For many, the bygone year was one spent finding solace within the soundwaves. Whether an avid R&B listener, soul connoisseur or an indie-rock aficionado, 2017’s musical offerings provided exemplary hallmarks for all corners of the medium, ensuring a bastion of sacred soul, creativity and empathy was safely tucked away within your favourite streaming service. Almost charitable in their invaluable self-expression, contributors such as SZA and Mac DeMarco selflessly laid their conscious on wax, with enough artistic integrity and forward-thinking innovation to brighten the darkest of skies. This year’s list is a commemoration to all artists willing to exactly that, with each top 10 entry a monument to the passion, pain and energy used to conceive them. Enjoy.

10) SZA – Drew Barrymore

From CTRL

With the release of SZA’s breakout album CTRL came a watershed moment for modern contemporary R&B. No longer confined to the shadows of mere cult fandom, the TDE signee found the exposure she deserved in 2017, ensuring world-wide acclaim for her velvet voice and progressive song-writing chops. As eerily vulnerable as Jill Scott yet as assuredly brandish as the late Amy Winehouse, the St. Louis-born artist’s shows the versatility needed to paint rich, addicting pictures no matter the canvas or tool. “Drew Barrymore”, an emphatic yet brooding tune, is a testament to such versatile finesse. It’s an insecure anthem – one upheld by illustrious instrumentation and an unignorably captivating vocal presence working in harmonious synergy. Solana laments as watery guitar licks flood the soundscape: “I get so lonely I forget what I’m worth, we get so lonely, we pretend that this works.” Her voice, at unease yet beaming with stone-cold conviction, works overtime as an ever-flowing faucet for uncomfortable confession, captivating in its relatable uncertainty. Tension builds as grieving truths unfold throughout, with immaculately gorgeous string sections soaring alongside as the front woman finds her wings – almost as if a precursor for imminent brighter days. Yet, there are no epiphanies or sudden realisations within “Drew Barrymore”. SZA’s plight is so authentically human, one that finds her well and truly stuck in the mud as her questions remain unanswered. Heart-breaking in its woeful isolation, the cut is easily a standout from an already standout debut LP. Recent inductions into the R&B soundscape (e.g. Daniel Ceaser and Jorja Smith) sure-enough indicate a bright future for the genre, yet it’s with SZA’s sonic gem CTRL that a clear leader of the pack has been chosen.

Listen to “Drew Barrymore” here –

9) Jay-Z – The Story of O.J.

From 4:44

Rich in modern bounce yet deeply rooted in vintage glamour, “The Story of O.J.” demonstrates a veteran’s commitment to look beyond the blueprint. Having solidified himself as cultural-icon status with a career spanning two decades, the Brooklyn native finds himself rightfully perched atop the eagles nest, both ruminating on his accolades and generously unloading life advice to those seeking more opportunity: “Y’all think it’s bougie, I’m like, it’s fine But I’m tryin’ to give you a million dollar’s worth of game for $9.99.” There’s something distinctly rare about hearing such an undisputed legend of the genre speak in 2017, with his ever-growing business acumen, new-born children and public family affairs providing fruitful inspiration to draw from – every bar laden in battle-scarred expertise, feeling as though the listener is eavesdropping into an important conversation not meant for their ears. It’s a captivating tale full to the brim with Hov’s staple punchlines and double entendres, one that producer No I.D. so expertly provides the instrumental for. Nina Simone’s “Four Women” is effortlessly woven, chopped and spliced to create one of 2017’s most eccentrically iconic beats, from the sputtering vocal slices to the triumphantly golden piano chords placed throughout the track. Hov patrols the canvas with such contagious wit, glee and self-assuredness – the track is an exercise in immaculate artist-producer chemistry. Such a gracious victory lap rarely finds itself within the twilight years of one’s career, leading me to worry many won’t realise just how lucky we are to receive an LP so potent from an acclaimed artist already well established. However, for two decades Jay-Z has remained a reference point for aspiring artists across all genres, and even now, 20 years later, you’d be a fool to bet against him.

