Pigeons & Planes' Best Songs of 2017 (So Far)

What a weird year 2017 is turning into. Internet rappers are morphing into stars and villains, genres are evolving so quickly that people stopped trying to name them, and Young Thug is yelling "yeehaw!"

Apart from the speed at which music is changing, the most mind-boggling thing about music in 2017 is how segmented it's become. We've still got big stars like Drake, Lorde, and DJ Khaled making music for the masses, but other artists are effectively finding their niches and realizing that success can be just as sweet when you cater to a modest but dedicated fan base. Morphing under pop, rock, and hip-hop, we're seeing little pockets of new styles develop, and each one has its own stars.

Predicting the future is harder than ever—anything can happen. One explosive moment can start a chain reaction, and the power of social media and connectivity adds oceans of fuel to the fire. And who's most connected? The youth. Fight against the kids all you want, but they're going to end up winning every time. Just try to keep up.

No one at Pigeons & Planes wanted this song on this list except for me. And I understand why. It's a generic, manufactured pop song. Nothing really stands out except for a hook in Spanish and a quick verse from Justin Bieber (that he doesn't even know the words to).

Yet, for some reason, whenever this song comes on I'm instantly transported to a boat off the coast of Old San Juan, with a drink in my hand and a breeze blowing through my hair. Maybe that's why this song has held the top spot on the Billboard Hot 100 for the past month. It's by no means a great song, but it's a guilty pleasure that had to sneak in at #50. The rest of the list is much, much better. I promise.—John Walaszek

Thundercat's Drunk is zany as hell. Cat envy, Kenny Loggins, Pachinko machines, and "Jameel's Space Ride"—it's one of the most freewheeling, imaginative albums of the year, held together by the sheer force of Thundercat's musicality.

He's all over the place, but there are far more hits than misses. Murky, swirling bass harmonies pair perfectly with Thundercat's breathy falsetto on "A Fan's Mail (Tron Song Suite II)," the second track named after the artist's cat. Somehow he makes those "meows" sincere, and like the album itself, a schmaltzy concept becomes high art in Thundercat's hands.—Graham Corrigan

On “Movin’,” Lil Pump talks about fucking your mother and robbing your brother. It’s reckless, ignorant, and obnoxious. But try to listen to it once all the way through and then not immediately want to play it back and throw a rock out of your own window.—Jacob Moore

The standout track on one of the most exciting debut albums of the year, Choker’s “El Dorado” abandons traditional song structures and listens to its own instincts—piling gorgeous hooks on top of each other as silky production blooms in the background. Influenced by an eclectic range of artists including Odd Future and Björk, the 21-year-old singer/rapper/producer happily breaks rules and experiments in a youthful, wide-eyed way that pushes boundaries while remaining immediately enjoyable and accessible. What an introduction.—Eric Skelton

I respect every twist and turn in Toro y Moi's career. The man born Chaz Bundick has authored a variety of musical projects spanning a host of genres—March's Star Stuff album with jazz duo The Mattson 2 is one of the year's most creative and rewarding deep listens, but it sounds nothing like "Girl Like You," which dropped unexpectedly in June. It's a return to the Anything in Return Toro, a lo-fi sound full of detuned synths, earnest, cooing vocals, and a hip-hop backbone. It's his most immediately addictive song in some time, and is the first single off upcoming album Boo Boo.

The accompanying press release had Bundick waxing poetic on the benefits of space and ambience: "I’d listen to the same ambient song over and over again," he said, "Trying to insulate myself from reality. I fell in love with space again. By the time I felt ready to begin working on a new record, I knew that this idea of space within music would be something that propelled my new work forward."

Boo Boo is out July 7, and if "Girl Like You" is any indication, we'll be talking about it again at the end of the year.—Graham Corrigan

There are a lot of moments from Brockhampton’s debut album Saturation that could have made this list, but “Milk” feels like the best example of what these kids are all about. Detailing the difficulties of making it on their own, “Milk” tells the story of fifteen artists following their dream and really committing to it. Stuck in a house together, they’re compelled to create, not just for the sake of it, but to survive.

