The Top 100 Songs of 2018, Part Four: 40 – 21

It’s almost over, I promise. Right, let’s go with the top 40. Oh, before we do – you’re all over parts one, two and three right? Okay, great. Moving on!

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40. Thelma Plum – Clumsy Love

After a few years away, a comeback from Thelma Plum felt like the warm moment of hope 2018 needed. The prodigious wunderkind delivered with her breeziest, most glistening pop song to date – not demanding of repeat listens, but it felt so good you just wanted to hear it again. Assisted by Sparkadia alum Alex Burnett, Plum details a bizarre love triangle where her betrothed is in purgatory between his past and present – ie. Plum. Her confessional croons are guided via tasteful electric guitar, buzzing synth-bass and a boom-clap drum machine reminiscent of early single “Dollar.” Ripe, delicious fruit.

39. Post Malone feat. Ty Dolla $ign – Psycho

Much like the identically-titled Amy Shark single, there’s something intriguing about the paradox that lies within a mellow, down-tempo number with a title as provocative as “Psycho.” Millions worldwide ended up finding a connection to what ended up being one of the year’s biggest hits from one of our more unexpected pop-culture figureheads. Post Malone’s flow is primarily based off Nelly’s two-note rap-sing approach, adding in flourishes of melody when the moment calls for it and riding out a floating, trap-flavoured beat. He may be a critic’s punching bag, but “Psycho” is just bright enough to block out the haters.

38. The Story So Far – Upside Down

It hasn’t been an easy road to “Upside Down,” as any fan of The Story So Far will attest to. The stark self-reflection, e-bow guitar and churning Hammond organ of this single are a complete world away from the boisterous teenage riot that was their debut, Under Soil and Dirt. “It’s all love now,” sings vocalist Parker Cannon – someone who once sat comfortably within pop-punk’s angry-young-man mould. It’s a testament to the band’s persistence that they were able to assemble what is easily their strongest song yet, eschewing their usual fanfare in favour of something subdued, mature and pensive.

37. Drake – In My Feelings

Would “In My Feelings” have been as massive without its viral dance challenge? Beyond a shadow of a doubt. Don’t get it twisted, the traffic-stopping sensation was definitely a booster. Even if no-one had hopped out of their cars, however, they no doubt would have still had “Feelings” blasting inside of them. It’s one of Drizzy’s most vivacious and addictive singles ever, brimming with perfectly-timed samples (Lil Wayne, the late Magnolia Shorty) and a warm melodic keyboard descent care of producer TrapMoneyBenny. Overexposure could have easily killed this song, but through some black magic it somehow made it even stronger.

36. Courtney Barnett – City Looks Pretty

For over two years, Courtney Barnett saw the world. As soon as she was done, she retreated. The bustle of “City Looks Pretty,” then – which recalls Paul Kelly’s more rocking moments like “Darling It Hurts” – doesn’t come from the hum of the nightlife, but the great indoors. The song sees Barnett’s world as topsy-turvy: “Friends treat you like a stranger/And strangers treat you like their best friend,” she sighs over major-chord strums. The brisk tempo depicts a racing mind and internal paranoia, which only comes to pass with the song’s swaying 6/8 outro. The real world beckons again.

35. Mitski – Geyser

It was almost a unanimous critical consensus that Mitski’s Be the Cowboy was the most acclaimed album of 2018. Here’s the thing, though: You could have easily been forgiven for not making it past the first song. Not because it made you want to turn off, mind – “Geyser” is the kind of album opener that is entirely transfixing. Its ocean-floor ambience, its distant percussion, its jump-scare noise – this song is a whole world unto itself. Not only is “Geyser” the strongest opener to any Mitski album, it manages to do so without even so much as a chorus.

34. Hockey Dad – I Wanna Be Everybody

At this stage, you could forgive Hockey Dad for being over-bored and self-assured – after all, they’re in one of the most popular rock bands in Australia, and they’ve assisted in putting their native Wollongong’s music scene back on the map for the first time since the Tumbleweed days. What’s shocking about “Everybody,” then, is how bluntly it confronts the idea of impostor syndrome. Sure, Zach Stephenson may have everything a young musician could dream of – but as he croons against twanging guitar chords and walloping snare, he doesn’t feel deserving or worthy. A Trojan horse of garage-rock emotions.

33. DZ Deathrays – Like People

From downing beers in matching Ts to getting blood on their leather, DZ Deathrays have spent the last decade smashing together the heads of dance-punk and pub-rock to create a reflective skull of pedal-stomping riffs and big-swinging drums. “Like People” is as nasty and snarky as anything they’ve ever written, but even its nihilism can’t offset how damn catchy the fucker ends up being. When the chorus hits, it lands in your hands like a hot potato – fitting, given the video’s cameo from Wiggles alum Murray Cook. DZ have thrived, survived and even revolutionised themselves. There’s no stopping them.

32. Charlie Puth feat. Kehlani – Done for Me

Many male popstars have songs where they basically go unchecked and say whatever they want without any in-song consequence. “Done for Me,” like “Too Good” and “Somebody That I Used to Know” before it, gets a word in from the other party and is all the better for it. Kehlani plays Puth’s jilted lover, setting our loverboy straight while he dishes over “Billie Jean” drums and “PYT” keyboards. Considering the first time Puth tried a duet was the garish “Marvin Gaye” with the even-more-garish Meghan Trainor, it says a lot that “Done for Me” succeeds in the way it does.

31. 5 Seconds of Summer – Want You Back

This is the point where we realised we got it wrong. 5 Seconds of Summer were never supposed to be the next blink-182 or the next Green Day. They weren’t supposed to be the next One Direction, either. Get this: They were supposed to be the next Maroon 5. “Want You Back” ditches the old 5SOS sound quicker than you can remove your American Apparel underwear. Slick bass, guitar funk and falsetto rolls around this effortlessly-cool number, locking into a technicolour groove that more or less reinvents the band entirely. At last, Australia’s favourite boy band are, simply, a band.

30. Calvin Harris feat. Dua Lipa – One Kiss

After the California dreaming of Harris’ excellent Funk Wav Bounces Vol. 1, it seemed only natural that the Scotsman would return to his native habitat of the club. He didn’t come back empty-handed, though – or alone, for that matter. “One Kiss” is his most triumphant dancefloor-filler since “Sweet Nothing,” and it’s handily assisted by pop sensation Dua Lipa. It feels like achieving ecstasy while high on… well, you know… and Harris’ pristine production accentuates every last endorphin. There were few greater moments in pop this year than when the drop of “One Kiss” was figuratively trumpeted in. True love.

29. Post Malone – Better Now

Austin Post remains divisive. For all of his fans, he has just as many detractors and people that just don’t quote-unquote “get it.” Allow “Better Now” to assist those in the latter category, as it’s probably the closest you’ll get to understanding what our man is out here trying to do. He’s a young T-Pain after the party. He’s an emo kid that got into beatmaking rather than mic-swinging. He’s a lower-class loser that was never meant to reach these heights. “Better Now” is a view from the top, but also a reminder of how lonely it gets up there.

28. Polish Club – Clarity

“Clarity” showcases the best of Polish Club – vocalist David Novak howls and moans just like Otis, while John-Henry Pajak sneaks in the best drum fill of his career to kick off the song’s final burst. Consider their trajectory in tandem with another notable rock duo, The Black Keys. After years of lo-fi and bluesy brawlers, a touch of production polish and a newfound funk have made their way into the mix. This is Polish Club’s “Tighten Up” moment – and considering the latter arrived on the Keys’ sixth album, it means the Club is evolving at an alarming rate.