Listen to “The Story of O.J.” here –

8) N.E.R.D – 1000 (Feat. Future)

From NO_ONE EVER REALLY DIES

N.E.R.D’s second single of the year is spontaneous sensory explosion. The trio, along with Atlanta’s very own Future, come together to lead an auditory riot, vehemently opposing those who seek to turn down the noise. Blinding synths cascade atop Pharrell Williams’ loud rallying cry in a manner that should sound muddled, yet the unorganised chaos of “1000” proves to be its unique selling point. The disarray obnoxiously infectious – the madness only proving more contagiously inviting as the track escalates. Encouraging no form of respite, ceremoniously thumping drums parade Future’s induction to the anarchy as his splashy auto-tuned vocals paint the soundscape with further colour. The “Mask-Off” rapper’s presence and sheer expensive allure propel the cut to new glamorous heights, contrasting Williams’ high register while also proudly marching in formation with the front-man’s juvenile angst. The attack charge fires on with further shooting synthesisers and rapid vocal chops while Pharrell’s “In the mirror there’s a hero! One zero zero zero!” refrain solidifies itself as one of 2017’s most iconic and fun. “1000” blare’s as though boss-fight music for a video-game set in the year 3017, yet its anger and youthful lawlessness distinctly rooted in the very real present, hurling as though a brick through the year that passed. It’s a bombastically ambitious single from a band cautiously evading the limelight for many years, serving as a musical gut-punch to those who doubted the trio could push further boundaries in 2017. Firing on all cylinders, N.E.R.D’s call to arms didn’t go unnoticed.

Listen to “1000” here –

7) Paramore – Fake Happy

From After Laughter

Hayley Williams, Zac Farro and Taylor York have much to be proud of in 2017. Together they pursued a new direction in the bands winding discography, one filled with colourful bops full of danceable synthpop expression. The journey was a fruitful one, with After Laughter providing some of the years most enigmatic, charming and sticky material. “Fake Happy”, the LP’s 5th cut, would stand out as a reflection of all 3 of these characteristics. Somber in tone yet sonically boisterous, the track finds Hayley Williams at a crossroads. Magnetic in her vocal delivery, the front-woman bares her frustration for façade, resenting her – and others – need for concealing true emotion. It’s one of the year’s most relatable tunes, providing a bouncy backdrop to an inner monologue that many of us resent to experience but may not be as open to express. Her anxious conviction plays off of the playful composition so miraculously well, too, producing a wonderfully lively sense of social defiance. The punchy drums and poppy synths lay rich foundation for the rebellious angst, while the chorus explodes in a roaring charge of vibrant guitar licks, bursting as though a chromatic light-show. The tune, and the album it lands upon, are further evidence of the trio unwilling to succumb to hardship, with the three member roster differing to that of the one in 2003. Not many bands could withstand the long, rocky road that Paramore has gone, let alone produce one of their most beloved records 15 years into the journey. Turning tides and taking strides, Paramore has transformed over time, yet they’ve never quite forgotten how to adapt.

Listen to “Fake Happy” here –

6) Mac DeMarco – For The First Time

From This Old Dog

“While she’s been away, living day to day has been tough.” Mac DeMarco mourns the loss of a bygone lover on “For The First Time”. The wound is fresh, the grief is tragic and the longing is hopeless. Mac’s woozy crooning indicates a state of denial as icey synthesisers pierce the ashy air, almost as if the indie darling is starting at his apartment door, awaiting a knock that will likely never come. Detached from the harsh realities of his abandonment, DeMarco’s heart audibly breaks in slow motion, expressing excuses in a fruitless battle against his best intuition, failing to recognise that running from acceptance is futile. Strangely, there’s something rather quite pleasant about the cut, almost as if the dream-like state Mac conjures around himself is one of an invitingly isolated bubble, warm in its security yet cold in its lonely desertion. It’s a revealingly vulnerable tale, presenting Mac’s personal workings with little to no filter, a trait that would embody much of his 2017 album This Old Dog. Stripped back in sonics yet lavish in human emotion, the LP quickly became one of the year’s brightest delights. “For The First Time” explores the dogmas of love, encapsulating so much in so little. “Somehow this old hearts found time to work it out this far.” he bemoans – grasping at silver linings while the clock ticks once more.

Unfortunately, “For The First Time” is not available on YouTube.

5) Frank Ocean – Biking (Feat. Jay-Z & Tyler, The Creator)

Blonded Radio, Ocean’s very own Beats 1 Radio show, offered up one of 2017’s most star-studded collaborations: “Biking”. Frank’s second single of the year is a warmly shimmering delight, one sun-soaked in gleeful nostalgia and frolicsome amusement. The acoustic guitar radiates as the Blonde singer’s vocals melt in tandem, his presence on the track oozing with the familiar sense of suburban home. He comfortably riffs atop the drum beat: “Thinkin’ maybe the feeling just comes and it goes, think I need a lil’ one that look like my clone.” The front-man’s musings remain captivatingly coherent even within such hazy mirage, every syllable, reference and quip rife for laser-focussed examination. Tyler, The Creator joins his Odd Future counterpart on the cut, emerging as if “Biking” serves as a brotherly homecoming, one draped in long-overdue celebration in ode to the artistic strides each have made since their inception. His verse a mellow treat for the ear, meandering as smooth as caramel through the vacant streets while Ocean’s backing vocals verge on ethereal. The 4-minute escapade is a winding victory lap for all three performers, with their recent contributions to contemporary music widely regarded as hall-marks of their respective genres (Blonde, 4:44, Flower Boy). As the sun sets on “Biking”, the orange sky turns to a forlorn black and the adolescent need for play finds its rest once more, the Los Angeles suburbs may never gleam as gold as they did today.

