by The Editorial Board Note: To narrow down our selections, all the songs listed are singles. 10. Death Grips |
| Death Grips are as liminal as they are sublime. On “Hot Head,” the lead single from their latest release, Bottomless Pit, they continue to expand the boundaries of hip-hop, taking influences from punk, noise, and electronic music. The intro, or A-section, is as avant garde even for them. However, a strong sense of rhythm dominates amongst the dissonance. The B-section is characterised by strong guitar riffs and MC Ride’s repeated cry of “selllllf-inflicted.” Overall, the track is incredibly heavy and dynamic, a powerful reminder of Death Grips’ continued reign of success. -Brendan Sullivan |
9. Deakin
Just Am
| Deakin has long been the most overlooked member of Animal Collective. He’s only appeared on half their albums, he’s sang on just one track, and until this year, he hadn’t done much solo work. But with Sleep Cycle (his debut album, released earlier this year) Deakin unveiled his musical identity—bringing poetic, introspective lyrics and an intimate, textured sound to the forefront. “Just Am” serves as the centerpiece to the album—instrumentally, it layers echoing guitar and piano onto a looping bass riff—lyrically, it gets at the importance of stepping out of one’s comfort zone. If you’ve never heard of Deakin or Animal Collective, “Just Am” and Sleep Cycle are definitely still worth a listen. -Leander Cohen |
8. Anderson .Paak
Am I Wrong
| In "Am I Wrong," Anderson .Paak reflects upon the early years of his career. When he entered the music industry, Paak believed he was going to rise to fame quickly. In the song he says: "The cards will fall where they may / And what about me? I believe in fate." In this song he recalls the hard times in which he doubted himself, and how hard it was to believe in his music and continue to aspire to achieve success. The song is lighthearted and funky, earnest and heartwearming--one of the best from his latest album, Malibu. -Cristóbal Uribe |
7. Danny Brown
Really Doe
| An often overlooked trend of 2010s hip-hop is the resurgence of the posse track. On “Really Doe,” Danny, Earl, Kendrick, and Ab-Soul exemplify everything that makes a posse track great. It helps that all four rappers are young and on their games. As with any great posse song, there's a sense of competition: everyone wants to have the best verse. The result is simply unrelenting. Every verse is intense and hard-hitting while still displaying the unique aspects of each rapper's style. Ultimately, "Really Doe" is a standout track on one of the year’s best albums. -Brendan Sullivan |
6. Solange
Cranes in the Sky
| With "Cranes in the Sky," the only single from her album A Seat The Table, Solange delivers a powerful account of what it means to be a black woman in America. In the hook she sings, "Well it's like cranes in the sky / Sometimes I don't want to feel those metal clouds." The cranes represent the constant presence of racism and sexism, man-made constructions that loom over every facet of her daily life. With each verse, she list the ways she tries to distract herself: "I tried to drink it away / I tried to put one in the air." Through each distraction, a sense of sadness and defeat remains, illustrating just how deeply discrimination is rooted within our society. The production is sleek and elegant, and Solange's vocal delivery is top-notch--making for an all-around fantastic track. -Leander Cohen |
5. Kero Kero Bonito
Trampoline
| On “Trampoline,” the final single from their latest album Bonito Generation, Kero Kero Bonito deliver a fun, bubbly track filled with exaggerated synths, video game-inspired effects, and even a rap-bridge in Japanese. Though the production can sound very campy and a bit cheesy, that’s what KKB’s sound is: a playful and upbeat blend of J-pop and electronic over fast-paced, energetic drum lines. With its cheesy, inspirational lyrics, the amount of satire within the song is up for debate (even among the editors of this magazine). However, unlike its equally-cheesy, chart-topping counterparts, Kero Kero Bonito deliver a more grounded, realistic message: "I know I've got to come down / put my feet on the ground soon / but that's okay." In any endeavor, there will naturally be highs and lows, but coming to accept the lows helps you recognize the highs. Overall, it's the imagination within the composition of “Trampoline” and the positivity in its lyrics that make it such a fun song to listen to. -Ethan Schwartz |
4. Young Thug, Travis Scott
pick up the phone
| “pick up the phone” is one of the most surprising tracks of the year. Since when did Travis Scott, Young Thug, and Quavo--or a collaboration of all three--deliver happy, almost wholesome vibes? And yet, from the very start, the instrumental and Thugger’s vocal melodies create an overwhelmingly cheerful and captivating atmosphere. The hook and bridge, from Travis and Young Thug, respectively, are as catchy as they are devoted. Quavo’s verse keeps the energy going strong; never has a 5 minute track felt so short. All of the risks pay off, and Young Thug and Travis Scott stay on their A-game, once again. -Brendan Sullivan |
3. David Bowie
Lazarus
| David Bowie never slowed down. In “Lazarus,” his final send-off, he reflects on his life, his death, and his image—culminating in a resoundingly reassuring statement: “Just like that bluebird / Oh, I’ll be free.” In typical Bowie fashion, he embraces death for all its artistic value—using music to tackle humanity’s greatest fear. Drawing musical influences from Kendrick Lamar and even Death Grips, his sound remained fresh, creative, and even experimental until the very end. On “Lazarus,” he says it himself: “Ain’t that just like me?” -Leander Cohen |
2. Japanese Breakfast
In Heaven
| This year, Japanese Breakfast (Michele Zauner of Little Big League) released her first studio album, Psychopomp. The opening track, “In Heaven"--written about her late mother--blends ambient strings, synth, and electric guitar, along with longing vocals that perfectly evoke her feelings of both loss and frustration at her mother's passing. Beginning almost slurred, her voice swells into a piercing chorus where Zauner calls out to her mother, surrounded by an array of guitar and strings in a beautifully sad send-off. “In Heaven” also manages to be uplifting, despite its somber subject matter. Its fast paced, upbeat melodies lend themselves to a sense of positivity and closure for Zauner, and help set the tone for the rest of Psychopomp as an emotional exploration of her life in the wake of her mother’s passing. -Ethan Schwartz |
1. A Tribe Called Quest
We the People....
The powerful leading single from A Tribe Called Quest’s first album in over fifteen years, “We the People” illuminates the day-to-day struggle of people of color and LGBTQ+ groups in the U.S. The first line, "We don't believe you / cause we the people / are still here in the rear, ayo, we don't need you," alludes to the founding principles of our Constitution and the failure of today's government to protect blacks and other minorities. Police sirens heard throughout the song hint at the ongoing cases of police brutality that have tormented black communities in recent years. The hook: "All you Black folks, you must go / All you Mexicans, you must go / And all you poor folks, you must go / Muslims and gays, boy, we hate your ways" also takes aim at the hate and discrimination rhetoric that minorities continue to face through politics, media outlets, and day-to-day interactions in 2016.
"We the People" was released just three days after Donald Trump was elected president. After witnessing the success of a campaign that repeatedly alienated blacks, Mexicans, Muslims, the LGBTQ+ community, and women, A Tribe Called Quest showed us that art can often be the most moving, most effective form of protest. -Cristóbal Uribe
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