Daily Playlist — Top 200 Tracks of 2017 (40–21)

The penultimate part of the series

40. SahBabii ft. Loso Loaded — “Pull Up Wit Ah Stick”

The Atlanta rookie once considered the catchy riff on “Pull Up Wit Ah Stick” too basic to be released. However, sometimes just the basics are enough.

39. Kamasi Washington — “Truth”

That extended piece “Truth” uses different motifs, riffs, and melodies that are introduced and then reappear later, creating a warm and enveloping epic.

38. Rina Sawayama — “Alterlife”

While her EP doesn’t lack infectious tunes, “Alterlife” is one primary example of Rina’s craft. “Alterlife” reminds us of the days of ‘N Sync and Christina Aguilera, but there’s something more to it, as Rina adds the intense, guitar-heavy lines to the arrangements to create a dynamic, genre-melding track. Sawayama told The Fader: “‘Alterlife’ is about finding yourself through trying to become other people. Everyone tries to conform to what other people think but part of growing up is being able to create your own path.” Sure, Rina Sawayama uses lots of pop elements from the late 90s/early 00s, but she’s able to create a bold and distinctive sound.

37. Future — “Mask Off”

“Mask Off” benefits hugely from its soft and slick flute lines. Not only did its memorable flute-based production get Future an unexpected hit — his biggest to date, but it also inspired a wave of more hip hop tracks with flute in their arrangements. Unfortunately, none of them matches the goodness of “Mask Off”

36. Sigrid — “Don’t Kill My Vibe”

With Sigrid’s defiant vocal delivery and a triumphant beat, “Don’t Kill My Vibe” is one of the most uplifting pop anthems of the year.

35. Jlin — “Nyakinyua Rise”

Pitchfork writes in its review of the track: “In “Nyakinyua Rise,” Jlin replaces the standard snap of the kick drum with the West African djembe, and chooses a selection of defiant and exuberant war chants for her vocal samples. The track maintains the hectic speed of footwork, but is more organic and, at times, even goofy.”

34. Fleet Foxes — “Third of May/Ōdaigahara”

Third of May was the release date of their sophomore album, Hopelessness Blue, but more importantly, it’s the birthday of founding member Skye. “Third of May / Ōdaigahara” explores the relationships between two band members Skye and Robin, addressing the distance in the years after their last album. Those time apart let them grow individually, and that is reflected in the sound of the track, which is their longest and most experimental track ever.

33. Frank Ocean ft. Jay-Z and Tyler, The Creator — “Biking”

While the act of riding bicycles might seem banal, Frank Ocean, alongside Jay Z and Tyler, the Creator, ruminates on the topic and work his magic to make a sonically and thematically sublime track. The three artists each employs the bicycle metaphor in a different manner, while drawing on each other’s verses to create unity within the track using a cyclical structure.

32. Dirty Projectors — “Little Bubble”

“Little Bubble” is an electronic ballad shimmering with beauty in the form of glistering synths, exquisite strings and piano. The heartbreak conveyed in these intricate melodies sounds personal, convincing, and genuine, but it could also be anyone’s post-breakup anguish, or even a global tragedy.

31. Kesha — “Praying”

“Praying” marks a significant new start for Kesha. The context makes the song particularly blistering, whilst the singer emerges strong but kind, screaming her head off then joining a jubilant choir at the climax. A massive anthem, the song starts softly, tugging at the heart strings like an Adele’s song, before transforming into its full big bold state in the style of Florence Welch.

30. Charli XCX, Carly Rae Jepsen — “Backseat”

The dream collaboration alt-pop music nerds never knew they needed. “Backseat” takes some of the most annoying pop tropes and turn them into greatness. The contrast between Charli XCX low and rather husky pitch and Jepsen’s sugary pitch works like magic in practice, before the two voices go through extensive processing, becoming undistinguishable. While it may sound terrible on paper, like eating ice cream in the winter, in reality Charli XCX meets synth-pop sweetheart CRJ to make one of the most blissful pop songs of the year.