27. Hop Along – How Simple

Hop Along quietly and unassumingly returned in the first few weeks of 2018, sharing their first new song in nearly three years ahead of an album set for that April. If you didn’t have your ear to the ground you could have missed it entirely – which is why “How Simple” felt so rewarding to those that were across it. Frances Quinlan has always had one of the most – ahem – quintessential voices in indie rock, and to hear it implemented in her band’s danciest, poppiest and most upbeat moment to date felt like something special. Joy in simplicity.

26. Sarah Shook and the Disarmers – Good as Gold

Country either depicts new love or dead love. “Good as Gold” finds us at the arse-end of a busted relationship: So intertwined are the two, Sarah Shook doesn’t even look at this person, as she sings, “like a thing of mine/That I can just up and lose.” Lamenting over looming pedal steel and the scuffle of a train-track drum roll, Shook delivers a bar-country number alongside her trusty Disarmers that by every right should have taken over country radio. Soon enough, women within the genre will be too loud to ignore – and Shook will be on the damn frontline.

25. Jack R. Reilly – Pursuing Balance

Anyone who’s seen Jack R. Reilly perform knows that he always had bigger ambitions than your average troubadour. He was raised on a diet of post-punk revival and 21st century art-rock, and “Pursuing Balance” was his first major play at paying homage to that. With the assistance of Cry Club‘s Jonathan Tooke, Reilly spilled his heart over disco drums, stuttered hooks and washed out guitars, all tied together by one of the year’s most distinctive piano lines. Whether it soundtracks a weekend in the city or a night of intimacy, “Pursuing Balance” succeeds. It’s the best song he’s ever written.

24. Unknown Mortal Orchestra – Hunnybee

You really never know what you’re gonna get when Ruban Nielson gets cooking. Unknown Mortal Orchestra songs could end up being roller discos, porn grooves, riff-heavy wig-outs… it’s a huge spectrum, and a full testament to his versatility as a songwriter. After the tape-loop strings subside, “Hunnybee” reveals its undeniable groove in all of its glory. The thing plays out like a complete dream – the funk of the bass, the coo of the lead guitar, its addictive chorus, the faint keyboards. It’s a masterwork, and a true career highlight from a man who’s never short on ideas.

23. Charlie Puth – The Way I Am

In Charlie Puth’s eyes, he was never meant to be a star – yet, in 2018, he was as big a star as he’s ever been. “Everybody’s trying to be famous,” he sings, almost at a whisper, before adding: “I’m just trying to find a place to hide.” It’s fitting that the riff that serves as the song’s foundation recalls the opening of Guns N’ Roses’ “Welcome to the Jungle” – Puth knows exactly where he is, and there’s no turning back. Nevertheless, “The Way I Am” finds method to the madness, and makes tracks on Puth’s road to superstardom.

22. The 1975 – Give Yourself a Try

Ben Lee once described pop music as “philosophy you can dance to,” and that’s rarely been more true than in the case of The 1975’s massive lead single from what ended up being an event album of 2018. Over a spiky guitar loop and a booming drum machine, Matt Healy offers advice and ruminates on his past. The titular hook is one of the wisest things you could possibly impart to a young person that’s struggling, and the way it’s delivered means that it no doubt landed square in the hearts and minds of its many listeners. Try, try again.

21. Gladie – The Problem is Us

As singer of Cayetana, Augusta Koch detailed the finer parts of her 20s in the throes of sweetly-melodic indie rock. With them on the back-burner, Koch began anew. Gladie may not have the same edge or bounding energy that was found in Cayetana’s finest moments, but it doesn’t really need them. Koch instead focuses on something more refined and stylistically mature, offering up brilliant lyrics and subtly-invasive hooks over warm keys and restrained drums. By the time she’s hamering home the final refrain of “We’re speaking softly/We’re not communicating,” you hear her – and Gladie itself – loud and clear.

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20 songs to go, and they’re next! What will be number one? Only one way to find out. In the meantime, have a listen to all 80 songs that have been in the countdown so far:

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The Top 100 Songs of 2015, Part One: 100 – 81

It’s about that time, folks. You know how this one goes. Good, clean fight to the finish. All genres, countries and ages accepted. Only one rule: No touching of the hair or face. Alright, let’s get it on!

To pre-game, why not take a listen to this supplementary list of 50 great songs that just missed out on the top 100?

As always, DISCLAIMER: This is not a list of the most popular songs, nor is it a list curated by anyone except myself. These are, in my view, the best songs of the year. Disagreement and discussion is welcomed, but ultimately if you have any real issues with any songs that are ranked too low, too high or not at all… make your own list!

DJY, December 2015

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100. Cosmic Psychos – Fuckwit City

The greatest moments in the 30-plus year canon of Cosmic Psychos have been helmed by the infamous snarl of Ross Knight, so it’s a rare treat to hear a lead vocal from the band’s pot-bellied riff-bearer, John “Mad Macca” McKeering. Macca’s no crooner – but, then again, neither’s Knighty. It’s not exactly a top priority when there’s a big, stomping riff and a middle-finger-waving chorus to smash through. The accompanying video, which sees the band smashing tinnies and chowing down on snags, gets the point across better than words ever could: them’s the Psychos. They’re not to be fucked with.

99. Kissing Booth – Battlefield

“Battlefield” has been a staple of Kissing Booth’s live shows more or less since their formation, and it’s easy to see why – if it’s not Tom Jenkins’ thunderous tom rolls that lead it in, it’s the earnest, raised-fist chorus and undying mantra of “you’ve got the strength in you to succeed” that will firmly seal the deal. Recorded at long last for their debut, Never Settle, “Battlefield” became a highlight once again – it’s a slow-waltz through love-and-war metaphors and swinging twin-guitar warmth, reeling in listeners before bowling them over. If love is a battlefield, consider Kissing Booth victorious.

98. You Beauty – Illywhacka

They’re not pioneers of writing about love from a hardened, cynical perspective – and Lord knows they won’t be the last. What spices up the title track to You Beauty’s second album is knowing it’s from the perspective of a scam artist – someone who makes a living saying things but never meaning them. “If I misuse the words/I’m not the first,” he justifies at one point; “I do believe it’s unconscious like the rest,” he affirms at another. Throw in some thwacking snare rolls and a Johnny Marr-worthy guitar tone and you’re ready to fall for anything he says.

97. Frank Turner – The Next Storm

Positive Songs for Negative People, Turner’s comeback LP from the middle of 2015, was thematically centred on Turner refusing to let pessimism and a slew of personal ordeals serve as the obstacles they once were. As bar-room piano leads him into a fist-wielding rock shuffle, Turner takes a matter as pedestrian as the weather and lets it blossom into the perfect metaphor for his sunnier outlook. It might seem naff – especially if Turner has ever felt too endearing – but it’s hard to deny a shout-along to a refrain as wonderfully succinct as “Rejoice! Rebuild! The storm has passed!”

96. Young Fathers – Rain or Shine

Young Fathers are in it to win it, because having the Mercury just wasn’t enough. The trio – alongside Sleaford Mods – were two major acts to properly turn British music on its head and expose a darker, more unpleasant side of their respective homelands last year. It’s telling that both immediately followed up their world-class 2014 breakthroughs in 2015; equaling – and occasionally bettering – their predecessors. This slab of sweet-and-sour alt-hop stays true to its name; throwing a Motown worthy ‘hey-hey-hey’ into the blender with some deadpan abstract poetry. Theirs is a revolution that is still… well, revolving.

95. Alabama Shakes – Don’t Wanna Fight

Perhaps the most piercing, indescribable squeal this side of Kings of Leon’s “Charmer” is what lead us into the first single from Alabama Shakes’ long-awaited second album. The groove was very much still in the heart for Brittany Howard and co., shuffling through a head-nodding lick and a driving four-on-the-floor beat before letting loose a truly righteous falsetto-disco chorus that takes on double duty as a harken-back to vintage soul. Much like their finest moments from Boys & Girls, “Don’t Wanna Fight” is some kind of genre Voltron. In the right context, it’s a fully-formed and unstoppable machine. Right on.

