Matt’s Favorite Songs of 2017

Another new year has arrived, which means it’s a good (arbitrary) time to reflect on the 12 months past. As has been tradition on my blog, a new year means participation in the Year End Music List Industry. And now that it’s late January, I have completely missed the wave of clicks in prime Year End scheduling, so you can trust my subjective judgement. Or something like that.

2017 was weird. I’m sure that statement isn’t news to you (or you’ve accepted that idea thanks to countless thinkpieces in December). In my own life, I got to experience several positive personal milestones that were tempered by really depressing news. I finally finished grad school (PhD!), got a research article published in a journal, and found a job. In negative news, I had to leave my beloved Ohio, my parents’ dogs both died, and I had to confront a severe sickness in my family.

At the end of 2016, I was steeped in uncertainty, not knowing what 2017 would bring. At the start of 2018, I’m now in a more stable place, with fewer obvious forks in the road. Although, as 2017 taught me, the unexpected still lurks. Even the least likely can become reality.

Turning my attention to music: 2017 was a surprising disappointment for me. In part, I’m to blame. I was busy with dissertation work most of the year, and this kept me from full musical immersion. I didn’t attend many live shows, and I spent December and January playing catch-up with critical darlings I had missed the first time around.

Even accounting for my own shortcomings, some of my most anticipated albums fell flat to my ears. Japandroids “leads” this charge; the follow-up to the perfect Celebration Rock was something I consider unlistenable. Arcade Fire continued their pattern of releasing an album worse than the one before it, now reaching lamentable lows. LCD Soundsystem Version Two was merely okay, and St. Vincent’s change in sound just didn’t click with me.

Luckily, I still kept my ears open long enough to find some new favorites (even if they don’t all seem poised to be classics). As I did the past two years, I’m qualifying all this music as “my favorite” of 2017 not “the best.” I can’t possibly listen to all the music in the world, so I won’t claim to be comprehensive. Even if I could find time for every song? I doubt my tastes completely align with yours. And that’s okay!

To kick things off, today I’ll list my 25 Favorite Songs of 2017, complete with reasons why I like the song, reasons why you might enjoy the song, and a Spotify playlist. That list is at the end of the article, so you’re forced to scroll and (maybe) accidentally read the post anyway.

Let’s go!

(Arbitrary rules time: only one song per artist, and if the song was part of a proper album, the album must have been released in 2017. I’ve made an exception for Run the Jewels who are cheating at this game by releasing in both 2016 and 2017.)

25. “Do You Still Love Me?” by Ryan Adams
Why I Like It: I like the cheesy rock on display. I suspect it’s meant to be deadly serious (Prisoner is a post-divorce album). I don’t hear it that way. When the guitar comes in, and there’s that pause for vocals after the first chord, it’s purely silly classic rock. And I love it.

Why You Might Like It: You’re looking for a headbanger. You long for a solid, straightforward rock song. You enjoy asking big questions, babe.

24. “Los Ageless” by St. Vincent
Why I Like It: My favorite song on Masseduction bridges the gap between the art guitar antics of old St. Vincent and the electro-pop ambition of 2017 St. Vincent. I especially enjoy the raw energy of the bridge; “I’m a monster and you’re my sacred cow” is a great line.

Why You Might Like It: You’ve felt lost in a big city. You enjoy creeping dread. You were turned off by the boring pace of “New York.”

23. “Woman” by Harry Styles
Why I Like It: Look, I’m as surprised about this as you. I like the Elton John feel of the song. I like the funky guitars, and how a former teen-pop star pauses to let an honest-to-god rock guitar solo breathe. I enjoy the weird stutter every time Styles uses it in the chorus (“wuh-woman”). It’s a really catchy song, and I feel strange about this whole thing.

Why You Might Like It: Presumably you’ll like this if you were a One Direction fan? I can’t be sure. You will probably find value if you’ve jammed with “Bennie And the Jets.” I’m completely thrown off by the fact that I like this song, you guys.

22. “Tall Glass of Water” by Tim Darcy
Why I Like It: I like the way “Tall Glass of Water” kicks to life with a great guitar and drum. I like that Tim Darcy has the guts the change the whole song after just one minute of jamming with a great opening section. I like that the second part is just as good as the great opening section! I like Mr. Darcy’s singing voice, and how it carries the song through the change-up.

Why You Might Like It: You don’t want to sit through one song, and you’d rather jam during two different songs that are linked in their soul. You are parched and could use some kind of beverage.

