Nov 6, 2017 Getty Images.

Calvin Harris long ago ascended to the top of EDM’s trash mountain of glowsticks, discarded wristbands, and water bottles filled with vodka. Who’s freer than me?” she demands, only because she knows her ex’s wandering eye doesn’t have an answer. The rest of, mostly just sounds like Young Thug—which is definitely not a bad thing—but the zonked-out Martian cowboy conceit was intriguing, and “Family Don’t Matter” provides a glorious view into what might have been had he fully committed to it. The band deftly maneuvers between vastly disparate time signatures with remarkable precision, and the gritty production that made 2001’s Jane Doe a metalcore staple is front and center in this gut-punch of a song. Leave it to Thugger (and London on da Track) to swoop in with an effervescent, shiny dancehall riddim to recenter ourselves, and also reiterate how as a musician, he is unparalleled in transforming the mundane to the utterly weird. Ed Sheeran is world famous. But the record’s poignant closer, “Wandering Boy”—a play on an early 20th century parlor song—is a delight unto itself.

Zara Larsson - Clean Bandit. The setting, meanwhile, is the cyberpunk dystopia of, mapped onto the parts of the country where it happens: empty strip malls, crumbling parking lots, forgotten towns and overlooked people nevertheless, seething with life. Songs that truly capture the giddiness of that experience are harder to find. Horan was a relatively unassuming presence within his old band, but with “Slow Hands,” he proved that he is perfectly capable of crafting great pop on his own. In “Bad Liar” one of Gomez’s romantic overtures is to roleplay airBnB host with her not-quite love: “In my room, there’s a king-sized space / Bigger than it used to be / If you want, you can rent that place / Call me an amenity.” Another is to pass a RISD mash note: “Paint my kiss across your chest / If you’re the art, I’ll be the brush.” But the real coup here is that this all takes place over the unmistakable throb of Tina Weymouth’s “Psycho Killer” bassline, the ultimate art-school allusion. “Death is real / Someone’s there and then there not / And it’s not for singing about / It’s not for making into art,” offers Elverum in the song’s opening lines. Smith eschews modern equipment when making music, so the release’s most immediate single, “To Follow And Lead,” somehow gets pop mileage out of an odd brew of analog electronic sounds both chunky and dinky. — BRIAN HOWE, “Seagull for Chuck Berry,” by the guitar-and-drums duo of Steve Gunn and John Truscinski, is a smeared and dreamy instrumental composition, the musical equivalent of an autumn breeze across a waterfront vista.

>>> Mp3 Download: Bruno Mars – That’s What I Like, [amazon_link asins=’B01LWTAJSP’ template=’ProductAd’ store=’nicolas0f-20′ marketplace=’US’ link_id=’fc5e4f10-8689-11e7-a7be-dbc5f43d0340′]. Young Thug ft. Millie Go Lightly - "Family Don't Matter", “Country Billy made a couple milly / Tryna park the Rolls Royce inside the Piccadilly” is how Young Thug kicks off the second verse of “Family Don’t Matter”—and the song could have earned a spot on this list on the strength of those lines alone. – TOSTEN BURKS, Twenty-five-year-old Melbourne, Australia upstart Alex Lahey plays scrappy, energetic punk-pop with an aw-shucks honesty that’s as relatable as anything you’ve heard this year. Tumblr.

Taken together, the song imbues a sense of endless suffering that more than warrants its title. If dance music continues to be part of the Japanese Breakfast sound, consider this to be first contact. “Shape of You” easily holds the 2017 record for most weeks spent at No. The track begins with crushed-out, but deceptively calm, airy spoken-word vocals, then segues incandescently into a bold, shimmering chorus of smitten self-doubt (“what! But on the other hand, it's so goddamn surreal and creepy. After a solid minute, the suspense reaches its apogee, and you’re sure that something’s gotta give. The dream is possibilities, lost potential, the high price of opportunity cost, and the question Molly Hamilton had in mind when she wrote the sighing opening track of Widowspeak’s fourth full-length album, Expect the Best: Where could you be, if not here? >>> MP3 DOWNLOAD: The Chainsmokers & Coldplay – Something Just Like This, [amazon_link asins=’B06VWVWDDH’ template=’ProductAd’ store=’nicolas0f-20′ marketplace=’US’ link_id=’0aafe3fc-867e-11e7-bf93-9d8a73cd4c1d’]. The indie-music veteran poses the question only twice during the boogying I’ve-been-watching-you pursual, but when Daniels slides from confident swagger into a longing yawp, you know what he’s after—and it’s not just the stars in your eyes. Ubiquity does not always guarantee quality, of course, but the reach of Luis Fonsi and Daddy Yankee’s “Despacito” (and its subsequent remixes) was so profound this year that it managed to transcend genre, time, space, and even personal taste in a way that was unprecedented. —, 10. He boasted himself into an impossible corner, where he had to be, like, the Rock of Gibraltar and Jesus Christ at the same time, just to one-up himself. The two players are, among other fine qualities, expert conveyors of mood. All English songs give the good feeling to listen. Nothing beats the jubilant “I Love You Like a Brother,” which isn’t a romantic let-down, but a testament to big-sisterly love delivered with a dash of authentic begrudging acceptance.