94. Horrorshow feat. Thelma Plum, Jimblah and Urthboy – Any Other Name

This protest song, dropped in the wake of horrendous abuse toward now-retired AFL player Adam Goodes, is an endlessly-quotable all-star tirade against the systemic, institutionalised racism that has become more and more prevalent in modern Australian society. Each artist brings their A-game across the track’s runtime, laying their heart out on their sleeves and making it exceptionally clear who is in the wrong. The track’s mic-drop moment comes with Solo’s damning, defiant final point: “Racist is as racist does/So if you’re doing something racist/Hate to break it, you’re a racist, cuz.” This is our wake-up call. Australia, this is you.

93. Hockey Dad – Can’t Have Them

2014 was the year of Zach Stephenson and Billy Fleming, the Windang wunderkinds that wrote the best Australian song of the year and sent audiences young and old into a hair-flipping frenzy. It would have been entirely understandable if they wanted to go for their afternoon nap this year, but it appears the red cordial is still running through their veins. This stand-alone single is a bright, bouncy hip-shaker that strengthens Stephenson’s knack for cooed, wordless refrains and Fleming’s primitive boom-thwack Ringo fills. It bodes considerably well for the band’s imminent debut LP next year. Game on, you little scamps.

92. Drake – Know Yourself

The mixtape lifestyle suited Drake this year. Dropping new material when he felt like it with no label pressure and no pushing for a greater ambition meant that the man born Aubrey Graham was allowed to have a lot more fun. Amid the dozen-plus new songs that arrived on the If You’re Reading This It’s Too Late mixtape, it was this centrepiece that sent fans into a tailspin. Its clanking trap beat, its obnoxious sub-bass and that hook – Drizzy can make this shit happen without even trying these days. You know how that shit go. Airhorns at the ready.

91. Beach Slang – Bad Art & Weirdo Ideas

In the same year that Weston, the pop-punk band James Alex was a part of in the 90s, reunited for a handful of shows; Alex also got a second wind with the momentum of his new band, Beach Slang, who became one of 2015’s most hyped rock bands. It’s easy to both see and hear why this was the case: the paint-splatter ride cymbal, its two-chord fury; not to mention the wordless refrains one has to unlock their jaw in order to properly sing out. We are all in the garage, but some of us are looking at the stars.

90. Endless Heights – Teach You How to Leave

Every year, Endless Heights inch further and further away from the forthright melodic hardcore with which they made their name. Every year, Endless Heights write sharper, smarter songs with a greater level of introspect, heart and poignancy. Simply put: Every year, Endless Heights get flat-out better. This, the title-track to their third EP, feels like an endgame of sorts – the kind of low-key, artfully-quiet song that they have worked towards on previous efforts. It’s able to do more in less than three minutes than what may of the band’s contemporaries can achieve with five-plus. A bright, beautiful slow-burn.

89. The Bennies – Party Machine

From one end to the other, The Bennies can become a million different things – post-punk hip-shakers, knees-up ska bouncers, heavy disco (pardon the pun) ravers. When it all rolls together, it becomes something full of wild-eyed energy; a measured defiance of restrictive guidelines and genre semantics. With a third album looming, “Party Machine” feels like the Bennies single that has the most to prove – that they are ready to take this shit higher than ever before. It passes accordingly with all the flying colours of a hallucinogenic rainbow. The machine rages on. The party is just getting started.

88. Pity Sex – What Might Soothe You?

There are those that haven’t quite known what to make of Pity Sex in the past – too much of an indie band for shoegaze nerds, too much of a shoegaze band for indie kids. On their first new material in two years, the band play up their limbo with a song accentuating both sides of the coin. Twee, unisex vocals are placed under the same spotlight as hazed-out, Daydream Nation-worthy guitar fuzz – at once joyously bright and uniformly morose. Putting genre semantics aside and appreciating a great song for what it is – it, indeed, might soothe you.

87. Miguel – leaves

Smashing Pumpkins frontman Billy Corgan was given a songwriting credit to this end-of-summer lament after Miguel claimed he was accidentally inspired by the Pumpkins’ hit “1979.” The similarities certainly present themselves – particularly in the off-kilter guitar patterns – but “leaves” substitutes the mid-west teenage dreaming for west-coast heartbreak and Corgan’s adenoidal nostalgia for a smooth, love-lorn crooning. Along with being a standout moment of Miguel’s excellent Wildheart LP, it certainly stands as the best thing Corgan has been attached to in well over a decade – and it says a lot that he wasn’t directly involved at all.

86. Darren Hanlon – The Chattanooga Shoot-Shoot

He’s spent over a decade as one of the country’s smartest, most celebrated songwriters – even his peers can’t help but be amazed by the way he wondrously weaves his wayward words. The standout track from his fifth album takes the Gympie couchsurfer about as far from home as he’s ever been – travelling to Tennessee on a budget bus. To borrow a phrase from Upworthy, you won’t believe what happens next. The “Folsom Prison Blues” chord progression and timely snare hits are a nice touch, too. Of all of Hanlon’s tales, this one hits number one with a bullet.

85. Micachu and the Shapes – Oh Baby

“It’s not us to give up in a rush,” crows Mica Levi over a hypnotic boom-bap rhythm and underwater synths blubbering from afar. She’s got a point, y’know – it might have been three years since we heard from Levi, Raisa Khan and Marc Pell; but they re-enter the fray as if they were never really gone. Reverb-laden crooning and an experimental hip-hop flavour to the song’s lo-fi production add spice and texture, but theirs is a dynamic so constantly-shifting and fascinating that these two aspects could just as well be just scratching the surface. Just like that, it vanishes.

84. Best Coast – Heaven Sent

Not to get all Rick Astley on the situation, but Best Coast are no strangers to love. Their knack lies in their ability to make it sound as fresh and dewy-eyed as that of young romance. No-one else in the current indie-rock climate could drop something as sappy as “You are the one that I adore” atop a major chord and not only get away with it, but be commended for it. There’s a method and an art-form to all of this – and the only ones that know the secret recipe are Bethany and Bobb. Love rules, yeah yeah.

83. Bad//Dreems – Cuffed and Collared

What other band in Australia right now could simultaneously recall God’s “My Pal” and The Remembrandt’s sole hit “I’ll Be There for You” in a single bound? It could well have something to do with how “Cuffed and Collared” vividly mashes together the fury and bounding energy of the former with the unmistakable pop ear-worms of the latter. It might be a song that details a violent altercation, sure; but you’ll be damned if you aren’t grinning every time that the hook in question rolls around – and it’s on a near-frequent loop. With Dreems like these, who needs Friends?

82. Foals – What Went Down

What the ever-loving fuck is going on here? From its seasick organ drone to its detour into a thick three-note riff – not to mention its subsequent tear-down and empirical rebuild – “What Went Down” is one of the most head-spinning, ferocious compositions that Foals have ever committed to wax. What else does it have in store? Abstract imagery! A piercing, screamed refrain! Constant, unpredictable swerves that threaten to throw the entire goddamn thing off a cliff! To paraphrase a quote from Blades of Glory‘s Chazz Michael-Michaels: No-one knows what went down, but it’s provocative. It gets the people going.

81. The Hard Aches – Knots

One of the true signs of great, honest songwriting is when the writer in question turns the knife – or, in this case, the much-mightier pen – on themselves. The Hard Aches’ Ben David exposes his flaws on this key track from the band’s debut, Pheromones; bitterly portraying himself as a pathological, unrepentant liar in a constant state of exhaustion. Towards the song’s thrilling conclusion, however, he indicates that he’s on the road to bettering himself – and his is such a blunt, forthright delivery that you just know that he’ll get there. The untying process slowly but surely begins.

