It’s that time of year again when we send off the sweet sounds of summer. Summer 2017’s soundtrack was full of experimental and enticing album drops; this was possibly the best selection the season has ever brought. As September comes to a close, here is a recap of what I listened to these past few months.

If you went back home and listened to your local pop radio station on random car rides over the summer, you’ve probably heard a song or two off of Calvin Harris’s “Funk Wav Bounces Vol. 1.” But there is something about this album that makes it so desirable, not stale or overdone pop EDM music. Though there are several notable pop star cameos on almost every track, the album attracts the listener because of Harris’ choice to differ from his usual sound. Not to say that he is the first artist or DJ to rework classic “oldies” aesthetics, but he does throw it back with strong, funky 70s and 80s sounds, and it definitely makes the album addicting. Songs like “Feels,” “Heatstroke” and “Cash Out” make for the perfect groovy “beach vibes” playlist. From this album, we also see Harris paying homage to his old self: before becoming the highest-paid DJ, his older work tended to integrate funk and soul elements, like in 2007’s “I Created Disco.”

Vintage aesthetics have been making a huge comeback in multiple forms of art, and this is quite notably in music. This idea remains prevalent in “Flower Boy,” released in July from Tyler the Creator. Probably the best and easiest album to listen to that the rapper has ever created, this album touches upon many sensitive subjects, revealing a more relatable and nostalgic side to Tyler. In songs “See You Again,” “Boredom” and “911/Mr. Lonely,” my favorite tracks, he laments a long-lost love and the painfulness of adolescent boredom and loneliness. With collaborations with Lil Wayne, Pharrell, Kali Uchis and Frank Ocean, to name a few, we get an intimate listen into the makings of Tyler’s crazed mind and his sexuality. This album is also quite diverse — we see classic Tyler with hard hip hop in songs “I Ain’t Got Time” and “Who Dat Boy” featuring A$AP Rocky, but we also observe a new, softer side with “Glitter” and “Where this Flower Blooms.” My favorite part of the album is Tyler’s use of 70s soul train-esque flair in “911/Mr. Lonely,” which is somehow the perfect music for a slow, hot summer’s day.

The indie world of music also saw some great album releases from artists like Toro y Moi and Washed Out, but the defining pop-rock sound from summer 2017 comes from Phoenix. Phoenix is one of those classic alternative indie bands we used to listen to years ago, but they still stay relevant, because their unique sound is one we keep on going back to. “Ti Amo” stays true to classic Phoenix sound and transports you to a European summer, even if you were actually roasting in your suburban backyard instead of lounging on the Amalfi coast. Once again, the French band brings it back with 80s synth but also a mix of a mix of modern electronic pop and addictive electric guitar riffs. The best tracks are “Goodbye Soleil,” “Lovelife” and “Telefono.”

 However, the knockout album of the summer, the one that beats all, is “CTRL” by SZA. SZA finally does successfully what a multitude of R&B artists have attempted: she introduces a fresh and innovative sound with each and every one of her tracks on “CTRL.” She sings about intimate topics: themes of growing up, insecurity and standing up for what she believes in. The tracks are accompanied either in the beginning, the end or both times with a recording of her mother talking about what it means to have “control” in life. SZA sings about losing grip but also about having her life much more together than the men she’s had sex with, and how those men have ultimately disappointed her. Like “Flower Boy,” this album is extremely introspective, while still catchy to the listener. In the song “Broken Clocks,” she’s not afraid to admit that life is scary, and people will often let us down, but that she’s “still doing things [her] way.” SZA relates to many young people or “20 Something[s],” which is another standout track. Her vocal range is chillingly broad and it’s impossible not to hear the passion in her lyrics. SZA is definitely an artist on the rise: she’s already collaborated with Rihanna on “CTRL,” and with Kendrick Lamar in “Doves in the Wind.” Describing her music is a difficult feat, as she incorporates a little bit of everything in the overarching genre of R&B: there’s some pop, some indie and some 80s synth, too. SZA just has her own unique sound that cannot really be compared to anyone else; “Go Gina,” “Prom” and “Drew Barrymore” demonstrate the complexity and range. It seems that summer 2017 was also a time of reflection and grappling adulthood.

Isn’t it strange how we can hear a certain song and all of a sudden the warm, sunny, leisurely feelings we felt that one time when we first heard the song come flooding back to us? When I hear these albums in the future, I am sure a bizarre, yet sweet déjà vu will overcome me. This is what my 2017 summer sounded like, and I can’t wait for what fall has to offer.