29. Car Seat Headrest — “Beach Life-In-Death”

Car Seat Headrest refurbishes one of their older tracks from the pre-label days. At 13 minutes, “Beach Life in Death” is split into three distinct parts, nesting songs within songs, each filled with sprawling rock. The lyrics deal with existential dilemmas, discussing topics ranging from the mundanities of life to the complexities of a queer relationship, and Will Toledo embodies them all with a ferocity that comes with such an ambitious song.

28. St. Vincent — “New York”

On “New York”, Anne Clark reflects on her life while trying to reconnect with lost relationships: her break-up after a two-year relationship with Cara Delevingne, and the death of her hero, David Bowie. The track caught us by surprise: gone are the cosmic guitar, the thumping beats, and the dramatic instrumentation. In their place is the simple piano bubbling underneath her laments about New York, which has become strange and unbearable now that most of the people around her are gone. Like many of the songs on MASSEDUCTION, “New York” is short and subtle, but definitely not lacking depth. Within 2:34, St. Vincent cycles through three rounds of verse-chorus, longing for the ex-lover she endearingly calls “motherfucker,” while resolving their relationship in peace, deciding to move to Hollywood, “where [her ex-lover is] the only motherfucker in the city […] who’d forgive [her].”

27. Drake — “Passionfruit”

“Passionfruit” hits a sweet spot, blending dancehall with softer tones of adult contemporary. That bright instrumental meets the pure voice of Drake to create a breezy and summery track.

26. Lana Del Rey — “Love”

The world of Lana Del Rey has been one of desperation. Even her best song and probably also the brightest, “Video Games”, one about appreciating small happiness in life, is doom-filled: “heaven is a place on Earth with you,” she croons, but the boyfriend figure is portrayed as aloof and ignorant. She turns that world around on “Love,” cooing softly about the chronic parts of her life before assuring that there’s nothing to worry about. “It’s enough to be young and in love.” Her music has always sounds like a hex. This time around, she’s casting her most hopeful spell.

25. King Krule — “Dum Surfer”

“Dum Surfer” is toxic and demonic matching he dark and violent imagery of the lyrics, ranging from vomiting on sidewalks to car crashes. But despite all those ugliness, the song does not sacrifice its grooves and swagger, keeping the music appealing with slinky guitar riffs and wiggly saxophone. The scene in the song is repulsive, but the charm remains, potent enough to make an entire soundtrack for a night at the bar.

24. Vince Staples — “Big Fish”

On “Big Fish”, Vince Staples reminds us of the early-2000 hip-hop greatness with such flow over a funky beat. The production on “Big Fish” trades the dreary tones of Summertime ’06 for something more buoyant, and Vince moves as nimbly as ever in new waters.

23. Björk — “The Gate”

“The Gate” is one of Björk quietest and most sparing ballads, but it is as direct as anything she has sung. One many instances, nothing can be heard but her voice, before acoustic strings, woodwinds, and pulsing beats blends into the track. The track sounds surprisingly natural and acoustic considering that its instrumental is electronic, opening up a magical space in the possibility of new love.

22. Fever Ray — “IDK About You”

“IDK About You” is a prime example of the eroticism all over Plunge. At 160bpm, it’s a skittering and frantic track that conveys the wild-eyed anticipation of the singer before an anonymous hookup.

21. Sufjan Stevens — “Tonya Harding”

Sufjan Stevens has always been a master at making you feel like you’re his BFF, writing personal songs and delivering them with his warm, soft, murmuring voice. “Tonya Harding”, however, is so genuine and candor that you start wondering whether this is a joke — who on Earth can be this intimate and candid about a celebrity? Also, it doesn’t help that the release of the track coincides with the release of the biographical sports black comedy film about the titular figure skater, I, Tonya.

All those context aside, however, “Tonya Harding” feels graceful and effortless. Sufjan takes the tone of a pep-talking friend. “This world is a bitch, girl,” he sings sweetly. “Don’t end up in a ditch, girl.” On top of that, “Tonya Harding” is an incredible character study, letting Tonya do the talking instead of putting more layers of interpretations on the already much-talked about story.

Sufjan released two equally powerful versions of “Tonya Harding” — a grander, more elaborate rendition (in the key of D major) and a stripped-back approach (in Eb major). Both arrangements suit his strikingly literal couplets (“Well, she took quite a beating/So you’re not above cheating”) with melodies that drift and dance between his words.