21. “Call Ticketron” by Run the Jewels
Why I Like It: (Joke’s on you, this still counts as a 2017 release!) I like the foreboding backing track that sets the mood. I like listening to both El-P and Killer Mike. They make “Call Ticketron” work. I love the stream of rhymes that follow when Killer Mike declares, “Hello everybody, this is now bank robbery.” I laugh when El-P pauses to drop the word “Prick” as a quick aside.

Why You Might Like It: You found something good in RTJ1 or RTJ2. You enjoy careful and pointed wordplay. You are tired of ticket fees. You have a garden.

20. “Cut To The Feeling” by Carly Rae Jepsen
Why I Like It: Carly Rae Jepsen is undeniable. Just listen to the title phrase every time it pops. It’s completely electric to me. I think I’m physically incapable of disliking that part of the song. I love the the parenthetical, staccato bits in the verses (such as “Can’t make it stop, give me all you got”). I adore the “Ahh-ahh” that happens before the chorus. This is pop joy.

Why You Might LIke It: You have found Ms. Jepsen’s voice and catchy songs caught in your head in the past. You have used telecommunications, perhaps. You want gum with great flavour that lasts. You’re from Canada and use the “u” in “flavour.”

19. “Hey” by Alvvays
Why I Like It: I like that “Hey” clicks so nicely. The pop-rock singing and guitars make me happy. I also like the brevity and tempo. I also appreciate how the dark undertones don’t seem to fit the bright sonic trappings. It’s like a good round of The Shins that way.

Why You Might Like It: You want a quick burst of complicated joy. You are a fan of Pixies or The Shins. You have lost your sense of place and want to be held like a human being (and you are a human being).

18. “Halfway Home” by Broken Social Scene
Why I Like It: Sometimes I like a bunch of noise. “Halfway Home” plays as big as the Broken Social Scene roster, overloaded with huge drums, wall-of-sound guitars, and a gaggle of singers. I like that none of this overwhelms the song. I also enjoy the song’s bright vocal melody and its (generally) positive tale of escape.

Why You Might Like It: You enjoy jam sessions with friends. Lots and lots of friends. You’ve made comments about music that’s “too loud” and listeners that are “too old.” You think demarcation lines are useful.

17. “Up All Night” by Beck
Why I Like It: With apologies to Sea Change (which is great), funky Beck is my favorite Beck. “Up All Night” leans hard into that fun version of Mr. Hansen, following the example set by 2015 standout (and Colors album-mate) “Dreams.” I like the big pounding piano, and the skittering guitar. Most of all, I love that chorus.

Why You Might Like It: You appreciate Beck’s version of funky rock energy. You like pop choruses. You are awake at some stupid hour of the night.

16. “June” by Tigers Jaw
Why I Like It: I like the Goo Goo Dolls guitar opening to the song (think “Broadway”). I like the female/male harmonized singing on the chorus. I like the imagery of the verse (“The future tells a hazel view / Gemstone, like polish and acetone.”) And I like that the whole thing fills a tight 3 minute span; Tigers Jaw doesn’t waste a moment.

Why You Might Like It: You need some solid rock in your life. You enjoy female-led songs. You are fond of the month of June.

15. “Great Big Beaches” by Oso Oso
Why I Like It: Ian Cohen noted that “Great Big Beaches” is “a misty-eyed, full-hearted reshoot of ‘Cath,’” the Death Cab for Cutie track. He’s right (I mean, listen to those guitars), and I like that. The 00s indie rock sensibility on display is a wonderful throwback for my ears.

Why You Might LIke It: You miss the old Death Cab. You want to live in the 00s again. You long for the days of classic indie rock.

14. “Up Against the Wall” by Superchunk
Why I Like It: I like perfectly constructed pop-punk, and this is a fine example of the form. The main guitar riff explodes with energy, the brief guitar solo is incredibly satisfying, and I love Mac McCaughan’s voice.

Why You Might Like It: You enjoy Fountains of Wayne and Ted Leo. You want to get a guitar lick stuck in your head for the next thousand years.

13. “Feel It Still” by Portugal the Man
Why I Like It: I like the bassline that starts the whole thing. I like the falsetto singing. I like the tempo and the handclaps. Really, though, I’m just a sucker for the hooky melody. “Feel It Still” is infectious and sounds effortless, which helps explain how this became a massive crossover hit.