Each artist contributes something to the narrative, but it’s Merlyn Wood who really sets the tone with, “Hi, my name is Merlyn, I just applied for food stamps.”—Joe Price

Isn't it nice when an artist comes out of nowhere and surprises you with a song that becomes a favorite? Leyya aren't brand new—they released their debut album Spanish Disco last year—but the effervescent "Zoo" was our introduction to the Austrian duo. It's a perfectly constructed pop song that does more than enough to stand out from the crowd, starting with the opening sitar. “The idea for ‘Zoo’ came while watching a sitar lesson on the internet," they told us. "It set a certain mood we wanted to transfer to our song, as well, so it’s quite meditative, but combined with our way of songwriting.”—Alex Gardner

Following Jamie xx's success as a solo artist, it was becoming harder and harder to envision how his solo work would fit in with The xx's minimal approach. Such worries were quickly put to rest this year. While "On Hold" was a strong first single to introduce listeners to the band's new sound, "Say Something Loving" does the best at folding in new approaches with The xx's signature sparse and evocative sound.

Sampling The Alessi Brothers' 1978 track "Do You Feel It?," the beautifully shimmery backdrop complements the lyrics' simple yet refreshing perspective on relationships perfectly—"Say Something Loving" is a far stretch from their usual breakup ballad. The xx are evolving, and that's a good thing.—Joyce

Only Drake can make a bar about his lack of naps sound hard. "I don't take naps!" he declares shortly into one of the standout tracks on More Life. But this is when Drake is at his best; spitting memorable lines that fans can quote after one listen. "Hermes link, ice-blue mink" will be shouted in clubs for years, and "tat on my ribs like I do not know what permanent is" will accompany every Instagram post of a rib tat for eternity.—John Walaszek

“Free Bird” is one of those songs that reaches out and grabs you within seconds of your first listen. Bouncy production from frequent collaborator Russ pulls you in during the song’s opening moments before Bugus comes through with a carefree hook, eventually giving way to impressive bars from the DIEMON rapper. Go ahead and put this on your summer road trip playlist right next to Lynyrd Skynyrd’s classic that shares its name.—Eric Skelton

Squidnice has the makings of a star. He's got the complete package: voice, charisma, and delivery. "Trap By My Lonely" is his biggest hit and this shit slaps. The Belly sample sets the tone for the grimy, hypnotic production and a chorus that gives the feel of a chant or rallying cry. The New York rapper has a lot of potential and if he's able to continue to crank out hits like "Trap By My Lonely" and "Everywhere I Go," we will be hearing a lot more from Squidnice in 2017 and beyond.—Eric Isom

BLONDAGE returned after a year-long hiatus with more fire. The Swedish duo responsible for "Dive" outdid themselves on "Stoned"—it might be the best hook of the year, both musically and philosophically. "I got stoned, now I'm in love," they sing. "Tell me what's wrong, with a little love?"—Graham Corrigan

With “Bad and Boujee” sitting at the top of the charts, Migos were riding a high when they dropped “T-Shirt” on the first Friday of 2017. Rolled out alongside an epic big-budget video filmed on an icy mountaintop, the whole thing felt like a level-up for the Atlanta trio. Now, six months after its release, the song holds up. Flipping an old D4L line into one of the year’s most memorable hooks, the trio move as one—exchanging ad-libs and catchy one liners over a banger from production duo Nard & B. This is Migos at their best.—Eric Skelton

Stormzy's debut album Gang Signs & Prayer runs the gamut from gospel-inspired songs ("Blinded By Your Grace") to gritty, violent rap tracks ("Bad Boys"), but one of the shortest and most straightforward tracks is also one of the best. "Cold" is a straight up anthem, seemingly made with the ever larger crowds Stormzy will be performing it to in mind, but it also serves as a reminder that grime can be pop music without losing what makes it so vital.

Checking the production credits makes Stormzy's approach clear—Grammy wining pop producer Fraser T Smith (Adele, Britney Spears, Sam Smith) is paired with grime producer Swifta Beater—and "Cold" owes much of its success to that polished beat. Stormzy is a star, and "Cold" is one of his key calling cards.—Alex Gardner

Young Thug made a country album. I know that sentence looks paradoxical in print, but Thug is one of music's most daring artists. Nothing is off-limits, and the opening track from Beautiful Thugger Girls finds Thug adopting an unmistakable twang. He co-wrote the song with London singer Millie Go Lightly, and I mean that literally.