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Part Two will be posted next Monday!

To download the podcast version of Part One, click here.

The Top 50 Gigs of 2014, Part One: 50 – 26

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And so this is list season – and what have you done? At the start of 2014,  I vowed to see more shows than I did in 2013. How’d I go? Well, 2013’s final count was 193. This year? 206! Suck shit, 2013!

A huge thanks to everyone who I rocked a show with, everyone who provided a couch or a floor when needed, all the great bands and artists, all the awesome venues, staff, crew… everyone that makes my escapades possible. I really fucking appreciate it. Let’s see how we go in 2015! Here are the best things I saw in 2014. Were you there? 

– DJY, January 2015

HONOURABLE MENTIONS: The Living End, Anberlin, Fat Guy Wears Mystic Wolf Shirt, Jimmy Eat World, High Tension, Full of Hell, Cakes Da Killa, Bob Log III, Inner Fest, John Mayer, The Julie Ruin, Frightened Rabbit, Basement, Soundwave, Ty Segall, Savages, Fishing.

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50. King Gizzard and the Lizard Wizard @ Oxford Art Factory, 11/12

Two albums, endless touring, more jams kicked out than an army of MC5s… 2014 was yet another wonderful time in the wild, weird world of Australia’s most psyched-out septet. It ended not with a whimper, but with a bong – sorry, bang – and we were better people for it.

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49. Miley Cyrus @ Allphones Arena, 17/10

You know that scene in Shrek where they’re at the information booth and they see the weird puppet show and Donkey says, after a confused beat, “Wow… let’s do that again!”? That was this show. The year’s most bizarre pop gig, as well as its guiltiest pleasure.

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48. Donny Benet @ Brighton Up Bar, 10/10

Suits, synthesizers and the sharpest pop this side of Sydney – that’s Donny Benet. He and his all-star band lead a packed, sweaty room through a guided tour of his latest, Weekend at Donny’s. Besides all that, it was worth the ticket price just to watch Jack Ladder play cowbell.

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47. Hard-Ons @ Manning Bar, 7/6

30 years ago, some brats from Western Sydney made their punk-rock dreams come true. 30 years later, they’re keeping the dream alive – and we, the crusty, screaming masses, are still along for the ride. Bonus points for a scorching set from Cosmic Psychos as a Sydney treat. Fuck yeah.

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46. Wil Wagner @ Newtown Social Club, 29/8

Months before Throw Me in the River was out in the world, the Smithies’ fearless leader lead a sold-out room through some of its highlights; as well as enough old favourites to sing the night away to. A relatively-quiet moment from an artist who made lots of noise in 2014.

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45. Violent Femmes @ Sydney Opera House, 29/12

Do you like American music? We like American music – especially when it’s from a legendary cult folk-rock band making their debut at one of the most iconic venues in the world. A self-titled LP run-through, a two-hour setlist, a bitchin’ drum solo… we like American music best, baby.

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44. Bruno Mars @ Qantas Credit Union Arena, 8/3

Make what you will of his various recorded endeavours. Live, this motherfucker is untouchable. A spotless live band and blistering choreography guaranteed a venue full of arses out of their seats; wiggling until they could wiggle no more. Remember: This is Bruno’s world – y’all are just living in it.

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43. Neko Case @ Sydney Opera House, 3/3

Before she returned to the world of The New Pornographers, Case wrapped touring on the back of her excellent The Worse Things Get LP with a run of dates down under. We laughed (Case and Kelly Hogan’s banter), we cried (a pin-drop “Nearly Midnight”) and we sang (“Man”). Joyous.

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42. La Dispute @ Metro Theatre, 18/6

As long as La Dispute keep coming back to Australia, they’ll continue to serve as a highlight of the year in touring. Not only do they continue to bring exceptional supports – in this instance, Balance and Composure – but they’ve completely justified their progression from basement shows to theatres.

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41. James Vincent McMorrow @ Sydney Opera House, 29/5

He began the year with the release of an out-of-nowhere LP and sold-out Australian shows to back it. His return some months later felt like a victory lap; and despite some clear nerves, the charming Irishman was quick to make the lush surrounds of the concert hall his very own.

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40. Future of the Left @ Factory Theatre, 3/1

The demise of the Annandale could have ruined their return plans, but Falco and his Futuristic friends pressed on in new surrounds and carried on business as usual. For those that don’t know, hilarious banter and wild breakneck post-punk is business – and business is good. Fuck the Annandale, man.

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39. Laneway Festival @ RNA Showgrounds, 31/1

Turns out Brisbane does more than just bitch about the tours they don’t get – they do a pretty decent festival when they put their mind to it. Highlights included the intense Savages and a hip-hop triple-threat to see the night out: Danny Brown, Run the Jewels and Earl Sweatshirt.

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38. Courtney Barnett @ Goodgod Small Club, 18/1

Before Fallon, Glastonbury and whatever other fortunes came her way in 2014, everyone’s mate Courtney Barnett turned the club surrounds of Goodgod into a boot-scooting indie-kid haven. Expect her to play rooms ten times the size in the year to come. Don’t say you weren’t warned, now. She’s earned it.

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37. The Smith Street Band @ Factory Theatre, 24/11

As great, extremely loud and incredibly close those early Smith Street shows were, we’re on a bigger – and, arguably, better – scale. As they edge ever closer to being our best live act, the voices singing back are getting louder. Shows like this prove why that’s a good thing.

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36. Kimbra @ Metro Theatre, 20/11

The Golden Echo wasn’t for everyone, and that’s totally fine. It was never going to be. Her live show, however, remains as flashy and exciting as it did when you first saw it. Not all that glitters is gold – but some of it is. That’s why Kimbra still rules.

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35. Yes I’m Leaving @ Beatdisc Records, 8/11

Broken strings, dodgy amps, awkward pauses – potentially a recipe for disaster. Instead, we got the little rock show that could – shit got loud and shit got wild. It ended with the band piling both their instruments and themselves on top of the drum-kit. Because of course it did.

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34. Outright @ Jura Books, 11/10

The most important band in Australian hardcore right now assembled an A-team of supports – Palmar Grasp, Canine, Family Values – and raised nearly $1500 for victims of rape and domestic violence. To every other band on the scene: THAT’S how you make a difference. Outright, again, lead by example.

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33. Kevin Devine @ Newtown Social Club, 16/11

In the haze of the early Sunday evening, a waif-thin and unassuming figure was singing and playing guitar in Sydney’s inner-west. The only difference was the figure in question was a folk hero of sorts, surrounded by adoring admirers that knew every word to every song. Please be back soon.

Bluejuice @ The Metro Theatre, Sydney

32. Bluejuice @ Metro Theatre, 26/10

It’s so hard to say goodbye sometimes – especially when you’re dancing, screaming, shouting and getting a cheeky crowdsurf in edgeways. Less a funeral and more a celebratory memorial service, Bluejuice ended in style. Special mention to Jake Stone for the ballsiest dive the Metro may have ever seen. God-damn.

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31. Bob Dylan @ State Theatre, 4/9

It ain’t the 60s anymore, kids. As soon as you comprehend that, then and only then will you be able to properly enjoy a modern-day Dylan show. It’s still grand in scale and as entertaining as before, just in a different context. So, how does it feel? Pretty good, actually.

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30. tUnE-yArDs @ Oxford Art Factory, 28/7

The dust had barely settled from Splendour in the Grass when Merrill Garbus and her amazing technicolour band rolled into town for some sideshow action. Nikki Nack was pristinely brought to life, while old favourites still had all the stomp from their original runs. You are doing God’s work, Merrill.