Why You Might Like It: You aren’t tired of the endless airplay. You can’t ignore those hooks. You have some kind of connection with the years 1966 or 1986. You are a rebel just for kicks

12. “Cut-Out” by Grizzly Bear
Why I Like It: I like Grizzly Bear best when they sound focused (“Two Weeks,” “While You Wait for the Others”). “Cut-Out” feels of that ilk. I love the section starting around 1:40, when the drums, guitar, and bass lock together and form a staccato attack. I also like that this contrasts with complex rhythms in the beginning and closing of the track. On first listen, everything feels like it should fall apart. On subsequent plays, it sounds perfectly constructed. It’s a thrilling ride.

Why You Might Like It: You enjoy art that is simultaneously beautiful and jarring. You want to go for a smooth ride and to face demons around select corners.

11. “How to Boil An Egg” by Courtney Barnett
Why I Like It: Sometimes I Sit and Think was one of my favorite albums of 2015, and this feels like a continuation. That, in turn, means the prior accolades accurately apply to this song. I continue to think think Barnett’s singing voice is delightful, I enjoy the rock guitar tone, and I love the folksy storytelling delivery. An added bonus here: the guitar outro is silly fun.

Why You Might Like it: You enjoy Courtney Barnett’s music. You find rock music to be “your thing.” You are looking for kitchen instructions.

10. “Emotional Haircut” by LCD Soundsystem
Why I Like It: This is the first song that feels like genuinely new territory for LCD Soundsystem Version Two, and I find that exciting. Instead of getting stuck in lengthy electronic noodling, David Byrne copies, or retreads of old LCD tropes, “Haircut” goes for rock guitars. While that isn’t novel in a global sense, it is a new approach for James Murphy and friends and I like the change in pace and style. I’m especially thrilled every time that last minute-and-change goes completely for broke.

Why You Might Like It: I heard that you and your band have sold your synthesizer and arpeggiator, and are buying guitars.

09. “The Way You Used To Do” by Queens of the Stone Age
Why I Like It: It’s the guitars. The guitars hit a balance between distorted rawk aggression and bouncing-dancing exuberance. That combination hits my ears just the right way. I also like the song’s evolution, giving fun new guitar riffs every minute or so, never content to just sit still. I didn’t know I wanted this evolution of Queens of the Stone Age. Now I think it’s amazing.

Why You Might Like It: You enjoy guitars but you don’t need them to hit you in the face. You want to tap your toes. You like an ironic balance between a song’s title and the progression of an artist’s craft.

08. “Julie’s Place” by Rolling Blackouts Coastal Fever
Why I Like It: I like the full sound. I like the song’s inner battle between pretty jangle guitars and up-tempo propulsion. I like when the speed wins and gives a bright, light-filled refrain. And I also like when beauty wins, as the band take a post-refrain break to drop the drums and let the jangles out. It’s nice to have the best of both worlds.

Why You Might Like It: You have always dreamed of an alternate reality where the band Real Estate came from Australia, and decided to be just a little bit more punk rock. This is exactly that song.

07. “Whiteout Conditions” by The New Pornographers
Why I Like It: I like the infectious melody, and how it worms into my brain just deep enough before finally releasing its venom. And I also like the venom: the stark lyrics about depression and medication. I’ll note, the mental issues presented in “Whiteout” don’t make me happy. Rather, the New Pornographers engage in a very relatable way, and I value that level of connection. Plus, this is a song with Carl (AC) Newman sharing his lovely voice.

Why You Might Like It: You have previously appreciated a piece of Canadian power pop. You like snow allegories. You enjoy a bit of sour with your sweet, and wanted a little referenced to “Hooked on a Feeling.”

06. “Every Day’s the Weekend” by Alex Lahey
Why I Like It: I love the chorus. The rest of the song catches me enough to merit consideration: story-song singing from Lahey, solid indie guitar chugging, and quick pace make the verses fun. And then at 0:59, the drums click, the guitars rev up, and the whole thing takes off into that priceless refrain. After just one go-around, it’s damn near impossible to avoid chanting along with the “Whoa-ohs.” The hooks are too much. And I think that’s fantastic.

Why You Might Like It: WHOA-OH WHOA-OH WHOA OH-OH-OH

05. “Blackleg Miner” by Offa Rex
Why I Like It: This sounds like a long-lost castoff from Picaresque or The Crane Wife finally come to fruition. Those are two of my all-time favorite albums, and the sonic similarity is really the whole story for me. Colin Meloy’s vocals always hit me, the folksy-rocky instrumentation is delightful, and the driving tempo makes my toes tap. I also like the quasi-history lesson here. Offa Rex is Decemberists + Olivia Chaney presenting new arrangements of British folk, showing that the past still has much to teach us. (You might be interested in a good interview with Meloy and Chaney from All Songs Considered.)

