Songs des Jahres 2017 – Die Charts der Künstlerinnen und Künstler

Leserschaft und Redaktion haben bereits gesprochen, nun verraten einige unserer liebsten Künstlerinnen und Künstler des Jahres ihre Favoriten. Die SPEX-Songs des Jahres – in der Künstlerausgabe.

Julien Baker

Foto: Nolan Knight

1. Manchester Orchestra – „Lead, SD“
vom Album A Black Mile To The Surface

„I’ve loved Manchester for a long time, and the thing that amazes me about them is their ability to continue making music that sounds different and experimenting with their sound while still keeping such a consistent quality with their records. Every record they put out I think is their new best work and this is no exception.

„Lead, SD“ in particular is a perfect example of musical growth because it contains the hallmarks of Manchester’s work (ambitious vocals, powerful guitar hooks, image-rich lyrics,) but there are new elements, like the shifting time and syncopation or the nuances of production and instrumentation, and all of those intricacies make this such a complex, dense, and overall beautiful song.“

 

2. Phoebe Bridgers – „Chelsea“
vom Album Stranger In The Alps

„This entire record is incredible and filled with brilliantly poetic lyrics but this song sticks out to me in particular because it’s such an insightful discussion of the reality of a relationship and the mythos we attach to romantic toxicity. The music and delivery is delicate, and the imagery is still pretty fantastic but it is all couched in a really sharp critique of how love is depicted.

It’s a really profound and haunting song, the whole second verse is amazing:  „And for generations / Their romances make us more / It’s much less than than ever was before, the Chelsea and the floor / Make us stand before the masses like two speakers for the poor / When there was no revolution / Nothing we were fighting for“. Easily some of my favorite lyrics of the year.“

3. Paramore – „Rose Colored Boy“
vom Album After Laughter

„I think this song, as well as the whole record After Laughter, encapsulates such a fascinating paradox of joy and sadness; it’s is sonically energetic and fun, it’s absolutely a song to dance to, and yet the lyrics are all conveying the idea of persistent sadness, which makes the song and it’s performance a macro-level example of the phenomenon described in the words. So the lyric that says „I’m not going to smile if I don’t want to,“ is declaring a refusal to keep up an artifice of happiness if it’s not authentic. The song appears to be a happy song but contains a deep indication of sadness, a resignation to accept negative emotion, so the musical element becomes a metaphor for the lyrical concept in a very interesting way.“

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