Daily Playlist — Top 200 Tracks of 2017 (20–1)

The final installment of the Best of 2017 series

20. HAIM — “Want You Back”

It’s a bold move to name your song after one of the biggest songs of all time, but “Want You Back” proves to be worthy of the name. Danielle Haim sounds tentative, which was not found on their previous singles like “The Wire,” but it’s a fitting change: she’s confessing her mistakes and outlining new space for that someone. Still, at the core of the track is the deft pop rock sound, which made their previous record so great, elevated with meticulous details in the instrumentation.

19. Tyler, The Creator ft. Frank Ocean, Steve Lacy — “911/Mr. Lonely”

“911/Mr. Lonely” looks at the overarching theme of loneliness, on two contrasting but equally intriguing beats. “911” is deceptively joyful with synths and a soulful bass rhythm. “Mr. Lonely” is much more candid and straightforward with a dark drum pattern. Put together, the song proves his adroitness and broad musical influences, and represents the maturation Tyler shows in his new album.

18. Arca — “Desafío”

Arca debuted his singing voice on his third LP, thanks to a nudge from Björk herself. On “Desafío,” he goes even further, creating a song unlike any other he has released, an operatic ballad structured as an experimental pop song. The production is spot-on, feeling like a culmination of his masterful production. Arca makes graceful harmonies out of his wailing falsettos and elevates them above the palpitating drums, klaxon, and strings. “Desafío” means “challenge” and “defiance”, both of which feels apt, considering what he has achieved as a queer solo artist, and as a producer for the likes of Björk, Kanye West, FKA twigs, and Frank Ocean.

17. Kelela — “Frontline”

“Frontline” is one of the sharpest songs Kelela has made yet. The track is both gentle and brutal, pairing the singer’s evocative vocals with radiating waves of synths and backing vocals. As Kelela recounts her decision to leave a relationship, her vocals come from all directions, while the production washes over the listener.

16. The War On Drugs — “Thinking of a Place”

Every few years, we have a grandeur multi-movement epic. Beach Boys’ “Good Vibrations” (yes, it’s only 3:35 long, but that’s like half an hour by 60s standards). Queen’s “Bohemian Rhapsody.” Patti Smith’s “Land”. Radiohead’s “Paranoid Android.” Frank Ocean’s “Pyramids.” And now, War on Drugs gives us “Thinking of a Place.” Still, it feels inapt to compare “Thinking of a Place” to the other tracks, as it doesn’t have the dynamics that make them so overwhelming. No, it doesn’t have the tempo or key changes, nor the different textures or the crescendo. The power of “Thinking of a Place” comes from the way Adam Granduciel communicates urgency through such patient music. The lyrics use light as a metaphor for love, chronicling his journey as he searches for love and light. His desire for light and love is so strong the darkness does not stop him, but he has yet to overcome it. The light in the lyrics reflects into the music, brightening it with an aura of hazy nostalgia with the steady, percussive piano, the quivering harmonica, and the shimmering guitar, which all feel delicate, necessary, and bold.

15. Mount Eerie — “Real Death”

While Mount Eerie is dealing with the death of someone he holds dear just like Sufjan Stevens did in 2015, “Real Death” doesn’t have the calmness found on Sufjan Stevens’ “Should Have Known Better.” Its melancholy is painful, empty and messy instead. However, the emptiness soon followed, bringing with it the pain. Phil Elverum is barely trying to sing; he can’t anyway: as Elverum says, death is not for singing about, but he’s doing just that. In the first few lines, the song scorns at itself, for making such a personal pain public. Thoughts and emotions overflow as the song continues, recording the struggles of the band’s frontman as he tries to move on with his life after the death of his wife and close collaborator. It ends suddenly with a simple “I love you,” before allowing the rest of the album to materialize.

14. Frank Ocean — “Chanel”

Writing for The Undefeated, Austin Williams dubbed “Chanel” the most important song in the world right now. And he’s not without a good point. On “Chanel,” one of Frank Ocean’s new surprise releases this year, he gives insight on sexual fluidity, braggadocio, and things in between over a slow, shuffling piano. “Chanel” discusses the duality of Frank’s psyche, using numerous double entendre and homophones. Like any of Frank’s great tracks, the lyrics on the track are elevated by the understated production. The looping piano is faded, almost inaudible under the minimalist beat, giving room for the voice to expand and grab attention.

13. Perfume Genius — “Slip Away”

Mike Hadreas writes gay anthem after gay anthem, but not all sound the same. He has tackled thornier issues of identity, and on this track it’s time to lay back and build confidence. “Slip Away” builds and pops, like a balloon swelling up with beauty before bursting into a colorful sonic cloud. As Hadreas sings about letting the voice of haters slip away, the production gets denser and more complex, growing out of any musical constraint. In the mix there are eerie electronics, tribal-metal drum slams, creaking doors, and glittering piano racket, filling the track to its brim with incandescent noise.