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29. RVIVR @ Monster Mouse Studios, 7/4

There used to be graffiti in the toilets at Black Wire that read “Queer punx rule this town.” Shows like this prove why – in an awesome space, Erica Freas and co. had fists and voices raised as high as the collective spirit in the room. DIY or GTFO.

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28. QOTSA/NIN @ Qantas Credit Union Arena, 6/3

A tour that was quite literally the envy of the rest of the world – two of the biggest names in the last twenty years of rock head-to-head in a co-headlining battle for arena-rock glory. There was blood, sweat, tears and hits for days. Who won? We all fucking did.

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27. The Weekender @ Various Venues, 21-24/8

It’s never not going to be a highlight of the calendar. You come for impeccable company, you stay for the dozens of exceptional bands and then life goes on as normal; while everyone not-so-secretly counts down until we get to do it all over again. Poison City for life, baby!

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26. Something for Kate @ Enmore Theatre, 12/7

Whether you were down from day one or day one thousand, Something for Kate have made an impact on countless music fans in 20 years. This blockbuster set – the biggest show the band have ever headlined in Sydney – was presented as a thank-you. The pleasure was all ours.

***

Check back soon for part two!

PHOTO CREDITS:
50. Provided by the band via Facebook.
49. Mark Metcalfe, Getty Images AsiaPac.
48. Munya Chaora, TheMusic
47. Kristy Wandle, TheMusic
46. Angela Padovan, TheMusic
45. Diabolique Photography, TheMusic
44. Glenn Pokorny, PK Productions/the AU review
43. Wayne Massingham via Flickr
42. Fletcher Crebert, All Ages Concerts
41. Megan Carew, FBi Radio
40. Dan Turner, the AU review
39. Rickford, FasterLouder
38. Sabina Rysnik, the AU review
37. Hayden Nixon, wickeddchildd
36. Ashley Mar, The BRAG
35. ZK Photo
34. Provided by the band via Facebook.
33. Annette Geneva via Flickr
32. Maria de Vera, Life Music Media
31. Erin Rooney, Vinyl Garden
30. Angela Padovan, TheMusic
29. “le maroufle” via YouTube (photo not from show)
28. Jakob de Zwart, Take 40
27. Ian Laidlaw, Beat Magazine
26. Clare Hawley, TheMusic

Top 50 Albums of 2014, Part Four: 20 – 11

Quick catch up over this-a-way: Part one, then two, then three.

Let’s finish this!

***

20. Perfect Pussy – Say Yes to Love
Spotify || Rdio


Cut the crap. That’s all Perfect Pussy want. Say Yes to Love cuts deep, fast and often. As far as the grand scheme of guitar-oriented music was concerned, it felt as if it was one of the more dangerous releases to make itself known within the calendar year – it fumed, it radiated and it sent the levels into a constant bubble of blood red. Beneath its thorny exterior, a further layer was revealed – Meredith Graves shrieks and screams out mantras, rhetoric and personal essays that added to her already-stellar reputation as one of contemporary music’s more important voices. It’s love.

THREE TOP TRACKS: Interference Fits, Driver, VII.

WATCH:

19. TV on the Radio – Seeds
Spotify ||Rdio

“This time, I’ve got seeds on ground.” TV on the Radio sewed new life roughly three years removed from throwing dirt on the late, great Gerard Smith. Seeds allowed them to explore a more straightforward, streamlined approach to songwriting; allowing for their open-book honesty to shine through new love, old friends and healing wounds. It also allowed the band to let itself exist as an entity far greater than the sum of its parts – a chance to completely realise what they have created, what they have so wisely kept alive. Seeds is life after death – it’s not easy, but achievable.

THREE TOP TRACKS: Lazzeray, Careful You, Happy Idiot.

WATCH:

18. Willis Earl Beal – Experiments in Time

Sometimes, it’s suggested that an artist has “done a 180” as a hyperbolic expression to indicate a change in style. It’s rarely the case that the saying is justified in its use, however. This, along with several other contributing factors, is what makes Experiments in Time such a unique experience. Beal, formerly of the lo-fi blues and proto-folk category, turned his attention to music that is ambient, delicate and cautiously quiet. So radical is the departure, one may even be found double-checking that it is indeed the same man. A completely-unexpected sensation and a welcomed reinvention.

THREE TOP TRACKS: Slow Bus, Waste It Away, Same Auld Tears.

LISTEN:

17. The New Pornographers – Brill Bruisers
Spotify || Rdio

They may wander off for years at a time, but the Pornos are never really gone. You couldn’t kill those mothercanuckers with all of the weapons in Liam Neeson’s arsenal. Theirs is an undying spirit, which resurfaces on arguably be their best LP since Twin Cinema. The bombast of the title track, the defiant stride of “Marching Orders” and the Superchunk wig-out of “War on the East Coast” are just the tip of the proverbial iceberg. Perhaps the best thing about Brill Bruisers is that everyone will walk away with their own highlight – and there’s absolutely no wrong answers here.

THREE TOP TRACKS: Champions of Red Wine, Brill Bruisers, Marching Orders.

LISTEN:

16. Harmony – Carpetbombing
Spotify || Rdio || Bandcamp

Australian children’s entertainer Don Spencer once sang that “The greater part of every state is off the beaten track.” It’s certainly not what he meant, but this much is true of Carpetbombing – while most local releases concerned themselves with the inner workings of city streets or behind the closed doors of suburbia, Harmony’s second LP was covered in the grit, blood and petrol of outhouses, country yards and battered shacks. It’s a grim, confronting and occasionally terrifying record. It’s more Australian than most albums have a right to be. Carpetbombing is the sounds of then and the sounds of now.

THREE TOP TRACKS: Big Ivan, Do Me a Favour, Carpetbomb.

LISTEN:

15. Against Me! – Transgender Dysphoria Blues
Spotify || Rdio

Against Me! began in the bedroom of a teenager named Tom Gabel. It began again on the global stage, lead with aplomb by a thirty-something named Laura Jane Grace. The never-say-die punk spirit that was aflame with its origins continued to flicker defiantly, albeit guiding the path of significantly different subject matter – street-walking, identity crises and parenthood, to name a few. Transgender is the truth, the whole truth and nothing but the truth. It’s what they – and we – needed more than anything. This, friends, is the first day of the rest of Against Me!’s life. God bless its transsexual heart.

THREE TOP TRACKS: True Trans Soul Rebel, Two Coffins, Transender Dysphoria Blues.

LISTEN:

14. You Beauty – Jersey Flegg
Spotify || Rdio

It doesn’t matter if you win or lose – it’s how you play the game. This has been drilled into the heads of countless children, and it sticks for a reason – it reflects on more than just its immediate point of reference. Case in point: Few played a better game in the year passed than You Beauty, the supergroup-of-sorts that brought to life a nameless NRL star of a bygone era. It didn’t even matter if you didn’t know your Joey Johns from your Freddie Fitler – the storytelling was just that enticing. Jersey Flegg was a shoe-in for best and fairest.

THREE TOP TRACKS: Now Her Skirt, Rabbits, Ann-Maree.

LISTEN:

13. Cloud Nothings – Here and Nowhere Else
Spotify || Rdio

There were a lot of notable lines scattered throughout the eight tracks that made up Cloud Nothings’ third studio album, but perhaps the most telling comes in its closing number: “I’m not telling you all that I’m going through.” It’s rung true throughout the collected works of the Dylan Baldi vehicle; perhaps never moreso here – revealing a sliver of introspect and innermost struggle, but always pulling back before a complete reveal unfurls. Nowhere Else also takes the band further into the sprawling, incessant drive of noisy alt-rock, making it a true crowning achievement with the promise of continued future greatness.

