As 2017 comes to a close and we take the time to tabulate the best songs of 2017, it’s appropriate to appreciate the sheer breadth of music available with just the click of a button to anyone with an internet connection. While this future became more tenuous after a 3-2 vote by the FCC to repeal net neutrality — the latest in what seems like an unending slog of shocking and frustrating news — the open nature of the internet has made music consumption easier (and more overwhelmed with choices) than ever before. Soundcloud, Spotify, Bandcamp, Tidal, Apple Music, Pandora and more all jockey for position what is a bit of a Wild West for the music industry.
In this atmosphere we were treated to a fine year for music. From Amalie Bruun fully realizing the potential of Myrkur on her second LP to St. Vincent perfecting the art of art-rock on her own, this year saw releases from many artists at the height of their abilities. Torres took an impressive, dramatic leap forward with her third album, as did Canadian synth-pop group Austra — both offering up bleak, at-times discordant but altogether breathtakingly beautiful songs this year. Meanwhile, Portugal. The Man came out of nowhere to score one of the few legitimately-great pop-rock songs in recent memory.
The brightest takeaway from 2017 is that despite the fact that we are nearly through year one of the darkest timeline of the modern era, we got some pretty choice tunes. From the heaping helping of music we’ve been served this year, without any more delay, here are the Best Songs of 2017. — Matt Matasci
50. Carly Rae Jepsen – “Cut To The Feeling”
Jepsen returns to give the world yet another upbeat pop song complete with an edgy-yet-catchy chorus.
– Sophia Gragg
49. Michael Kiwanuka – “Cold Little Heart”
Kiwanuka’s soul comes to life in this emotional, heart-wrenching tale of love and loss.
– Ally Tatosian
48. Iron Reagan – “Grim Business”
It’s “Grim Business” to not be team Iron Reagan at this point. Anyone with a municipal background knows that. Circle pits and gruff shouts all day for this one.
– Cervante Pope
47. Julien Baker – “Turn Out the Lights”
The title track from the folk-rocker’s sensitive, powerful album launched her career to the next level of visibility.
– Phoebe Silva
46. Sufjan Stevens, Bryce Dessner, Nico Muhly and James McAlister / Planetarium – “Neptune”
Holst’s Planets Suite comes to mind constantly while listening to this adventurous, indie-centric float through the universe.
– Alex Munoz
45. Mutoid Man – “Bandages” ft. Chelsea Wolfe
“Bandages” is Mutoid Man’s soulfully elegant break away from their extreme metal pace to give the listener a softer side of the band.
– Jon Weigell
44. Charli XCX – “Boys”
Charli XCX’s mega hit “Boys” is a song that forces the listener to move to the beat and the simple yet elegant chorus and melody.
– Sophia Gragg
43. The xx – “Say Something Loving”
The xx embrace a new loving, celebratory vibe while exploring new relationships.
– Ally Tatosian
42. Nicole Atkins – “A Dream Without Pain”
This dreamy, soulful track is the perfect closing summary to Atkins’ killer fourth album, Goodnight Rhonda Lee.
– Phoebe Silva
41. Amanda Palmer – “Drowning in the Sound”
This song stands out for its dramatic instrumentation and lyrics, Palmer here quickly reacting to Hurricane Harvey’s inundating floods.
– Jamie Hampton
40. Sweet Apple – “World I’m Going to Leave You”
“World I’m Going to Leave You” is everything that people miss in modern rock music. The hooky guitar riff, combined with the showmanship of the galactic voyage the lyrics examine, is classic rock at its finest.
– Chris Fastiggi
39. Lorde – “Green Light”
Off her latest album Melodrama, Lorde’s “Green Light” is sincere and captivating from beginning to end. The slow intro with Lorde’s deep vocals bring the listener in, and when the beat picks up, the song turns into an instant pop hit.
– Ilana Tel-Oren
38. EMA – “Breathalyzer”
“Breathalyzer” boldly illustrates youthful debauchery and drug use from a feminine perspective. Rather than focusing on the consequences, EMA vividly recreates the high and the comedown through the guttural buzz of its screeching instrumental and the sparseness that follows.
– Vanessa Phan
37. Kelela – “Frontline”
Kelela’s ethereal album Take Me Apart deserved all the recognition it received this year, and standout track “Frontline” is equally deserving of the shine. With sultry vocals and well-crafted production, it’s only more proof that the future of R&B is as bright as ever.