Listen to “Biking” here –

4) Jorja Smith – On My Mind

The sultry, creamy vocals of Jorja Smith paired with Preditah’s nostalgic garage instrumental make for a relaxingly dreamy, yet groove inducing, 3 minutes of bliss. Smith glides over the fast-paced drum break with ease, telling of a relationship in which she sees herself no longer willing to mindlessly maintain. It’s an audible epiphany of sorts, one backed up by sticky melodies and infectious swagger – the listener has no choice but to relish in Jorja’s new found freedom. Drop-dead gorgeous with modern flair, the tune finds Jorja and Preditah working together for the first time, although you wouldn’t have guessed it. Their alliance a justified one, with both assertively striving for glossy, soul-induced greatness with such comfortable unity, suggesting their partnership may not remain a one-off affair. “On My Mind” stands as the only entry on the list that I’ve had the pleasure to experience live, with Jorja’s enchanting performance only further solidifying its seminal status within the year that passed. The on-looking crowd reciprocated Jorja’s electric aura ten-fold, carefree in their celebratory recital of lyrics yet fixated in awe of the musical accomplishment. Experiencing such raw talent with your closest pal is both immeasurably rare and closely treasured – vivid memories of the show will most likely stay as long as the catchy chorus on the song itself. The cut, standing tall as a monument to both personal freedom and artistic freedom, therefore finds itself as one of great personal significance to me. “On My Mind” is a visionary gaining her footing, and with her debut LP slated for release in June of 2018, the dawn of Jorja Smith’s stardom may be imminent.

Listen to “On My Mind” here –

3) King Krule – Dum Surfer

From The OOZ

Delightfully haunting in its candid madness, the auditory manifestation of Archy Marshall’s psyche was one of 2017’s unexpected highlights. His 2nd LP The OOZ runs as though a meandering river, skittish in direction yet uniform in its downward trajectory. Both dream-like and physically claustrophobic, King Krule traverses the kaleidoscopic swamp of his mind throughout. A cautionary tale, absolutely, yet the listener has no choice but to submerge themselves within the muddy waters – the intoxication is dangerously inviting. It’s at the LP’s violent 3rd stop, “Dum Surfer”, where I find myself most entrenched and infatuated at the descent. Draped in nightly street lights, Marshall bellows his drunken anguish parading the forlorn pavements of London. The air is cut-throat with imminent danger, yet the front-man cynically looms over such inclement weather with ease – seasoned in battle, his demons older than the shining vomit scuffing his person. A routinely affair it seems from his bravado on the cut, yet the pace is anything but lackadaisical. The parading drum break encourages Archy through his drunken downfall, beating and thrashing while fiendish laughs thunder in contempt for the boy repeatedly cheating death. Fleeing the scene, the 23 year old taunts his demons once more, appearing unscathed after his getaway vehicle collides with another along the winding English roads. Archy recognises the peril of his journey, yet seems anything but vulnerable: “It was only minor, well that’s the end of that.”, he concludes, accustom to the violence and complacent to the risk. Swirling saxophones and pulsating guitar riffs fade out in tandem to the young boy’s tirade, at rest yet ready to return whenever the king sees fit.