THREE TOP TRACKS: I’m Not Part of Me, Now Here In, Pattern Walks.

WATCH:

12. Young Fathers – Dead
Spotify || Rdio || Soundcloud

Regardless of what you perceived to be its benefits or its drawbacks, the referendum to decide on its independence is generally perceived to be the biggest thing to emerge from Scotland within 2014… at least, it would have been for those that didn’t hear or discover Young Fathers. The collective’s debut LP was one conceived under cover of darkness, revelling in pitch blackness while also taking the initiative to lead the procession toward distant lights. This is hip-hop that wants to be a part of the revolution – and when it comes, those not with them will be first to go.

THREE TOP TRACKS: Am I Not Your Boy, Get Up, Low.

WATCH:

11. Moon Hooch – This is Cave Music
Soundcloud

The title of Moon Hooch’s second LP stems from what they refer to their music as from a categorical standpoint. You’ll certainly be thankful they did the groundwork for you, as what they do cannot exactly fit directly into any given spectrum. It’s a niche carved on the outside of alternative music – if such a thing is even possible – that digs deep. The trio implement thunderous horns and pitting them in a duel atop ricocheting drum patterns; locking the gates until a victor emerges. This is love. This is war. This is jazz. This is rock. This is cave music.

THREE TOP TRACKS: Bari 3, No. 6, Contra Dubstep.

LISTEN:

Top 50 Albums of 2014, Part Three: 30 – 21

Crossing over the halfway point! Livin’ on some sort of prayer. Parts one and two are to be read/caught up on here and here.

***

30. sleepmakeswaves – Love of Cartography
Spotify || Rdio || Bandcamp

The sooner that Australia wakes up and smells the vibrancy of its extensive post-rock community at hand, the bloody better. Sydney’s sleepmakeswaves have become the vanguard act of it in short time, less pushing the envelope and more reading the letter it contained from atop a mountain. With the airtight production guidance of rock expert Nick DiDia, Cartography became a full realisation of everything that the band could be; exploring new depths as well as searing highs – often within the same song. This is the sound of actions speaking far, far louder than words ever could. Consider the game changed.

THREE TOP TRACKS: Great Northern, Something Like Avalanches, Perfect Detonator.

LISTEN:

29. Fucked Up – Glass Boys
Spotify || Rdio

They may be the least hardcore and the least punk band in hardcore punk, but by some bizarre law of double negatives it’s made Toronto sextet Fucked Up far more hardcore and far more punk than a significant amount of their peers. Each of their albums feels momentous, grand in both scope and execution. Glass Boys proves to be no exception, in spite of a leaner runtime – in fact, it allows you to focus further in on the remarkable crafting that goes into each track. An alternate version of the LP with half-speed drums proves to be strangely-alluring additional listening.

THREE TOP TRACKS: Led by Hand, Glass Boys, Sun Glass.

WATCH:

28. Manchester Orchestra – Cope
Spotify || Rdio || YouTube

Manchester Orchestra have the heart of a lion and their collective eyes on a grander universal bigger picture. It’s now taken them through four albums of life, death, acceptance, honesty, sin and confession; and though one’s take on which is the superior of them may vary from listener to listener, it’s nigh-on impossible to leave a Manchester Orchestra record empty-handed. Although often shrouded in deep-cut metaphor and surrealist lyrical imagery, Cope has its own means of cutting directly to an emotional core at its most crucial points. It’s yet another excellent release from a band that works in mysterious ways.

THREE TOP TRACKS: Girl Harbor, Top Notch, Cope.

WATCH:

27. Run the Jewels – Run the Jewels 2
Spotify || Rdio || Download

We’re not in side-project territory anymore, Toto. The once-unlikely pairing of Killer Mike and El-P, now onto their third release together, has begun to make more sense in the greater spectrum of hip-hop perhaps more than practically anything else this decade. Such a bold statement can be backed by noting the remarkable impact of their second album. Swarming, visceral beats, simultaneous lyrical assaults and a completely-unexpected cameo from a fiery Zach de la Rocha all assisted in allowing Run the Jewels to forcefully smash through the underground and lead riots through the city streets. All hell can’t stop them now.


THREE TOP TRACKS: Early, Oh My Darling Don’t Cry, Close Your Eyes (And Count to Fuck).

WATCH:

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26. Future Islands – Singles
Spotify || Rdio

Some longer-term fans of dramatically-flaired electro-pop explorers Future Islands may feel somewhat disgruntled that it’s taken until their fourth studio album for a wider audience to be paying them the attention that they so rightly deserve. Think of it, instead, as a blessing in disguise: With the world now watching, we see the trio at the very best of their collective abilities; presenting a refined and distinctive take on their genre that revels in its kitsch and unfashionability so much that it comes full circle, leading to the arguably being the coolest damn record of the year. Who’d have thought?

THREE TOP TRACKS: Doves, Seasons (Waiting on You), Sun in the Morning.

WATCH:

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25. James Vincent McMorrow – Post Tropical
Spotify || Rdio || YouTube

For a timid Irish lad, James Vincent McMorrow certainly proved to have balls of steel when he made his launch forth into the great unknown at the start of the year. His second album was described by many as a 180 of sorts, doing away entirely with the folksy instrumentation of its predecessor. Perhaps a more fitting angle, however, would have been a 270. Post Tropical incorporated hindsight in regards to McMorrow’s raw-nerve emotional songwriting and his delicately-placed falsetto, but it also gave view to a brave new world. Who knows who he may yet become? It’s all blissfully uncertain.

THREE TOP TRACKS: All Points, Outside, Digging, Cavalier.

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24. Luca Brasi – By a Thread
Spotify || Rdio || Bandcamp

Two-fifths of Luca Brasi left the fold not a year before the release of their second studio album, a blow which may well have spelled the end for a lesser band. The Tasmanian natives were quick to mend, however – it wasn’t long before their triple-guitar interplay was woven into a tighter twin assault; while replacing the towering Saxon Hall on drums with the impeccably-bicepped Danny Flood was like switching out an unstoppable force for an immovable object. The craftsmanship of the songs, too, proved to be their greatest collective achievement to date. They – and we – live to fight another day.

THREE TOP TRACKS: Western Junction, Borders and Statelines, Here’s Looking at You, Kid Rock.

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23. Kishi Bashi – Lighght
Spotify || Rdio || Bandcamp

Kaoru Ishibashi finds himself in the realm of indie-pop with the violin as his weapon of choice over keyboards or guitar. This left-of-centre take on the genre allows for KB’s amazing technicolour dream-music to roam as freely as it pleases. On Ishibashi’s second LP under the moniker, he layers both his instrument and his voice to the point of assembling a chamber orchestra and a choir respectively. By means of beautifully striking contrast, there are also moments of quiet that reel in focus to the man behind it all. Much like its cover, Lighght is a stunning work of art.

THREE TOP TRACKS: Q & A, Philosophize in It! Chemicalize with It!, Carry On Phenomenon.

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22. Ted Danson with Wolves – WWTDWWD?
Bandcamp

From their culture-jamming band name to their sax-wielding take on DIY math rock, there’s nary a band runnin’ ‘round these parts that’s quite like Sydney’s Ted Danson with Wolves. It may well not have been their intentions when they initially formed out in humble old Tamworth several moons ago, but it’s where they’ve ended up on their outstanding debut effort. Its hyper-literate lyrics delve into the seriously strange and the strangely serious on a tandem basis, shrieked above a mesmerising cacophony of bass rumble, drum splatter and guitar squiggle. The outsiders found a way in, at long last. WWTDWWD? This.

THREE TOP TRACKS: Tim Has a Really Good Idea (Again!), Bohemian (I Don’t) Like You, In the Throes of Golf Woes: “It Was a Coarse Course, of Course.”