– Kenan Draughorne
36. LCD Soundsystem – “Call The Police”
“Call The Police” is one of the strongest releases this year and truly captures the essence of LCD Soundsystem’s return on The American Dream. “Call the Police” brings together the best elements of American rock and synth-pop and melds them together to create one of the best tracks of 2017.
– Will Burton
35. Pixx – “I Bow Down”
“I Bow Down” is a classic feel-good ‘80s pop single if it were written for a haunted house horror movie. It makes you want to drive with the top down and then go home and watch Stranger Things.
– Kellie MacDougall
34. The Afghan Whigs – “Oriole”
What an eccentrically fantastic song. The Afghan Whigs fail to disappoint with the Modest Mouse-ian wistfulness of “Oriole,” which combined with a rock stomp, leaves a lasting impression.
– Alex Munoz
33. Hurray for the Riff Raff – “Living In The City”
The third single from Hurray for the Riff Raff’s The Navigator, “Living In The City,” is a journey through Alynda Segarra’s childhood in New York City. Ditching the fiddle and bluegrass influences of the band’s earlier work, “Living In The City” represents a heavier, country rock-oriented sound. The song’s portrayal of growing up in a densely populated community is a common theme throughout the album, but here, it takes center stage.
– Ben Jardine
32. A Perfect Circle – “The Doomed”
Lyrically intelligent, A Perfect Circle’s first new song in many years “The Doomed” speaks of a world, not unlike our own. The words within it use Bible verses to detail how the rich continue to take it all, leaving the poor behind mercilessly.
– Caitlin Herrera
31. Tove Lo – “Disco Tits”
Envelope-pushing Swedish pop star Tove Lo takes a bold stance on female sexuality on “Disco Tits.” The empowering song’s up-front and direct lyrical themes are buoyed by stellar electronic pop instrumentals.
– Matt Matasci
30. St.Vincent – “Pills”
The indie rock artist St. Vincent gives fans all they could ever want in a song with “Pills,” featuring a fun beat, guitar solos and of course her unique and powerful voice.
– Sophia Gragg
29. Austra – “We Were Alive”
Starting from a familiar synth pop framework, this song’s main cool factor arrives with Katie Stelmanis’ soaring, almost operatic vocals juxtaposed with a punchy, buzzing kick drum. The spacey but entrancing hook adds in some adventurous melodies. It’s just the right amount to be unsettling and cathartic at the same time.
– Emerson Oliver
28. Tyler, The Creator – “911/Mr. Lonely”
Plain and simple, “911/Mr. Lonely” sounds like summer. Tyler links with Frank Ocean yet again on a cheery ode to loneliness, while inviting Steve Lacy to add some raw emotion to the chorus. Once the beat abruptly switches to an aggressive banger halfway through, his pleas switch from gentle to demanding, giving voice to both sides of the aching experience of missing a dear companion.
– Kenan Draughorne
27. Ibeyi – “Away Away”
“Away Away” is the first true song on Ash, following a quasi-introductory track, and it instantly sets the tone for the rest of duo’s superb sophomore album. Mixing Lisa-Kaindé and Naomi Diaz’s Afro-Cuban background with a modern electronic-pop sheen, it’s a track that is hard not to put on repeat.
– Matt Matasci
26. Godflesh – “Be God”
Incorporating God’s name into anything you do gives the implications that whatever the outcome is, it better be great in a holier plane. That’s a given. And while at times every band can be hit or miss, Godflesh’s “Be God” lives up to the name as a definite hit. It pulls you in with its heavy dirge and ambient static that makes it a perfect fit on this list.
– Cervante Pope
25. Fujiya & Mijagi – “Seratonin Rushes”
British electronic band Fujiya & Mijagi are quietly among the most prolific artists of their genre. “Seratonin Rushes” from this year’s self-titled LP is the exemplum of the group’s sublime talent for mixing dancefloor music with rock & roll. An ode to getting high, Fujiya & Mijagi may not be what the club kids are listening to, but they should be.
– Matt Matasci
24. Syd – “Insecurities”
The final track on Syd’s solo debut Fin, “Insecurities” musically falls more in line with her work as part of The Internet than the hazy, 808-driven sounds on the EP. By water falling melodies over a funky beat that complements her heartfelt, sincere lyrics, she creates one of her best songs yet, showing that even when she chooses to focus on her own solo work, the motivations are in the right place.
