Best Songs of 2017 (So Far): Edition 2.0 | Year in Review

31. Paramore, “Hard Times”

After Laughter 

“Hard Times” marked a departure for Paramore. From the jump, the sound is based in 80s cues – a stark contrast for Hayley Williams and company.  Ultimately, it’s successful, keeping the band fresh and relevant. The lyrics reflect the theme: overcoming hard times and moving beyond them.  Another stellar moment occurs during the bridge, where Williams is coming down, and rebuilding harmonious relationships with those closest to her.

32. Lorde, “Green Light” *

Melodrama

“Green Light” served as an early indication that Lorde was evolving her sound.  Being a departure, “Green Light” gives her a fresh start.  Lorde doesn’t sound particularly smooth vocally, but her rasp, coarse tone is quite appeal. Her intensity is a selling point, as she shows feistiness from the onset. After delivering the pre-chorus in her lower register, everything comes together on the chorus, which is incredibly infectious.

“‘Cause honey I’ll come get my things, but I can’t let go / I’m waiting for it, that green light, I want it.”

Danceable production work and fantastic backing vocals provide the cherry on top.

33. Gabriel Garzón-Montano, “Crawl”

Jardín

“Crawl” employs some impressive harmonic twists and turns, eliminating predictability. Besides showcasing a fantastic knack for music theory, the romantic joint thrives. Garzón-Montano is undoubtedly infatuated with his bae:

“I act a damn fool / Baby when you crawl around on me / And I’ll thank you too, it’s true / Lapping up the whole damn thing love it when you sing.”

 34. alt-J, “3WW” *

Relaxer

“3WW” (Three Worn Words) kicks off Relaxer splendidly. The sound is folksy, with a pleasing quality that sets the tone of the album.  The lyrics are poetic, with great vocal performances from members Gus Unger-Hamilton and Joe Newman, as well as guest contributions from Ellie Rowsell.  “3WW” encompasses love and sex, with the love being temporary.

35. Arcade Fire, “Creature Comfort” *

Everything Now

Like so many musicians in a time of political and social turmoil, Arcade Fire add fuel to the fire.  “Creature Comfort,” the second single from Everything Now, opens in electrifying fashion, with synths leading the charge. Arcade Fire remain in dance-rock mode, but also incorporate some gritty guitar in the mix, not to mention the hard-hitting groove. The themes of “Creature Comfort are darker than its exuberant sound, encompassing suicide and how screwed up society is.

36. Halsey ft. Lauren Jauregui, “Strangers” *

Hopeless Fountain Kingdom

“Strangers,” featuring Lauren Jauregui (Fifth Harmony), is groovy, possessing a danceable quality. The content is more interesting than the production, however.  Early on, “Strangers” establishes itself as an LGBTQ love song. For some, it’s likely to raise eyebrows given its perspective. It shouldn’t be a total surprise – Halsey is bisexual. Conceptually, it keeps things fresh, and socially it delivers a more progressive statement.

37. Imagine Dragons, “Believer” *

Evolve

The script for promo single “Believer” plays true to the identity established by the band.  The drums are gargantuan, packing a mean punch. Reynolds continues to deliver overt vocals, with a bite.  He also employs a mean falsetto which is key here, particularly during the chorus.  Rhythmically, the melody of the pre-chorus on “Believer” is quick-paced, with a dash of hip-hop sensibility. The chorus – the crème de la crème –is anthemic, with a strong urban influence.  All in all, it’s tough NOT to be a believer in “Believer.”

38. Queens of the Stone Age, “The Way You Used to Do” *

Villains

Queens of the Stone Age dropped an ambitious, energetic single with “The Way You Used to Do,” produced by revered English producer Mark Ronson. A refreshing record, it combines the grit of rock music and the fun, groove of vintage pop and soul. Distorted guitars depict the utmost devilishness, yet it’s radiant, if ungodly ear candy to the listener’s ear.

39. The Killers, “The Man” *

Wonderful Wonderful

The Killers kill it on their cocky, electrifying comeback single, “The Man.” The sound is malicious, anchored by a ‘takes no prisoners’ groove. Even before the bravado of the frontman Brandon Flowers blesses the track, it’s clear The Killers are in a “kick ass and take names” sort of mood.  Indeed, they do just that, especially on the chorus:

“I got gas in the tank / I got money in the bank / I got news for you baby, you’re looking at the man / I got skin in the game / Headed to the hall of fame / I got news for you baby, you’re looking at the man.”