Why You Might Like It: You have previously set sail on that sprightly old dinghy the S.S. Decemberists and enjoyed the journey. You are a connoisseur of British folk. You want more literal music to play while building in Minecraft.

04. “Dangerous” by The xx
Why I Like It: I love that The xx kick off the song with horns. There’s a certain swagger needed to open with such a statement. I like that the horns are the basis of the refrain. Every time “Dangerous” winds up, it comes with that brassy punctuation. I like the back-and-forth between singers Romy and Oliver, creating that sultry, smoky tension that I love from my favorite xx songs.

Why You Might Like It: You enjoyed past versions of the xx but wanted to hear their sound expand. You like car rides after dark and are in search of new tunes to soundtrack your journeys.

03. “Mercury” by Sufjan Stevens, Bryce Dessner, Nico Muhly, James McAlister

Why I Like It: I love Sufjan Stevens’ voice. In “Mercury,” the singer conjures the tender, light, heartbreaking coo that defines some of my favorite solo Stevens songs (“Romulus,” “The Only Thing”). The impact is all the more enjoyable (and emotional) with the vocal echo. In particular, I love the question that repeats throughout the song’s second stanza. Stevens asks, “Where do you run, where do you run to?” Both the question and delivery suggest a deep longing, and I find the impact striking.

But Stevens’ voice only features in about half the track, as the rest of song showcases the other talent in the band. The instrumental outro builds a spacious, moody piece with pitter-patter piano and guitar flourishes. The result is both pleasing to my ears, and appropriate to the mood of the Planetarium project.

Why You Might Like It: You wanted to hear echos of Carrie & Lowell. You long for atmosphere and space.  You enjoy looking up at the stars.

02. “WhisperI’lllistentohearit” by Spoon

Why I Like It: Spoon is my favorite band. I love their balance of guitars, minimal song design, and Britt Daniel’s perfect singing. I also like that Spoon consistently fits a particular rock niche.

2017’s version of Spoon is different. Hot Thoughts is weird and moody, focusing more on synth noises and raw sounds (compared to the polish and perfectionism of 2014’s They Want My Soul). “WhisperI’lllistentohearit” one of the weirdest on the album, setting aside all guitars and drums during the opening section. Spoon even plays with Daniel’s inimitable voice, loading up the reverb. While this doesn’t feel very Spoon-y on first blush, I liked all of these ideas.

What I like most, however, is the transition and outro. Guitars enter (albeit in a more rhythmic role), and guide the song to the most dramatic moments in any Spoon song: the drums kicking in (at 1:50) and the massive bass at 1:58. And let me tell you: I love the bass. The entire tenor of the song changes, and that spooky buildup turns into a wild, aggressive version of Spoon.

This is probably the closest Spoon will ever come to the structure of “In The Air Tonight,” and it’s a great rush. The back half of “WhisperI’lllistentohearit” comes complete with a furious guitar solo, a breakdown where the synth cuts out, and more tambourines than I’ve heard in any song in recent memory. None of these are classic Spoon. All of these are elements that make this one of my favorite songs of the year.

Why You Might Like It: You like tambourines. You want more drama in your Spoon, and you like when songs have big changes. You love Britt Daniel. You are me

01. “The System Only Dreams in Total Darkness” by The National

Why I Like It: I love the mood. I love the drums and the bass creating this dark, thumping setting. I love Matt Berninger’s baritone. I love the repeating guitar phrase, and how it sounds like some computer malfunction (which fits the glitchy-looking music video). So far, we’re still in (fairly) usual The National territory.

I love the guitar solo. The guitar solo! It’s The National, masters of the right-up-against-boring rock sounds. Theirs were the songs that rewarded me for repeated listens. They crafted tracks that bubbled and frothed in my brain, until the dark truth resolved and pulled me deeper into their world. And here’s “The System,” ignoring old The National orthodoxy and jumping into showmanship.

And I also love that, somehow, the guitar solo doesn’t change the mood! The percussion still thuds and kicks and rattles close to your ears in the mix; you won’t mistake this for any other band. It’s just a suddenly-evolved version of The National. And I didn’t know I needed that, but I do. And it’s my favorite song of 2017.

Why You Might Like It: You have previously enjoyed The National. You enjoy good things. You like rock guitars. You recently updated your computer.