They had both written songs to the same Wheezy beat, and when Thug heard Millie's version, he decided to split the song in two. It works beautifully—reversed acoustic guitars swirl around sharp, trappy drums, and the melodic handoff gives the song a second life.—Graham Corrigan

An impassioned love letter to women of color; a defiant stand against racial politics; another Smino and Monte Booker classic for the books—“Anita” is a lot of things, pulling its weight no matter how you slice it. The track is playful and occasionally kiddish, entertaining despite the severity of the issues that make its existence so necessary.

Smino’s lyrics bounce from midwest ice cream chains to transatlantic trips, and then there’s Monte Booker, whose loose production evokes as much positivity as a neighborhood cookout blessed with the finest barbeque. And if that wasn’t enough? “Anita” paved the way for blkswn to touch down and blow minds. Keep this in rotation all summer and then some.—Alex Siber

Watch our Who Is? video profile with Smino here.

After 2014's Nabuma Rubberband, Little Dragon kept busy with high-profile features for De La Soul, Flume, Kaytranada, and Mac Miller. They seem to be on speed dial for any artist searching for a modern electronic twist—the Swedish quartet has been one of electronic music's most consistent groups over the past decade, and they showed why when "High" dropped in February. It's an interesting choice for a lead single—the mellow, foggy vibes contrast with previous hits like "Shuffle A Dream" and "Klapp Klapp," but Yukimi Nagano's airy vocals and those quavering synths make this a must-listen during any quiet moment.—Graham Corrigan

One of the best things about Gucci Mane’s post-prison projects is his restraint, with lean run times and carefully curated guest features. Gucci’s sheer presence on the mic is central, but he chooses the perfect partner on "Met Gala." Instead of opting for the usual Quavo feature, he made the wise decision to employ the best rapper in Migos instead. If it wasn’t for the fact that most Gucci verses are a blessing, Offset would steal the show on “Met Gala.”—Joe Price

Scandinvia strikes again in the shape of Skott, a singer who delivers huge hooks but retains a left-of-center approach to pop music. After blowing us away with her debut track "Porcelain" last year, "Glitter & Gloss" proved she had more edgy hits in the chamber. With distorted production one moment and crystal clear vocals the next, Skott keeps listeners on their toes and reminds us yet again that pop music need not be soulless or formulaic.—Alex Gardner

There are few songs that shaped 2017 as much as XXXTENTACION’s “Look At Me.” Despite having been on SoundCloud with millions of listens long before it reached the mainstream, the song propelled XXX from internet fame to a spot in pop culture. Now he’s getting magazine covers, TMZ coverage, and A-list attention.

It’s complicated, though. XXX’s criminal history and current behavior have made him one of the most polarizing characters in music. That seemed to only work in his favor, converting fans into die-hards and forcing those who liked X to defend him. Most of the time, that argument started with, “‘Look At Me’ isn’t even his best song!” And it’s true, if you ask me. He’s got a range of skills that most casual fans still haven’t dug into, and songs like “I Don’t Wanna Do This Anymore” and “Revenge” are proof.

But still, when I look back on 2017 I’m always going to think of the crowds of young and wild kids ignited when “Look At Me!” drops in any public setting. When making these lists, we always have to consider impact as well as how much we like or don’t like a song. “Look At Me!” is a game-changer. It introduced a new star/villain, and it opened up the floodgates for a wave of previously internet-only rappers who favor energy and charisma over mixing and mastering. Like it or not, there’s no turning back.—Jacob Moore

Get familiar with more of X's eclectic catalog here. 

At long last, LCD Soundsystem is back, and what a time to reunite. There's something that's very nostalgic about "Call the Police," but the song isn't one of their usual breakup ballads. Rather, James Murphy and his band sound urgent, with an overall sense of angst and anxiety as Murphy taunts, "Yeah, call the police" after describing a "full-blown rebellion" where "they're gonna eat the rich."