LISTEN:

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21. The Smith Street Band – Throw Me in the River
Spotify || Rdio || Bandcamp

Wil Wagner has said several times that there have been moments where he’s considered quitting music entirely. Throw Me in the River makes one ever so grateful he made the right call and kept his band alive. Were it to be summed up in three words? Let’s try “location, location, location.” Its songs take place all over the globe, from late nights in Calgary to a boiling day at Meredith Music Festival; not to mention its recording taking place in the small town of Forrest. No matter where you’re from, River shows that it’s where you’re at that’s most important.

THREE TOP TRACKS: Calgary Girls, Surrender, Throw Me in the River.

LISTEN:

The Top 100 Songs of 2014, Part Four: 40 – 21

We’re so close! Parts one, two and three… missed ’em? Not to worry? You can revisit them here, here and here. Let’s get down to some top 40 pop hits. Starting now.

***

40. Fucked Up feat. J Mascis – Led By Hand

Here’s a strange proposition: The best Dinosaur Jr. song of the year did have J Mascis in it, but it wasn’t by Dinosaur Jr. In a standout moment from their exceptional Glass Boys LP, Pink Eyes and co. paid homage to proto-grunge wigouts while still maintaining their hardcore punk roots. There was perhaps no greater yin-and-yang in the year than when Mascis mumbled the song’s chorus as Pink Eyes let out a Roger Daltrey-worthy “YEAH!” atop of it. An unlikely pairing on paper, “Led by Hand” had everything making a whole lotta sense quite quickly. Follow it around.

39. St. Vincent – Digital Witness

What did Annie Clark learn from her time making music with David Byrne? Two major things. The first: Horns. They’re a weapon. Use them wisely. The second: Is something categorically weird in your song? Make it weirder. Taking this on board, “Digital Witness” is one of her finest tracks to date. Whether it was the spiralling pre-chorus melody, the stinging guitar wail or that all-encompassing hook, it was nigh-on impossible to deny the resonance of this rebirth. During one of the song’s many earworms, Clark boldly states “I want all of your mind.” You got it. Anything else?

38. The Kite String Tangle – Words

We’re still learning a lot about Danny Harley, the prodigious figurehead behind Brisbane bedroom phenomena The Kite String Tangle. Tracks like “Words” allowed us as listeners to edge slightly closer in this regard, and it was something to be extremely thankful for. A restrained exploration of post-dubstep balladry, Harley shrouds himself in light-and-shade contrasts, gently coaxing out confessional lyrics as distant lights flicker and glow on the outskirts. It shouldn’t add up that such depth and maturity has been achieved at such an early stage, but one would suppose The Kite String Tangle has always been against the odds.

37. Jane Tyrrell – The Rush

Lovers can fall hard and fast for one another, but where does one find oneself when fire turns to ice? It’s a complicated subject, and one that Tyrrell details with an outsider’s eye and an insider’s mind. She may have set up two characters in the song, but it’s safe to say that she sees more than just herself within them. Driven masterfully by the unmistakable drumming of PVT’s Laurence Pike, there are soaring highs and crushing lows that weave through the song’s relatively-short runtime. Tyrrell sees us through to the bitter end. It’s not like it’s her first time.

36. Ken Stringfellow – Kids Don’t Follow

If any song is stretching the friendship for its inclusion in a 2014 list, it’s surely this: A cover of a Replacements song from the 80s that was recorded in 2004 for a tribute album to the aforementioned college-rock legends that ultimately never came to be. This hazy barroom take on the anti-authoritative punk number came from acclaimed Posies and R.E.M. alum Ken Stringfellow; and collected dust until the release of a rarities compilation at the beginning of 2014. So, here we are. You best believe this sucker was worth uncovering. A smart, somewhat-sombre reworking from a truly underrated craftsman.

35. Babaganouj – Too Late for Love

Go Violets didn’t fade away, they burnt out. Their embers remain flickering within Brisbane’s still-thriving indie-pop village, as two of its members have resumed full-time positions in this little jangly garage outfit that could. “Too Late for Love” may have been born in the sunshine state, but it’s more European in flavour – there’s a strong dose of Camera Obscura, a hint of The Wannadies and sprinklings of Belle and Sebastian’s early work. None of this is said to deride the song, of course. It’s a reflection on how it immediately feels like home. May this band burn longer and brighter.

34. Kelis – Breakfast

Her milkshake brought all the boys to the yard, but what happens when one of those boys sticks around? Now in her thirties, Kelis is exploring the concept of finding love in wake of divorce. It’s quite an adult prospect, recurring on perhaps her most mature LP to date, Food. Many went with a helping of “Jerk Ribs” when asked to name the album’s standout, but it would be foolhardy to dismiss this triumphantly horn-laden take on neo-soul, complete with stunning chorus and adorable children’s backing vocals. Much like in life, “Breakfast” is the most important meal of the day.

33. Ben Howard – Conrad

A lot of pitch-black darkness took up Ben Howard’s second album – hell, it even took up most of the cover art. Positioned towards its latter half, “Conrad” allowed the LP to let a glimmer of light into the spectrum. It continues to look at where a past love went awry; and yet the song plays to the pop sensibilities that rewarded Howard such attention to begin with. Its shipmates are his exceptional guitar work, layered to the point of being a battalion front; as well as a hummed refrain that would even garner due respect from the Crash Test Dummies.

32. Luca Brasi – Borders and Statelines

Luca Brasi’s dues have been paid in full and with interest; and many within Australia’s punk community have spent the last few years in particular wondering as to when it would be their time. It was answered not with words, but an extremely loud action. The forceful, crashing drums, the stellar twin-guitar attack and the rousing, spirited chorus they always had in them… “Borders and Statelines,” contrary to its lyrics, will come to define this band in the very best way imaginable. There is a wolf in the throne room, and its name is Luca Brasi. There will be blood.

31. Swans – Oxygen

2014 saw Michael Gira turn 60 years old. He continues to haunt the realm of alternative/avant-garde music after thirty-plus years in the game with unfinished business. Amid an exhausting two-hour-plus release – the double-LP To Be Kind – came this truly terrifying beast. “Oxygen,” already a live favourite, can now officially stand as one of the biggest, boldest compositions to ever come out under the Swans moniker upon its long-awaited recording. Its opening moments are spent picking out one of the year’s most distinctive basslines; its dying moments forcefully hurls everything it has built up into the inferno. The in-between is unforgettable.

30. Death From Above 1979 – Right On, Frankenstein!

Yes, the most hyped new rock band of the year may well have been a bass-and-drums duo; but a vengeful return from the very band that made it cool in the first place made sure we all knew whose yard we were stepping into. “Frankenstein” fires off on all cylinders from its opening seconds, pounding through a barnstorming, breakneck dose of rock & roll that exists purely on Keeler and Grainger’s terms. Plus, it’s gotta be the best false ending to a song from this year: The dust settles, the bass rings out… then, POW! Right in the kisser!

29. Bertie Blackman – Run for Your Life

Another new Bertie Blackman album means another new Bertie Blackman. From the days of her favourite jeans to her flirtations with electronica on later releases, the chameleonic Blackman has rarely allowed herself to get too comfortable within a particular style in her decade-and-change of songwriting. “Run for Your Life” is no exception to this, although it would be wise to suggest she spend a little more time in this specific corner. She sounds right at home with the gated snare, thickly-layered synthesizers and the whoah-oh’d call and response. She may well have just stumbled across her own pop paradise.

