Year In ReView: Our 30 favorite songs of 2017

At several points throughout 2017, a simple question was asked: What are you listening to? Whether we were fielding it or asking it, the reply was often specific to a singular song. With all due respect to the time-honored album and EP -- and from Slowdive's self-titled to Kendrick's DAMN. to Quiet Giant's You're in Heaven, there were quite a few of note -- this year was all about the song. Songs of passion, songs of empowerment, songs of not giving a damn and songs of giving every last damn imaginable soundtracked a year that tested the will of the people. As Daniel Brockman notes in his intense Year in Pop essay for Vanyaland, pop music is headed down a dangerous path; but it's also merging into one giant streamable playlist, where the underground battles for clicks and listens with Top 40, and this year's Vanyaland year-end recap -- a mere selection of our staff's favorites, and by no means a silly declaration of the absolute "best" -- reflects that. Our staff was asked to come up with their faves, and these are the responses, presented alphabetically. The lead entry, via Toronto's Alvvays, feels like an appropriate jump-off, and the featured image of the up top was shot by the late, great Eddy Leiva, from their October show at The Paradise.

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(Sandy) Alex G, “Bobby”

With “Bobby,” idiosyncratic Philadelphia songwriter Alex Giannascoli scraps the understated guitar rock of past work as (Sandy) Alex G in favor of lilting, rootsy balladry. Drawing on his love for Lucinda Williams, “Bobby” is an achingly beautiful love song that finds Alex crooning under a languid swath of strings. Alex G’s lyrics are often vague, their meaning obscured just under the surface. But here he seems to lay his heart bare as he sings of romantic malaise and the limitations of his artistic expression in some of his most personal yet universal songwriting to date. He also enlists the help of his friends, with Molly Germer contributing violin and Emily Yacina providing backing vocals. Giannascoli seemed to embrace this collaborative spirit on his recent critically-acclaimed album Rocket, which manages to find cohesion in jumbled experimentation. In the context of the album, “Bobby” is just one piece of an elaborate patchwork of musical ideas, expansive enough to get lost in but so intimate that you’re sure to find yourself in it along the way.

— Adam Weddle

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