It's no coincidence that "Call the Police" sounds like an anthem; epic guitars, Murphy's lo-fi vocals, and pointed lyrics combine with stadium size ambitions. Six years after retiring with a mighty fanfare, LCD Soundsystem has made a triumphant return in "Call the Police."—Joyce

Although it's still pretty early in what will hopefully be long careers for each artist, both GoldLink and Steve Lacy already have recognizable sounds that are unique to them. The two connected for a deep cut on GoldLink's album At What Cost, and it's a standout moment. Lacy offers up simple and charming production which GoldLink effortlessly floats over, leaving room for Lacy to also sing a chorus and tie everything together. The result is sweet, bouncy, and hard to resist.—Adrienne Black

Watch GoldLink talk about his highly personal album here.

Amir Obe has been "working 25 hours every day," and the hard work is paying off. "WISH YOU WELL" starts off with some mild steel drums, and then the beat drops and kicks you in the gut. This is one of those songs that makes you feel like the superstar, like it's you on the way to the club to pop bottles and spray all your haters. Obe's None of the Clocks Work project is impressive and definitely worth a listen, starting with "Wish You Well." 

Kick back and enjoy the champagne showers, they're on the way.—John Walaszek

Two of 2017's brightest young rockstars, Lil Uzi Vert and Playboi Carti, linked up for "wokeuplikethis*" and we're so glad that they did. With more smooth production from Pierre Bourne (who also did Carti's "Magnolia"), this song will be a feel good anthem all summer. I'm confident if you start your morning with "wokeuplikethis*" you can conquer anything.—John Walaszek

Ty Dolla $ign is a beast and his work-rate is wild, delivering catchy hook after catchy hook with his signature laid back delivery. He may be all over the radio, but dig into Ty's catalog and you'll find much more than cookie cutter pop songs.

"Infinite Stripes" is one of his best R&B songs in a minute, and Cashmere Cat's production plays a large part in keeping things interesting. The Norwegian producer seamlessly blends contemporary rap/R&B production with the twinkling melodies that make his own solo music so compelling. Ty Dolla $ign may say that he's tired of talking on "Infinite Stripes," but we're certainly not tired of listening.—Alex Gardner

Brooklyn’s SAiNt JHN cruises through bass-backed boasts with a coldness that betrays inner pain on "3 Below." His relationships are quarantined, compartmentalized, kept at an arm’s length, but a frozen heart has never sounded so good. Troubled undertones aside, “3 Below” is one hell of a track to nod (or scream) along to, and if you've seen SAiNt JHN live you know this one goes off. It’s a welcome opportunity to give life the middle finger and proclaim perseverance. For those striving to keep it moving, SAiNt JHN is your fuel.—Alex Siber

—Alex Siber

Common Sense, the new album from British rapper and singer J Hus, is so consistently excellent that it's difficult to pick a best song. Whether you want a slow jam, a party track, or an uplifting message, there's a track for you, with the soundscapes influenced by hip-hop, UK garage, Afrobeats, dancehall, and more. Throughout it all, J Hus's personality shines, as does his songwriting ability. "Did You See" is one of the album's most low-key tracks, but Hus still glides over the slow-burning beat with a catchy hook, multiple quotable lines, and a sprinkling of his own slang. J Hus is a star in the U.K. and America is now starting to catch up too. Don't get left behind.—Alex Gardner

About two weeks before the release of his sophomore album True to Self, Bryson Tiller shared three tracks on his SoundCloud to ramp up the anticipation. While "Honey" and "Somethin Tells Me" fell into his usual lane of R&B, the third track—"Get Mine" with Young Thug—took a different turn.

Over bass-heavy production, Tiller proves there's two sides to his artistry. Rather than singing over a smooth track, Tiller stands his ground on the hard-hitting track and delivers a verse aimed at those still doubting him. Young Thug's own melodic verse completes the track with the perfect balance, making "Get Mine" highly replay worthy.—Adrienne Black

The best tracks from Vince Staples take full advantage of his rapping abilities by not distracting things with overblown choruses or busy beats. It helps that “Big Fish” has a super catchy Juicy J hook, but the main attraction here is Vince’s verses. Atop the bright, clean production, Vince flourishes. Reflecting on how he got to where he is now, the success, and everything that comes with it, “Big Fish” is just another reminder that Vince is one of the best rappers alive.—Joe Price