– Kenan Draughorne
23. Downtown Boys – “A Wall”
In a tumultuous year, protest songs poured in. None were as cathartic as Downtown Boy’s fuck you to Trumpism, “A Wall.” Pouring smooth sax tones atop a perfect mix of Mika Miko and Fucked Up, the Rhode Island band built the year’s best punk song. Rejecting protest-song clichés, they directly and vehemently express themselves with a simple, altogether-true statement: “A wall is a wall / A wall is just a wall / And nothing more at all.”
– Matt Matasci
22. Lana Del Rey – “Coachella – Woodstock in My Mind”
In “Coachella – Woodstock in My Mind” Lana Del Rey takes a rare pause to consider the horrific possibility of nuclear war with North Korea. It’s a rare moment of world-conscious sincerity from the singer, pictured beautifully amidst this year’s annual Coachella Festival as she ponders on the fate of love-filled youth.
– Raymond Flotat
21. Mark Lanegan Band – “Beehive”
Within the first twenty seconds of “Beehive,” the intentions are clear. From the 2017 album Gargoyle, the rock song highlights the grunginess of Lanegan’s vocals while sharp, systematic guitar and smooth drums echo throughout the song. Each element of the track is both celebratory and reminiscent of the best of ’90s rock.
– Adrianna Fuji
20. Power Trip – “Executioner’s Tax (Swing of the Axe)”
A straight up traditional heavy metal jam, “Executioner’s Tax” is a chunky and thrash-y good time from a fairly new band in the metal world. With guitar work comparable to bands like Grand Magnus, Power Trip are in good company as they forge on with this crowd-pleaser of a song at their disposal.
– Jon Weigell
19. “Feet Don’t Fail Me” – “Queens of the Stone Age”
The opening track off their latest album Villains, “Feet Don’t Fail Me” is a funky pop groove, a stylish revamp for the iconic rock band. A theatrical, ghostly chorus introduces the disco charged dance beat, amping up all the drama and intensity Queens of the Stone Age exhibits live in concert. It comes as no surprise that Mark Ronson (the man behind “Uptown Funk”) produced this catchy instant-classic. A standout single from the album, “Feet Don’t Fail Me” is an unexpected modern twist on their past material, the kind of song you could play twenty times over before getting to track two.
– Kellie MacDougall
18. Alessandro Cortini – “Perdonare”
There are few things more gorgeous than something that will show you its flaws. “Perdonare” crackles with intensity, the synth notes have a rough, grinding edge to them that demand a closer listen. The textures are almost tangible, reach out and touch them, it practically begs you to. When your fingers finally hit, they’ll find not sandpaper, but down, nothing is ever as it seems.
– Drew Pitt
17. Karen Elson – “Double Roses”
Elson’s second full-length album signaled a departure from the rootsy, balladeer sound she had honed on her debut record, produced by ex-husband Jack White. On Double Roses, she stretches her wings and embraces an authentic new sound, inspired by the famed “Laurel Canyon sound” of the sixties and seventies. As eclectic as Elson herself, the title track is steeped in luscious retro influences, evoking a vaguely nineties alt-folk feel. Drawing inspiration from a poem by the late Sam Shepard, and sprinkling in spoken word a la Patti Smith, the track is sexy and sensuous, a bold declaration of musical independence.
– Phoebe Silva
16. Chelsea Wolfe – “16 Psyche”
Chelsea Wolfe combines many different musical aspects in “16 Psyche” to produce a quality track. This song is sure to keep the listener on their toes with the intense musicianship as well as the many layers woven within. Somehow all of the dramatic instruments melt together perfectly with the airier and haunting vocals on the track, to make for an intriguing listen for anyone. The song starts off slower and continues to build into one of the strongest songs of the year.
– Jamie Hampton
15. Zola Jesus – “Soak”
Zola Jesus, a rising star of goth noise-pop, lets her obscure mind lead the way on her new record Okovi. Veiled by a black mask on the Daft Punk-style single cover, she peers out to the distance with a forlorn and pleading look in her eyes. Her expression matches the tone of the track “Soak”— a distant and mournful ballad accompanied by a strong electronic melody. The haunting industrial beat compliments her emotional voice, begging for death in her last moments from the perspective of a serial killer’s suicidal victim. Original, comforting, and dark, the song’s twist on modern goth music captures emotions you didn’t even know you had.