On first listen “Take Me” may sound broken, but soon you’ll feel that car not sputtering in a cloud of smoke, but locking into place and revving back up, pedal hitting metal. “Despacito” was such a breakout hit this year for a number of reasons, but most of all for its proud embrace of that dirty, steamy, honest sensuality. Not Even Happiness concerns itself with travel and stasis, coexistence and independence, domesticity and freedom; “Sleepwalker” expertly distills these themes into a single song. The dream is possibilities, lost potential, the high price of opportunity cost, and the question Molly Hamilton had in mind when she wrote the sighing opening track of Widowspeak’s fourth full-length album, It’s an inner turmoil so fraught that, by rights, “, By the time closer “Black Diamonds” rolls around in, ’s sequencing, Adrianne Lenker has told the, of her young mother giving up her old brother for adoption and sang a, “feels like crying and laughing at the same time.” The album is an intensely emotional ride, and “Black Diamonds” serves as a perfect palate cleanser. —, , “J-Boy” was—somewhat to my surprise—my most listened to song on Spotify this year, and for good reason: It’s a driving, sparkling synth-pop gem that’s about love, shoplifting, kamikaze and, uh, dying coral? The result is a song about modern dating that attacks you with a certain edge. Throughout “Third of May / Ōdaigahara,” Pecknold’s lucid and literary imagery and the song’s voyaging instrumentation conjure an emotiveness that persists for an impressive nine minutes.

Yeah, it’s a little freaky—but maybe you just didn’t know how to ask.—ANNA GACA, Dan Bejar has probably never attempted to write a topical song, so any resemblance to real current events is purely coincidental. Hurray for the Riff Raff – “Living in the City”, 10. —. Although the, . There’s her story, an aspirational tale of a girl born into struggle who now pays her momma’s bills, an aspiration for many millennials of color.

Sure, her formative years were hardly normal, but she seems to have a removed objectivity about her peers that makes her an authority. Sad, beautiful Lana Del Rey, or so you thought—but more than a woman scorned, she sounds furious to be underestimated. “But this town might be big enough…” Cameron’s verse trails off, before Callinan follows with the answer Cameron’s character doesn’t want to hear: “I’ve raced without my horse, and then I ate my horse’s meat straight from my horse’s bones,” sings Callinan. So many song. Her lyrics are a little more opaque about romantic estrangement, but the suggestion is vivid enough to picture the scene: the dim-lit spaceship, near empty, a little behind on scheduled maintenance. When Drake is feeling vulnerable, which seems to be most of the time, his voice turns velvet and the mysterious subject of his songs—with her vaguely drawn silhouette and devastating inability to respond to his text messages in a meaningful enough way—feels like someone universal, a generation’s nonspecific, torturous love interest. The single became Lamar’s second number-one single on the US Billboard Hot 100 after “Bad Blood” and his first as a lead artist. It's been a uneven year for established pop acts. — WINSTON COOK-WILSON, “Passionfruit” was released in late March, but it’s a song that feels like it’s existed forever.

—, 84. You can just imagine him, stepping out of his Ghost and grinding his cowboy boots into the shattered glass-window debris, tipping his ten-gallon hat by way of apology to a flabbergasted waitress. Liked what you just read? Like Ocean always does, he leaves you wanting more, and he makes you come back for answers. — ANNA GACA, Headphones-brandishing adventurers of a certain age are hip to these U.K.-based icons’ output-rate extremes: producer/soloist Brian Eno, incessant; My Bloody Valentine’s Kevin Shields, infrequent. Punk in attitude and jazzy in its swing, King Krule’s opus finds him combining his desperate influences under what’s now a singular voice.

In fact, the unclassifiable singer-songwriter plainly lays out the thesis on the album’s most sublime moment “Doomed”: “Am I vital / If my heart is idle / Am I doomed?” Sumney is luminous here within the percussion-less drones’ warmth—his falsetto angelic, his sentiments human. These are the best songs of 2017.

Wolf Alice – “Don’t Delete the Kisses”, 64. It’s the kind of K-pop song that’s never not overstuffed with detail: artificial horn-stabs trade off with fluorescent, melted-popsicle synths, which drone over constantly mutating percussion and a distorted voice that repeats the song’s title in deformed loops. — MONIQUE MELENDEZ, “Thirty“ is perhaps the least peaceful moment on Ontarian singer-songwriter Tamara Lindeman’s least peaceful album. The real-life Cameron illustrates his stories with the seedy absurdism of a Coen brothers script (“There’s blood on my knuckles ‘cause there’s money in the trunk,” the lyrics continue), his criminally smooth delivery set off by sideman Roy Molloy’s saxophone. It's a pretty inspirational song of the year 2017. The power of the track lies in Cardi B’s ability to infuse her raps with the same essence that draws us to her social media accounts, with a seamlessness and authenticity that few can emulate.

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