12. Selena Gomez — “Bad Liar”

While stars out there are struggling to find themselves, on this track, it seems like Selena has found hers. Vocals have never been her strength, but she knows how to utilize them. Her light and sensual mixed voice previously found on “Good for You” makes a return on this track, sounding almost fluffy, emphasizing the arrangement, especially the bass line sample. The hook is simple, consisting of not much more than a repetition of one line. It’s not boring, however. Towards the end of the track, her voice cracks, cutting through all that fluffiness, before returning to the catchy hook, which has now built up with a few subtle instruments and vocal effects. All in all, it’s an uncomplicated, memorable pop tune from an uncomplicated pop star.

11. Cardi B — “Bodak Yellow”

“Bodak Yellow” is more than just a banger, it’s the antithesis to the current US political situation built around xenophobia, racism, and sexism. It’s the first solo female hip hop track to top the Billboard Hot 100 since Lauryn Hill’s “Doo Wop” almost two decades ago, and it emboldened many of the people who can relate to the star and were marginalized for their identity. “Bodak Yellow” is full with pride, charisma, endless flex, and abundant joy. It’s powerful and triumphant, like the lifestyle is just within the reach of the listener.

10. Kendrick Lamar — “HUMBLE.”

While Kendrick may be addressing his contemporaries, or a direct reference to Big Sean with the “lil’ bitch” ad lib, high chances are that he’s directing it inwards. The song bounces constantly, moving from retellings of his humble beginnings to world-conquering boasts to critiques of beauty standards in a few beats. The last time we were blessed with a song that exudes power every second of it? 2016’s “Formation.” Coincidentally (or not), both songs are produced by Mike WILL Made-It, and this time around his production is another big beat with menacing piano, setting the tone for this mini sermon.

09. Sampha — “(No One Knows Me) Like the Piano”

On “(No One Knows Me) Like the Piano,” Sampha traces back his roots to a piano in his mother’s home, as a means to properly introduce himself to the music world, despite having worked for years with artists like Drake and Solange. Just like the title claims, his music is at its best on this understated track. He sounds at home, so soulful and emotional at the center of the song with the accompanying piano, surrounded by simmering beats which leads up to the sound of birds chirping. Under the spotlight, he’s still able to find himself in the piano sound.

08. JAY-Z — “The Story of O.J.”

“The Story of O.J.” is the aesthetic antithesis to Kendrick Lamar’s “Alright” two years prior. While Kendrick Lamar’s “Alright” and its five-syllable refrain is a “future-tense assertion of delivery to a better, more peaceful place,” JAY-Z “repeats the ugliest epithet in American history with relentless purpose.” The track samples Nina Simone’s haunting 1966 classic “Four Women,” written from the perspective of four characters: a dark-skinned woman named Aunt Sarah, a light-skinned woman named Saffronia, a tan woman named Sweet Thing, and a brown-skinned woman named Peaches. JAY-Z mirrors the same ideas in this song’s chorus, dramatizing how America will always see him as black, regardless of what he does. Still, he argues that financial freedom is the only hope for racial progress. All in all, the track is intimate, provocative, and thoughtful, making a brilliant anthem for the era of Black Lives Matter.

07. Moses Sumney — “Lonely World”

“Lonely World” starts off dark, tense, and ominous, just like you may expect loneliness to sound. Moses Sumney knows lonely well though. He shows a part of that world only someone comfortable with it can see. For the majority of it, “Lonely World” sounds like many other tracks on his album: the strums, the echo that keeps everything at a distance. But there are some things different along the way. There’s a four-on-the-floor electronic beat somewhere in the mix during the second minute of the song, but it quickly retreats. Almost one minute after that, however, a bass drum starts to thump on time. Then a whole drum set kicks in, followed by synths, guitars whirl, and bass lines. It is the ecstasy of being alone, something probably only experienced introverts have felt. The beauty of the track, however, is universally relatable. As Sumney starts to chant the word “lonely” at the end of the track, it feels anything but that, a feeling of fullness and fulfillment everyone strives for.

06. SZA ft. Travis Scott — “Love Galore”

“Love Galore” is the perfect exordium to Ctrl. The toxic romance in the song is filled with sex, drug, and mind games, but the way she draws you into her world with the kaleidoscopic beats is like the cinematic production of a protagonist. When Travis Scott shows up with a booty call, he’s the antagonist, SZA’s counterpart in this loveless affair. After this point, everyone who is listening knows would applaud to the wise words of SZA’s grandmother: the girl deserves better, and she needs to put herself first.

05. Charli XCX — “Boys”

“Boys” is Charli XCX’s most effective bubblegum pop track, but it’s deceptively simple. Each component of the song is simplistic and memorable, and it’s only 2 minutes 42 seconds long. But that’s also what makes it the ultimate earworm: the track starts with the hook, which is repeated five times throughout its short runtime. Meanwhile, the melody embodies the lyrics, finding Charli XCX babbling with her friends while still daydreaming about boys. The sample of a sound effect from Super Mario Bros combines with the light timbre instruments and the syncopated bass line to produce an overall bright and playful sound. The thing is, even though Charli XCX sounds like she gives zero fucks, she gives a massive fuck, and all this boy-craziness is just a mask to make her protest against the male gaze and gender norms as convivial and effortless as possible. And guys, gals, and non-binary pals, did she succeed.