Angel Diaz said it best when he wrote, "Jessie Reyez' voice is like a Henny Colada; smooth and sweet, but more than capable of fucking you up." With superb songwriting skills and the voice to boot, Jessie Reyez is set up to be a superstar. "Shutter Island" is a prime example of how she's able to capture all the angst of a relationship, but sing it in a way that makes you want to hear it over and over again. To put it plainly: Jessie Reyez is a bad bitch. She forgot it for a second, but after hearing "Shutter Island" you never will.—John Walaszek

Seattle duo Shabazz Palaces are forward-thinking but still connected to their roots, and while that can make for some challenging music, they nail the perfect balance on "Shine A Light." It's a gorgeous slice of soulful hip-hop with a touch of psychedelia, a timeless piece of music that defies current trends and of-the-moment styles.—Jacob Moore

It’s very surreal to talk about how much Mac DeMarco has matured, but that’s the main element that shapes his latest album, This Old Dog. Instead of goofy love songs and odes to his favorite brand of cigarettes, the album explores what it means to grow up. Mac sings about his misdeeds and who he’s alienated along the way, acknowledging that he hasn’t always been the easiest person to love. “On the Level” conveys all of this in its emotion rather than Mac’s lyrics, and that’s a feat that deserves to be applauded.—Joe Price

The members of The Internet turned up in 2017. Steve Lacy, Matt Martians, and lead vocalist Syd all dropped solo projects, but the first single from Syd's Fin still caught us off guard. We'd become used to hearing her voice over lush, funky soundscapes, but "All About Me" is an in-your-face track, closer to the pop mainstream than any of The Internet's sprawling, experimental R&B. The beat is icy and electronic, the hook is polished, and Syd doesn't hold back. "All About Me," was produced by Steve Lacy, who is quickly becoming one of the most exciting young artist/producers in the game—long may his and Syd's creative partnership continue.—Alex Gardner

Choosing a favorite song off Kendrick Lamar's DAMN. is no easy task. Each track seems meant for a different mood or moment—"LOVE." sounds nothing like the rest of the album, the perfect complement to intensely introspective tracks like "PRIDE." and "FEEL." The Teddy Walton-produced beat came to Kendrick through Zacari and his unforgettable vocals on the hook. Kendrick manages to deconstruct love in human, frank terms without sacrificing the romance of loyalty: "Keep it a hundred, I'd rather you trust me than to love me," he sings on the hook. "Keep it a whole one hundred, don't got you, I got nothing."—Graham Corrigan

In 2014, Lorde promised in an interview that her sophomore album would sound "totally different." After a four-year hiatus (2014's "Yellow Flicker Beat," which appeared on the Hunger Games soundtrack, excluded), the 20-year-old boldly returned with "Green Light."

"Brand new sounds in my mind," she sings, and "Green Light" is exactly that: Lorde unlike we've ever heard, her powerful vocals atop pounding, upbeat production. It's a daring choice, introducing Melodrama with a song that features a sound so different than that of Pure Heroine. But as they say, fortune favors the bold, and Lorde can rest assured that "Green Light" has once again ignited her well-deserved popularity.—Joyce

Even if the rest of Future’s two albums from this year might blur together for more casual fans, there’s no denying that “Mask Off” is one of his best tracks yet. There’s a reason this is Future’s highest-charting single to date, and a lot of that comes from Metro Boomin’s simple but fantastic production. It’s not as intense as some of his other highlights, but that’s also what makes it stand out in his discography.

It’s almost sneaky how fantastic that hook is, leveraging the production to fantastic effect. The subtle melody lingers long after the track finishes, making it infinitely replayable months down the line. It’s Future’s shining achievement of 2017, highlighting exactly what it is that makes him one of the most important figures in rap music today.—Joe Price

Just off of the ruthless second verse alone, OMB Peezy's "Lay Down" is the hardest track of the year. When I spoke to the Alabama-born rapper he told me he grew up listening to a lot of Lil Boosie and Hot Boyz and early into "Lay Down" the influence is apparent as he uses his unique voice to his advantage. The whole song is fueled by a tenacious energy often missing in today's rap. Although he only has a handful of songs online, Peezy isn't going anywhere anytime soon. The 20-year-old spitter is just getting started and if his new project Loyalty Over Love is anything like what he's been putting out already, OMB Peezy will soon be a name ringing across all regions.—Eric Isom

