think the cast of GoT played this before the episode they ventured North of the Wall.
• Mike: Feels like slowly wading into dark, warm water. Kevin Parker commands his studio here just as well as on the Currents LP original works. His voice calls out perpetually in a lofty tone that’s so soothing to ingest.

28) “Running Up That Hill (A Deal With God)” — Kate Bush

• Mike: Kate Bush just owned my year in listens. Rediscovering her catalogue was a stumble that I owe my sanity to. This song was on my pump-up list for job interviews, running and workout playlists, and if I danced, it would be on that playlist, too. Bush’s early adoption and mastery of the Fairlight synthesizer is the coolest frickin’ sound on this track; it’s energizing and thrilling, kind of whimsical and super dramatic. Basically, it’s a perfect song.

29) “Boredom” — Tyler, The Creator (feat. Rex Orange County & Anna of the North)

• Tyler: I chose “Boredom” to finish off my 15 because for me, it’s an extremely important call to action. “Find some time to do something”, sung repetitively throughout, is a motto I want to make for myself in 2018. I think “Boredom” is about creating. Finding time to do the things you are passionate about. I’m passionate about music. I want to write about it and share my thoughts with anyone who decides to read along. I want to introduce artists that deserve recognition, provoke dialogue, entertain, critique, connect, influence, hopefully even inspire. And I want to do it with someone who is just as passionate. Happy 2018 Mike, and anyone else who made it to the end. Let’s make it a good one. Find some time.

30) “Here In Spirit” — Jim James

• Mike: 2017 was a rough one. The ever-prophetic Jim James dropped Eternally Even in late 2016 to give listeners a gentle slap in the face — why are you lost, brother? Just vibe with me and my keys and my lo-fi beats, and we’ll change the world. Here we are one year later, a little more lost than before while trying to push forward into a bright new year, but we’ve forgotten the lo-fi beats. Let this track set tone and example for you to speak out when you feel it to be right and to work hard for what you want to earn. Cheers, Tyler, and all y’all.