– Kellie MacDougall
14. Karen Elson – “Wonderblind”
Like a gorgeous love ballad from an era long gone, “Wonderblind” tugs at the heartstrings. Across a brilliant ’70s inspired arrangement, Elson’s poetic lyrics flow through hauntingly catchy melodies. “Oh, is it worth the cost / To lose yourself when you’re already lost,” she sings on the chorus as it swells, replete with the prettiest of harp flourishes. If the song wasn’t interesting enough, a rocking flute solo flies in and ends up dueling with the guitars. This song is for anyone who doesn’t mind a little romantic contemplation all while being treated to some retro ear candy.
– Emerson Oliver
13. Torres – “Righteous Woman”
Torres showcases the unique qualities of her voice on “Righteous Woman,” one of many reasons to love this track. Taking her traditionally guitar-based sound and transforming it on Three Futures, “Righteous Woman” succeeds by leaving empty apprehension, uncomfortable moments of silence. Lyrically aggressive (“I am not a righteous woman / I’m more of an ass man / And when I go to spread it’s just to / Take up all the space I can”), it fits well the overall theme of the album. This song is the perfect example of how to do simplicity the right way with the vocals being the main focus of the track as the simple instrumentation highlight Torres’ strengths as an artist.
– Jamie Hampton
12. Nine Inch Nails – “She’s Gone Away”
Originally created for the TV show Twin Peaks: The Return, “She’s Gone Away” by Nine Inch Nails is decently representative of 2017 as a whole and the dread that has accompanied the year. It’s not an uplifting song; its aggressive, scary, yet remains a masterpiece. With lyrics like “You dig in places till your fingers bleed / Spread the infection where you spill your speed,” this is a song that digs deep into the emotions of angst and fear, accomplishing the goal that Twin Peaks producer David Lynch set out for them, to make his “hair stand on end.”
– Caitlin Herrera
11. Kendrick Lamar – “FEAR.”
How could the song that Kendrick Lamar considers his most impressive display of penmanship not make the list? Over nearly eight minutes, the Compton rapper breaks down his fears and insecurities at three key intervals in his life: age seven, 17, and 27. Some are more relatable than others, but all are incredibly striking and poignant, giving hip-hop fans an introspective look into the mind of 2017’s MVP. Whether it’s his fear of a beating from his parents, fear of dying “anonymous” in the streets of South Central LA, or fear of losing everything he’s ever worked for, it’s an important reminder that no matter how monumental one’s platform is, everyone deals with their own human self-doubts.
– Kenan Draughorne
10. Wavves – “Million Enemies”
Wavves took a step back with their fourth single off You’re Welcome, “Million Enemies.” That doesn’t mean a step backward is a step in the wrong direction. The track begins with a sparkling vibe reminiscent of Animal Collective and takes the listener on a journey through spacious trips, or as lead singer Nathan Williams explains, “ultraviolent shine.” That rawness and lo-fi aesthetic we expect from Wavves is set aside for something more glamorous and electronic.
The usual California beach punk crew took overdubbed vocals to create one of the catchiest choruses of the year. “I’ve got enemies, a million enemies / But baby, and I’m feeling fine,” Williams sings in front of a thumping, rhythmic drum pattern from Brian Hill. The heart and soul indie rock of Wavves is still within “Million Enemies,” it just evolves into more of the electronic, MGMT half of indie rock that is just as easy to fall in love with.
– Chris Fastiggi
9. Mount Eerie – “Ravens”
There are times art is almost too devastating to enjoy. Phil Elverum’s first Mount Eerie album following the tragic death of his wife Geneviève Castrée is the visceral response to the raw distress of loss. While the songs are very much lo-fi, the recordings are rich in detail, transporting the listener to that room in Anacortes where “he watched [her] die.”
“Ravens” is the most striking song on A Crow Looked At Me, a conversation between Elverum and his now-dead wife. The pain is jarring, heartrending statements delivered with plainspoken candor. It’s hard to continue when the narrator reaches, “And I’m left living like this…Thinking about the things I’ll tell you / When you get back from wherever it is that you’ve gone / But then I remember death is real.”
