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PBG’s Best of 2017: Music

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By Sophia Simon-Bashall

EVERYONE’S ‘best of 2017’ list features Lorde’s stunning sophomore album ‘Melodrama’. As wonderful as that album is, it’s not the only one to be released this year. It’s been a painful year to be a music lover, particularly for rock and alternative fans. Equally, our ears have been blessed with some amazing new sounds – many of which came from women. It’s important that we celebrate that.

Around U, MUNA

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MUNA are a band who will make you feel looked out for, make you believe that there is still good in the world – that there is good in yourself. Their debut album, ‘Around U’, is empowering from start to finish, in both its lyrical content and its dance-pop sounds. There is reflection throughout, both on personal experiences and on the wider world – the latter most present on the single ‘I Know a Place’. It is an album which leaves the band exposed, but strong. It can do the same for listeners, too.

After Laughter, Paramore

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Paramore have been one of the most exciting bands around since they emerged with their debut, ‘All We Know Is Falling’. They’ve evolved thoroughly with each album cycle, so much so that many – particularly in emo and punk scenes – have been quick to say, “they’ve changed”, as if that’s a negative. But if you really listen, it’s all a natural progression – they’ve not forced themselves into any box, and their music is better for it. ‘After Laughter’ is, unquestionably, their strongest album; one which defies categorisation as either pop or rock. Frontwoman Hayley Williams is painfully frank about struggling with mental health throughout the record, something which was immediately startling on the lead single ‘Hard Times’ and it’s opening line – “all that I want is to wake up fine”. However, these songs are dressed up playfully with 80s-influenced synths and bouncy beats, wrapped in spectacularly sing-along worthy choruses. It’s an album you don’t just want to dance to, you have to. It’s a beautiful mix of joyful escapism and a push to confront your own issues. That ‘After Laughter’ can do both at once is truly special.

Rainbow, Kesha

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Kesha’s return to the pop landscape has been, objectively, the best thing to happen in 2017. Lead single ‘Praying’ is beautiful and bold, a battle cry which has resonated with survivors across the globe. If you haven’t spent half the year screaming these lyrics dramatically, or crying as you listen along… good for you, probably. The album is colourful and full of magic, and it is incredibly vulnerable. It’s a love letter to Kesha’s younger self, to all the scared and traumatised people trying and struggling to heal. It’s a reassurance, a promise, and a manifesto.

All We Know Of Heaven / All We Need Of Hell, PVRIS

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PVRIS’ debut album, ‘White Noise’, was equal parts dark and catchy. Their sophomore release, ‘All We Know Of Heaven / All We Need Of Hell’, similarly manages this, and it is stronger in both aspects. It is a weighty album, filled with the emptiness which stems from separation – from lovers, from those around you, and most significantly from yourself. Lynn Gunn’s vocals are haunting, ethereal in tone yet wholly substantial in force. Songs such as opener ‘Heaven’ and ‘No Mercy’ are anthemic and intense, perfect to jump around and mosh to – even in your bedroom. These are impressively slick songs with raw emotion driving them. The themes of Gunn’s lyrics are what connect people so strongly to this band – and the hugeness of PVRIS’ sound ensures that when they’re packing out arenas, undoubtedly rather soon – they’ll be ready to fill that space.

See our pick of the best film and television of 2017 here, and the best young adult fiction of 2017 here.

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