Plug: Watch my analysis of the song and its music video for AH112 here https://youtu.be/KiCRIk2byJs

04. Carly Rae Jepsen — “Cut to the Feeling”

News: It’s Carly Rae Jepsen, not position of the Sun, that decides when the summer starts. Well, at least for the gay guys who who embrace the brilliant queerness in her music and crown her the new queen after Robyn went on a hiatus, summer 2017 started early. As songwriter Max Landis pointed out in his in-depth research of her music, CRJ’s music is never about love, but the possibility of love or rejection of romance. In other words, she lives in the intervals. Hence, her music distills feelings familiar to queer people: denial and longing, the desire for an impossible love.

Still, it’s that 80s synth-pop splendor that clicks, and no one writes euphoric pop song in bulk like Carly Rae Jepsen does. Having written 250 songs for E•MO•TION, she’s only to release 27 of them so far, including this track. “Cut to the Feeling” trades the explicit 80s sound for a brighter, bombastic sound, with complex, densely layered arrangement, which would have felt out of place on either E•MO•TION or E•MO•TION: Side B. However, it’s one of her greatest tracks, with Carly sounding as inviting as ever in the pure and euphoric hook, hitting high notes like never before. Whatever is her next release — E•MO•TION: Side C, E•MO•TION: Side D, E•MO•TION: Side Z- we’re ready for it. Give us those 200 leftovers.

03. Calvin Harris ft. Frank Ocean, Migos — “Slide”

While well known for club bangers, the Calvin Harris sounds the best on this laid-back, funky disco/hip-hop track, which is easily his best track in recent memory. Still, Frank Ocean is the real MVP, adding nuance and charm to the song with his almost deadpan voice. He once claimed that big radio records were not essential to him, but probably that’s why he succeeds. He just wants to do it his way, and he did, having released three singles this year as a lead artist on top of this track. Still, a big radio record surely doesn’t hurt, as “Slide” is the epitome of a great radio track, but it maintains the qualities we love in a Frank Ocean song.

02. Kendrick Lamar — “DNA.”

“DNA.” packs a punch: “I know murder, conviction/Burners, boosters, burglars, ballers, dead, redemption/Scholars, fathers dead with kids,” he rattles off. “I wish I was fed forgiveness.” Kendrick Lamar is an unstoppable force, recounting an unflinching personal history, which quickly turns into a molotov aimed at bigotry and the culture of fear it breeds. “This is why I say that hip-hop has done more damage to young African Americans than racism in recent years,” Geraldo Rivera interjects in a sample from a Fox News segment aimed at Kendrick, as the beat twists into menacing shapes around him, criticizing misinterpretation of rap music and the artists that made it. At this point, the bouncy groove is gone, giving the much needed room for the aggressive Kendrick to deliver his verse, and even the hook is cut out to make room to cram more lyrics. Here, rap is a means for Kendrick to examine his black identity and how it functions in his community and the world at large. And in this tumultuous situation, he will stop at nothing to voice his mind and demand for an answer.

01. Lorde — “Green Light”

Lorde channels the greatest female art pop artists Fiona Apple and Kate Bush on her sophomore record Melodrama, but she makes her own mark in pop with “Green Light”, straddling the line between art pop and mainstream pop. She reuses the imagery of teeth from her previous record on “Green Light,” following “Royals” and “White Teeth Teens.” In a tweet, she revealed that she thinks of them as an “aging motif”: “our lives are marked by the moments we gain and lose our teeth.” This time, she also makes a pun on white lies and great white sharks, hoping that white lies as little as lying about loving the beach would come back and ruin her ex’s new relationship. It also ties into the “aging motif” by demonstrating that she’s tired of such puerile behavior, wanting to move on and mature. The teeth symbol connects the album with her debut, while making a testimonial to her maturity. “Green Light” is Lorde’s kiss good-bye to being a teenager, and dang is it radiant.

Pop-music mastermind Max Martin described “Green Light” as a case of “incorrect songwriting,” criticizing the sudden key change and the drums, which “don’t show up on the chorus until halfway through, which creates this other, bizarre part.” However, that’s where the charm of “Green Light” lies. In the pre-chorus, the key changes from minor to major, reflecting the change in the lyrics from vengeance on her ex-lover to determination to move on with her life. This part is also sonically cathartic, with the piano brightening up the track like the sun rising on the horizon, before getting to the banging chorus. As if having an army of herself demanding a sign to move on in the background is not enough, the drums set in mid-chorus, building up to even more defiance and tenacity. There’s a whole debate on reddit whether “Green Light” actually has a key change, but to be honest, who truly cares when the hook is so euphoric.