Kodak Black's Breakfast Club interview gives a fascinating look into the mind of the young Florida rapper. Even when he's explaining fairly simple things, he's got an engaging way with words that makes him such a natural rapper. That comes across in highly entertaining interviews, but even clearer in his music. His subject matter is not unlike a lot of artists'—the struggles that come with success, the yearning for a better life—but it's all in the way he says it. Whether poignant or comically blunt, Kodak is supremely entertaining and when that gets packaged with the right beat and a good hook, he's undeniable. "Tunnel Vision" is the perfect example.—Jacob Moore

When "Unforgettable" first came out earlier this year, it was clear French Montana's single had the potential to be something big. As the mainstream music industry continues to open its welcoming arms to the sound of Afrobeats, the timing for this release felt perfect. The production is subtle, but offers just enough to give listeners a reason to move. Rae Sremmurd's Swae Lee dominates the track with an infectious chorus with an easy melody that is almost impossible to forget. As it continues to burn up the charts, there's no doubting that "Unforgettable" will be one of the songs of the summer.—Adrienne Black

"Headlock" premiered while Zane Lowe was on air at Beats 1. He played it on repeat for close to an hour, and his zeal become more rabid and convincing with each passing listen. This is Cousin Stizz's biggest moment for good reason—the flute sample is perfect for Stizz, as it's the sort of clean, inviting loop that gave Monda and Suffolk County such replay value. Stizz also pulled in Offset for a guest feature, a collab that's surprising on paper and magic in practice. Boston and Atlanta united to turn what could have been just another song about drinking and drugs into a summer anthem.—Graham Corrigan

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"[T]his song is dedicated to my mother Binty Sisay. The more time that passes, the more I see the extent of her love for me," Sampha tweeted when "No One Knows Me (Like The Piano)" was released. It's a heartbreakingly beautiful song, made all the more painful by the fact that Sampha started writing the song on the piano in his mother's home when he moved back there to care for her in the months before she passed away. Sampha has the kind of once-in-a-generation voice that can touch your soul, and there's nothing to distract from it on this perfectly poignant song that touches on both loss and the emotional power of objects from our childhood.—Alex Gardner

Despite what its name might suggest, "Glock in My Benz" isn't loud, aggressive, or abrasive, like some of the other music that Florida rapper/producer Smokepurpp has been involved with. It's extremely welcoming, and a well-written song that packs a punch by delivering hook after hook through its 3:21 runtime. The 808-heavy, melodic TM88 production gives it just the right amount of emotion, and "no such things as friends" is on par with Uzi's "all my friends are dead" in terms of phrases that repeat in my head throughout most hours of most days. Smokepurrp's album DEADSTAR is coming soon, and he's already showing his potential to transition from niche SoundCloud vibes to legitimate hits. Put this on the radio.—Jacob Moore

As SZA began the rollout for her album, each new single uncovered a new layer of her truth. She took a deep dive into self-reflection on "Love Galore" as she opened up about past relationships and her own faults that lead to their demise. But she owns up to these mistakes and grows past them. Travis Scott joins her on this duet to offer up an alternate perspective and complete the narrative. The raw honesty makes listeners relate to SZA on a very personal level, but the fact that this single is incredibly catchy doesn't hurt either.—Adrienne Black

“Yo Pierre, you wanna come out here?” If you heard those seven words in the company of other humans in the first half of 2017, you could immediately feel a shift in the room’s energy. One of the year’s most addictive songs, “Magnolia” checks all the boxes of a modern hit. Over booming yet charmingly unpolished production from Pierre Bourne, Playboi Carti rattles off a series of bite-sized quotables and ad-libs that aren’t necessarily lyrically complex or deep but are incredibly fun to sing along to. If you haven’t randomly yelled “In New York I Milly Rock” in a crowded room, you haven’t experienced 2017 at its best.—Eric Skelton

Watch our video about the unorthodox rise of Playboi Carti here.