“Ravens” is not a song that is easy to revisit; emotions don’t get more real than this. However, Elverum’s ability to craft meaningful, coherent, moving art in the face of unimaginable tragedy makes it among the best songs of the year.
– Matt Matasci
8. Fleet Foxes – “Third of May/Ōdaigahara”
The first single off Fleet Foxes’ long-awaited third album Crack-Up announced the band’s thrilling return to the studio after an uncertain multi-year hiatus. Fans eagerly awaited the new music the band had been developing for almost four years, following the massive success of their sophomore album Helplessness Blues.
When the single finally dropped in March, it did not disappoint. The sprawling, symphonic track combines all of the band’s signature elements — soaring vocal lines, haunting tonal shifts and evocative lyrics — and ties them all together with luscious strings, taking an aural journey from driving folk ballad to emotionally charged, artful show piece.
Referencing the date Helplessness Blues was released and the band was subsequently catapulted into mainstream success, as well as founding member Skyler Skjelset’s birthday, the song speaks to the ephemeral, kismet nature of the relationships that shape who we are, and has become an instant classic in the contemporary alt-folk genre.
– Phoebe Silva
7. Slowdive – “Sugar for the Pill”
“Sugar for the Pill” was the second single to be released from Slowdive’s latest self-titled album, the first to be released by the band since 1995. Although originally a ‘90s band, the track is clearly influenced by the sound of the ‘80s. The song features a mellow soft-rock tune which delicately floats throughout. Neil Halstead’s vocals are soft and haunting as he muses “Sugar for the pill / You know it’s just the way things are.” The sorrow in Halstead’s voice and lyrics are supported by the ethereal background vocals of Rachel Goswell, adding another dimension to the track.
The lyricism demonstrated in the track likens the concept of acceptance and the improvement of a bad situation to taking a pill with sugar. In this way, “Sugar for the Pill” excellently captures the woeful theme of accepting lost love and heartbreak.
– Adrianna Fuji
6. Austra – “I Love You More Than Yourself”
Austra’s Future Politics is an album awash with songs that brilliantly balance on the line of sadness and aching beauty. Chief among them is standout single, “I Love You More Than You Love Yourself.” Musically, the song is patient and filled with simplistic arrangements. A simple pitter-patter of drum machines and synth sighs sets the tone.
Lead singer Katie Stelmanis emerges from the mix like a bright halo. An angelic arrival, she serenely emits, “There is nothing in your soul tonight / I only see darkness.” As the song evolves, its lyrical theme becomes apparent, a transfixed relationship with someone incapable of self-love. Stelmanis politely chastises, “You’re indifferent / You’re a stranger to what makes you feel good,” before ultimately offering, “I love you more than you love yourself.”
The song’s dichotomy is apparent, in the crushing defeat of caring for someone who doesn’t share that respect internally. Impressively, this is all belied by the song’s soaring and soothing concoction.
– Raymond Flotat
5. Gary Numan – “My Name is Ruin”
“My Name is Ruin” is a beautiful blend of the many influences that Gary Numan has inspired and draws from. Numan’s majestic vocals intertwine nicely with the synths, which are a combination of edgy and melodic elements. Savage in its entirety was a stellar album that truly captured who Gary Numan is as a great artist. “My Name Is Ruin” is an example of how a song can define an album. This song features the best conglomerate of influences that are present on Savage and it highlights Numan’s music talents. It takes the edginess heard elsewhere on the project and juxtaposes it with beautiful synthpop melodies.
Numan’s voice on the track is not only powerful but is also well-utilized. This shows the handle that Numan has on his vocal abilities and it allows him to truly showcase his talents as a vocalist by sticking to his strengths. He does this with an amazing degree of artistry and harmonizes it perfectly with his carefully crafted instrumentation. This song is an example of why Gary Numan is one of the greatest electronic musicians of our time.
– Will Burton
4. Ulver – “Rolling Stone”
Ulver’s “Rolling Stone” is an epic of grand proportions. Beginning with a steady percussive drum beat, its gritty, electronic instrumental takes its time to unfold. It slowly builds and builds until it explodes into a claustrophobic climax with passionate vocal harmonies and screeching, unabashed electric guitars.
