2017 was a very interesting trip of a year. In this year alone, we got to experience the inauguration of an unpopular president, women’s marches all over the world, the eclipse of the sun, the alt-right rising in Charlottesville, and net neutrality possibly being taken away. Despite all the good and bad things that happened this year, one thing stays the same. Music is still a way for people to escape or confront the realities of the world. 2017 was an especially strong year for music. Whether it was newcomers releasing their debut albums or veterans releasing their tenth, many artists delivered on their music. This list is not ranked in any particular order and each album is handpicked by staff writers on the Howler.
Lets face it, middle aged rappers are a dying breed. They’re often seen as washed-up, hacks, or in Jay-Z’s case: sellouts. With two lackluster albums preceding this record and Jay pushing out an unpopular streaming service (Tidal), many fans were reluctant with their excitement for this record. Thankfully, Jay delivered with his 13th studio album, "4:44". 4:44 is a reflection of Jay-Z’s life as husband and father. The album discusses very personal topics such as Jay’s childhood, encounters with racism, and his infidelity with his wife, Beyonce, a conflict that was heavily implied with her 2016 album, "Lemonade". Jay’s exceptional lyricism pairs perfectly with the stellar production by No I.D. "4:44" isn’t just another Jay-Z album, it's an album that stands on its own in a very strong year of music. - Chase Cofield, Photography Editor
"Planetarium", a collaborative album led by singer-songwriter Sufjan Stevens, is a sonically grand record dedicated to the solar system. Most collaborative albums and supergroups fail to form one cohesive sound, but by bringing in classical composer Nico Muhly, drummer James McAlister, and The National’s guitarist, Bryce Dessner, "Planetarium" incorporates the elements of each of its collaborators masterfully. Though I don’t believe this is a perfect album due to its occasionally unfocused lyrical themes, this album forms a luxurious instrumental landscape that feels representative of the cosmos. The album ranges from slower, minimalist compositions to grandiose, orchestral climaxes and crescendos, which I’ve found to be a common aspect of many different pieces of music I’ve enjoyed. "Planetarium" didn’t reach the same level of critical or commercial success that Stevens’ previous albums have because the album failed to incorporate the same lyrical strength that he is known for. I understand this criticism, but when I hear the range of emotions that this album elicits, I can’t help but feel like this is one of my favorites of 2017. - Evan House, Multimedia Editor
SZA’s “Ctrl” released June 9 is probably the dopest album of the year because it expresses numerous feelings of a different type of love that is needy and tenacious at the same time. I’m not a bandwagon listener who only knows ‘Love Galore’ and ‘The Weekend’, instead I heavily enjoy the album in its entirety. I rarely buy albums since everything that I listen to can be streamed, but I felt the certain urgency to buy this album and I don’t regret this at all. Honestly, when I listen to this album I feel like I’m floating on a soft cloud with red hearts swirling around my head. At other times I feel like being that person to disregard everything and angrily yell SZA’s lyrics while arguing with myself in the mirror. “Ctrl” is the album of the year hands down and is probably the best representation of growth shown by any artist in the industry in 2017. SZA takes the crown and “picking up a penny with a press on” is not easier than titling “Ctrl” as best album of 2017. - Anthony Howard , Social Media Editor
King Krule’s “The OOZ” breaks away from his previously lush production that riddles his last album, “Six Feet Beneath the Moon”, and is substituted by a more cynical, dissociative sound. King Krule, after a four year hiatus from all media presence, announced his resentment towards society in a variety of new, profound ways. King Krule, through both voice and instrument modulation, lingers upon the line of establishing newfound corners of human fear and emotion, or complete madness. The album does not reflect the culture of sound, such as jazz or rock, but human emotion. “The OOZ” allows listeners to not only the voyage of creating new sound, but understanding and perplexing human emotions. - Maxwell Bryn, Co-Arts & Entertainment Editor