Listen to “Dum Surfer” here –

2) BROCKHAMPTON – GUMMY

From ‘SATURATION II‘

BROCKHAMPTON unequivocally conquered 2017 with the SATURATION trilogy. Releasing three stellar albums within months of each other, the group spearheaded creative innovation through infectious chemistry, left-field production and cut-throat bars. Headed by Kevin Abstract, the 15-member boyband mixes audacious bangers with heartfelt ballads throughout all three instalments of the trilogy, seamlessly gliding from each experimental endeavour to the next; quotable verses and earworm hooks in tow. “GUMMY”, the lead single for SATURATION II, is a brazen declaration of concrete integrity, one laden in both reckless abandon and meticulous experimentation. The track is one of 2017’s stickiest, with remarkably catchy verses and a chorus oozing of MIA influence in its ignorant bravado: “Cash don’t last my friends’ll ride with me, keep em in the bag we rob the limozine, when the guns go ‘pow’ won’t bother us again, I don’t wanna do it but they keep on pushing me.” It’s an auditory frenzy – one that brings the larger-than-life personalities of BROCKHAMPTON together with the manically bouncy instrumental for a vehemently urgent middle finger to those that choose to sit out. Every character is essential, every instrument is imperative to the violently colourful soundscape. Meeting on a Kanye West internet message board, 15 young innovators flexed their creative muscles in 2017, crafting the year’s biggest story: BROCKHAMPTON’s true beginning. Unapologetically candid in their belief of self-expression, the self-proclaimed “South-side One Direction” seem poised for world-domination as they continue to shake the ground beneath the very foundations of hip-hop, consistently breaking barriers and setting bars. Their efforts seem to spite the term “genre”, with their artistic arsenal nullifying such a labelling term. It’s a pleasure to see the growth of such harmonious artistic intuition in its infancy, yet I feel BROCKHAMPTON’s bloom may still be on the horizon.

Listen to “GUMMY” here –

1) Tyler, The Creator – 911 / Mr. Lonely (Feat. Frank Ocean & Steve Lacy)

From Flower Boy

Tyler’s 2017 return marked a seismic shift in the creatives sound. No longer bound to trivial horrorcore antics, the Odd Future leader evidently found his wings, successfully harnessing his eclectic array of inspirations to forge a soul-infused hip-hop epic. Flower Boy is a coming of age story of sorts, one that finds moving confessionals backed by heavenly strings, luscious guitars and blissful vocal melodies. It’s by far and away Tyler’s best record, each track blowing to another as though a serene wind within the technicolour-lined walls of his mind. Every cut essential, yet it’s with “911 / Mr. Lonely” that the LP’s nucleus of bounce, heart and revealing existentialism can be found.

Split into two defined sections, the 4 minute odyssey traverses an extensive sound palette, from tranquil vocal bridges to break-neck rap tirades. It’s former half, dripping of delectable soul, grooves atop the clouds as the delicious drums find comfortable home within the sugary soundscape. The front-man conversationally divulges his need for a companion so eloquently, almost as if declaring each thought to the listener in a quiet corner of an otherwise busy party. Lacy prospers on the cut with his impassioned bridge, sounding utterly florescent as the ‘Dark Red’ singer whimsically finds sanctuary within the playground. Serving as, arguably, the tracks biggest highlight is Frank Ocean himself, spouting his now iconic “Chiiiiirp chiiiiiirp” refrain at the outset of his introduction. Ocean breezes through his section with such witty mellow, audibly fluidic in his expression yet clear-cut with coherent catchiness all the same.

It’s with such fluttering tenor that the track seamlessly glides into Mr. Lonely with no hitches. The latter half speeds along at a blistering pace while gorgeously electric chords illuminate the booming trap-like percussion. Tyler’s flow matches said pace, delivering a tidal-wave of unfiltered confession atop the chaotic instrumental: “Purchase some things until I’m annoyed, these items is filling the void, Been fillin’ it for so long I don’t even know if it’s shit I enjoy”. With the transcendent instrumental firing on all cylinders, It’s easy to forget that “911 / Mr. Lonely” is the gloomiest song Tyler’s ever written.

What isn’t easy to forget, however, is how the tune is one of the best he’s ever written, too. Loaded with exuberant introspection and rich musicality, “911 / Mr. Lonely” embodies all of what made Flower Boy the best album of the year. Tyler’s rejuvenated return serves as a blessing not only to our playlists but to young creative minds everywhere, reminding those of us with a dream that no vision is too bizarre and no passion is too cherished. Banishing inhibition, the 26 year-old makes the case for righteous individualism, cementing “911 / Mr. Lonely” as my favourite song of 2017.

Listen to “911 / Mr. Lonely” here –

Closing Remarks:

And that’s it! If you’ve made it down this far, thank you. Having taken a full year off writing, coming back to it was super fun, and I think I’ve produced my best piece yet. 2017 was one of the most musically fruitful years in recent memory, so choosing 10 songs to represent it was almost masochistic in its difficulty, but I’m absolutely satisfied with the 10 I chose.

Moving from Tumblr to another platform was something I wanted to do for a while, too. Blog posts, such as this one, look better of course, yet Robert’s Hub is a place for all my creative endeavours to live. At the very top of the page you’ll find a menu button filled with the types of all things I enjoy making, such as music, graphic design and more. The site is, admittedly, quite empty at the moment, but rest assured more art is coming very soon! The sites domain will hopefully be getting updated at some point, too, to something a bit shorter and to-the-point. Thank you for taking the time to read my work, you’re the best.

A playlist featuring all top 10 entries can be found here –