Though Ulver shapeshifts with ease once again, this time leaning towards pop tendencies, they maintain the signature experimentalism so unique and characteristic of their discography. The sense of tragedy and self-loathing also remains as present as ever, even as Ulver references Roman mythology and especially so when they discuss the likelihood of betrayals like that of Caesar. The dark lyrics exhibit an uninhibited nihilism and hopelessness, while the crescendo of chaotic, cacophonous electronica continues on long after the singing stops.
The closing instrumental in “Rolling Stone” is smeared with ambiguous screams that could be of agony or of liberation, laid side by side by the tumultuous, noisy pleasure that the instrumental creates. The peaks of “Rolling Stone” are both euphoric and dystopian, conveying a mélange of anger, uneasiness, and indulgence. It finishes off into a quiet, ringing buzz, allowing any disoriented listeners to catch their breaths after the wild ride through an apocalyptic reality.
– Vanessa Phan
3. Portugal. The Man – “Feel It Still”
Portugal. The Man has been around for some time. The band began as a side project for singer John Gourley in Wasilla, Alaska as a break from his main band Anatomy of a Ghost. It took a meager 15 years but the band with the unapologetic, and sometimes confusing, period in the middle of its name had one of the biggest, and most surprising, hits of 2017 with “Feel it Still”.
The song is the first of the band’s singles to enter the charts after years as indie darlings. “Feel It Still” was released as the lead single to their album Woodstock and has gone onto top 10 status on multiple charts in multiple countries. The uptempo funk and dance rhythm is as much an homage Motown as it is to Southern California. A sunny walk on the beach or, in the case of the music video, dancing in a junkyard in Alaska. Just a good song no matter where you are.
– Brian Furman
2. Myrkur – “Elleskudt”
A seeming underdog in the black metal world, Amalie Bruun gives basically zero fucks about how she and her prowess are perceived by the rest of the world. Though she may not perfectly fit into the categorical confines of what black metal is typically perceived to be, she’s found a way to go about creating and producing within the genre in a manner that’s applicable and respectful. The moniker “Myrkur” literally translates to “darkness” in Icelandic, and that’s a pretty obvious air that reigns over all of the Denmark artist’s work. From her self-titled 2014 debut until now, Bruun and her style have seen only slight differences, all of which have led up to Mareridt and one of its more powerfully subdued tracks “Elleskudt.”
There’s a silent killer aspect to “Elleskudt;” secret maneuvers in the dark that help the track stand out ever so slightly more than the others. It’s not even that it’s epically heavy or particularly that sonically engaging, but all of the power in ‘Elleskudt” lies in its minimalism. At times the riffs are weighty and the vocals are piercing, but overall, the track carries an underlying brutality to it that surpasses the sometimes banshee, sometimes supple approach Bruun takes to her singing. It’s by no means a standard black metal track, but it definitely should be a new standard for all black metal.
– Cervante Pope
1. St. Vincent – “Los Ageless”
“Los Ageless” off St. Vincent’s latest album, Masseducation has a lot more to it than what meets the eye. The pop-forward song has a catchy beat and melody and shares a message that just about anyone (especially those who live in Los Angeles) can relate to. In her music video Annie Clark, aka St. Vincent, plays up the title of the song, showing women receiving cosmetic and plastic surgery treatments as they struggle to attain an ageless aesthetic, which is a pretty straight-forward interpretation.
However, in the song’s chorus Clark sings, “How can anybody have you? / How can anybody have you and lose you? / How can anybody have you and lose you / And not lose their minds, too?” and continues in the closing lyrics, “I guess that’s just me, honey, I guess that’s how I’m built / I try to write you a love song but it comes out a lament” suggesting that there’s more to the song than sharing her attempt at maintaining a perfect physical image. It’s also about love, and perhaps the feeling of being in the city without having anyone by her side. This below-the-surface meaning makes the song that much more likable, as Clark shows us her vulnerable side.
As a star who appeals to both lovers of indie rock and pop music, St. Vincent’s “Los Ageless” has an instant appeal that is unpretentiously catchy. The hard-hitting bass, pinging guitar slides and bends and punching, pop-y synths set the perfect backdrop for Clark’s vocals. The melody is a simple minor sequence in the verses and descends in the chorus, making the listener instantly feel like moving. Whether you’re getting ready to go out or staying in for a low-key affair, this song makes the cut to be played on repeat.
– Ilana Tel-Oren
Photo Credit: Owen Ela
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