Making fun of Calvin Harris used to be a forgone conclusion. Until quite recently, I was of the opinion that Harris was just another EDM party boy making too much money for pressing play. And yet here we are in 2016, and he's dropping an album packed with stars that has singles I love. Taylor Swift conspiracies aside, there's no denying Harris has found some answers on Funk Wav Bounces Vol 1. "Slide" is case in point: this is summertime distilled, from the almost-but-not-quite obnoxious synth lead, to Frank's breezy hook, to Offset's Pulitzer-worthy verse.—Graham Corrigan

A Boogie Wit Da Hoodie is a star in New York and has gained national attention with "My Shit," but it feels like his true breakout moment is still yet to come. With "Drowning," which has peaked at #47 on the Billboard chart at the time of writing, A Boogie has his biggest release to date, a moody track with a quotable-filled Kodak Black guest verse.

Fitting in perfectly with the melodic direction much popular rap is moving in, A Boogie sings both his verses and that catchy hook over twinkling keys from producers Jahaan Sweet and Quasi​. The chorus is the star here, but Kodak Black deserves special mention for this uniquely absurd line: "I'm the shit I'm fartin', I don't know how to potty." "Drowning" is more late night vibing than club turn up, and it's one of the year's most addictive songs.—Alex Gardner

Watch our Who Is? video profile with A Boogie Wit Da Hoodie here.

Scandinavia's got another one. 20-year-old Norwegian artist Sigrid's debut single "Don't Kill My Vibe" dropped this year via Island Records, and it's an anthemic piece of pop that showcases the young singer's songwriting skills. When she was still in high school, Sigrid had local success—she even hit national radio with her second-ever song—but now she's splitting her time between Norway and London and sounds ready for the international attention that she's getting. It can be a challenge to make a song this accessible without making it too sugary or basic, but there's a strength in Sigrid's delivery that makes this song both extremely immediate and powerful at the same time.—Jacob Moore

We had a lot of trouble choosing which Kendrick Lamar song would rank highest on this list. "Element," with its hypnotic melodic hook and pointed lyrics, sat in this spot for a while, as did "Duckworth," with its goosebump-inducing ending, and undeniable banger "Humble." In the end, though, we couldn't escape "DNA." In case anyone had forgotten while he experimented with funk and jazz on To Pimp a Butterfly, King Kendrick returned in 2017 to remind us that he's the best rapper alive. "DNA" features some of his fiercest rapping over a monstrous Mike Will Made-It beat, and just when you think the ride couldn't get any wilder, the beat switches up around the two-minute mark and Kendrick blacks out.

"You mothafuckas can't tell me nothin'," Kendrick raps at the beginning of the second verse, and he's right. He's at the top of his game, from music to live shows to videos (shout out Don Cheadle in the "DNA" video), and we're priveleged to be witnesses.—Alex Gardner

After a few years of silence, Frank Ocean swept back into our lives in 2016 with two albums, a video, and a magazine. Many of us figured he'd quickly return to the shadows, but with the Blonded radio shows on Beats 1, he has rarely left the conversation in 2017. Sharing new and old music from around the world with the help of co-hosts Vegyn and Roof Access, and regularly debuting new music, the show is essential live listening—if you catch it, that it is, as there is no regular schedule and shows are often announced only hours before they start.

"Chanel" was debuted on Blonded 002 in March, and it was a special moment. The new track was played for an hour, with a version featuring ASAP Rocky appearing on occasion, and this hypnotic loop was the perfect introduction to a song that touches on themes like duality and Frank's bisexuality. On "Chanel" we get all of Frank's talents on full display—he's singing and rapping, he's painting vivid images and making direct statements, and pop culture references are littered throughout, from filmmaker Gaspar Noé to 21 Savage.

Frank made some of the best music of 2016, and he hasn't slowed down this year.—Alex Gardner

2017 is the year when the entire world started believing Lil Uzi Vert when he says he's a rockstar. On “XO TOUR Llif3,” Uzi brings together that rockstar energy and pop punk undertones over a contemplative TM88 beat, and he captures a complicated mood somewhere between numbness and celebration. It's a mood and style that has been bubbling on alternative rappers' SoundClouds for a couple of years now, but Uzi's “XO TOUR Llif3” is more evolved—focused and fine-tuned like a pop song. It's one of the most inescapable tracks of the year, but halfway through 2017 and after dozens of listens, we still aren't sick of it. When we look back on the evolution of hip-hop, “XO TOUR Llif3” will be a landmark.—Jacob Moore​