28. Kiesza – Hideaway

Fred Armisen may have sung that the dream of the 90s was alive in Portland, but his radar was a little off. The dream of the 90s, friends, is alive in Kiesza, a twenty-something Canadian up-and-comer who dominated dancefloors throughout the entire year with this certified banger in her arsenal. From a crafting perspective, “Hideaway” is retro in the sense that it can appreciate that there was a “What is Love” and a “Rhythm of the Night” for every “Teen Spirit” and “Black Hole Sun.” Its spirit is alive and shuffling once again. Mash it.

27. Coldplay – Magic

In the year that the phrase “consciously uncoupling” entered the cultural lexicon, you could well have been forgiven for forgetting that Chris Martin actually made music this year. Sure, some people would like to forget it altogether, but that’s another story for another time. We’re here to talk about “Magic,” a single that allowed Martin and co. to recall the pop simplicity of their early days while connecting it to the fresh pain of a then-recent separation. If “Magic” proves anything, it’s that we can begin again. That, and Chris Martin can still write a bloody tune.

26. Tkay Maidza – U-Huh

Don’t let Tkay Maidza’s age fool you, nor the simplicity of her big-business single. MCs twice her age would kill for a flow so tightly syncopated, hooks this high in both quality and quantity and a beat as bright and boisterous as the one that fills the spaces of “U-Huh.” There are constant surprises around every corner in the current Australian musical climate; and Maidza is the latest to make a substantial impact. One hopes the fire spat here leads to a phenomenal debut LP next year. After all, as she puts it, “We don’t tolerate broke behaviour.”

25. Yoke – Jabiluka

A phrase as simple as “I never told her” is what centres itself thematically at the core of “Jabiluka,” so named after a mine in the Northern Territory of Australia. Each time it is uttered, there are further layers peeled back to reveal the pain, the regret and the loss that comes with delivering such a line. It’s conveyed emphatically, almost taking on new meaning with every repetition. Similarly, the song itself may externally feel like a Dev Hynes-flavoured slice of downtempo indie-pop, but further listening will see those very same layers revealing. A smart yet complicated song.

24. DZ Deathrays – Reflective Skull

Who gives a fuck about how many notes you can play? If you can play the right ones, in the right succession, you needn’t worry about a single thing more. The riff that “Reflective Skull” lives and dies by was not designed for any greater intellectual pursuit. It’s a primitive headbanger, locked into an undeniable stomping groove and launched forth with reckless abandon. Ironically enough, with its less-than-more approach, this could be one of the biggest sounding tracks that the Deathrays duo have ever put their collective name to. Altogether, now: DUN, DUN-DUN, DUN DUN DUN-DUN, DEWWWW DEWWWW DEWWWW.

23. Sia – Chandelier

Ten years removed from her previous signature song, the inimitable “Breath Me,” Sia Furler has penned herself a new standard; an anthem which will forever define her as one of not only Australia’s greatest singer-songwriter exports, but as a true mastermind behind pop music in the 21st century. Hyperbole? For Christ’s sake, go listen to that chorus again. Seriously. It feels like that Maxell ad campaign where the guy is being blown away by the sound in his chair. Maddie Ziegler may have given the song a second life, but it was all a part of Sia’s grander plan.

22. The Gaslight Anthem – Get Hurt

Don’t call it a comeback. Don’t even call it a reinvention. What we are seeing here is Brian Fallon and co. going out on a proverbial limb, gazing forlornly at what lies beyond. In leaving their comfort zone and exploring the possibilities of slower, more refined songwriting, Gaslight have undertaken a greater journey all with a single step. The title track from their latest record also served as one of their most striking, honest songs ever put to wax. It’s murmurs and whispers from a band defined by their shouts and screams, and it makes for a remarkable listening experience.

21. Tiny Ruins – Me at the Museum, You in the Wintergardens

The single greatest ode to love in 2014 came from the humble, warm abode of Auckland; where you’ll find the quaint, gorgeously understated sounds of one Hollie Fullbrook on the wind. The story is simply told, beautifully painted and pristinely arranged, as we follow the scent of young love through two uniquely different workplaces that somehow not only complement on another, but serve as a reflection on the resolute power that can come through finding love. Its greatest achievement, however, is its ability to accomplish all of this majesty in a decidedly slim 155 seconds. It just comes and goes.

***

20 – 1

The Top 100 Songs of 2014, Part Three: 60 – 41

Crossing over to the halfway point. Let’s press on: Heartbreakers, headbangers and happy happy happy awaits you, dear reader! If you missed out, parts one and two are available to catch up on here and here. On with the show…

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60. Death From Above 1979 – Cheap Talk

So, you haven’t been around for ten years. There’s a whole bunch of kids who weren’t paying attention or were simply too young the first time around. You got a lot of people waiting for you to kick down that door. What’s your game plan for returning to the party? Does it involve pummelling drums, enough bass to satisfy Meghan Trainor’s entire family and just enough cowbell to keep Bruce “Cock of the Walk” Dickinson away from a fever? If so, congratulations: You’re Death From Above 1979! Furthermore: Congratulations! You’re responsible for one of the flat-out best opening tracks of 2014.

59. Coldplay – Midnight

For a band so oft-derided for being complacent and predictable, perhaps not even the band’s fiercest detractors could have seen a track like this coming. Chris Martin is barely recognisable as he shrouds his voice in both rarely-touched-upon falsetto and layers of deep-set vocoder. The rest of the band delve into perhaps their most electronic foray to date, keeping the song moving along like clockwork – or, given the circumstances, like Kraftwerk. Although it didn’t blow up radio like “Stars” or “Magic” did, the fact it was never intended to proves that these giants can still see a bigger picture.

58. Sam Smith – Stay with Me

You know how we all wondered how Adele’s ex-boyfriend felt after hearing 21? We pretty much just did the exact same thing for this fellow twenty-something Brit with a broken heart and a chart-smashing album. This served as his “Someone Like You,” a torch ballad with enough fire within it to burn down a nearby village. His desperate pleas that filled out the song provoked some to smear him as a warbling miserablist, but the second Smith takes it to church with that chorus, there’s clearly something greater going on here. A broken heart mends, and a star is born.

57. Georgia Maq – What Do You Mean (The Bank’s Out of Money)

What do Tony Abbott, Heisenberg, Evan Dando and Bart Simpson have in common? Absolutely nothing – and it’s precisely this that makes their collective inclusion in this sensationally-scatterbrained number so entertaining. Maq is, to put it lightly, not a fan of a singular idea guiding one song – she bounds through enough ideas to last most singer-songwriters a double album in the course of just under four minutes, from comedic misunderstandings to deeply-personal family matters. It’s executed with aplomb, of course, and it’s refreshing to come across anyone bandying about an acoustic to have an askew take on songwriting structure.

56. Hockey Dad – Seaweed

Most of Hockey Dad’s songs sound as though they’re intended for a picturesque light blue sky, green grass and the suburban pavement. By means of contrast, the sun has seemingly set on “Seaweed,” which is the band’s most restrained and, for lack of a better term, tender moment. It’s the soundtrack to an endless summer coming to an end, the waves dropping back and the night taking its place. Rather than lower the collective morale, the song is a success on the terms that it showcases the band’s unexpected versatility. Besides, the sun’ll come out tomorrow. Bet your bottom dollar.

55. “Weird Al” Yankovic – Lame Claim to Fame

Were you to name all of Weird Al’s biggest hits, you’d simply have to change the titles of other massive pop songs and go from there. How peculiar, then, that the best moment on his chart-topping comeback LP was an original. Taking cues from Southern Culture on the Skids, this cowbell-laden rocker lets Yankovic loose on the A-listers that he’s kinda-sorta interacted with over the years. Rather than get relegated to the deep-cuts, “Lame Claim” is what one should lead with in order to prove the perennial parodist can still get a laugh out of you some thirty-odd years in.

54. Sun Kil Moon – Carissa

Spoiler alert: A lot of people die on Benji, the latest album from Sun Kil Moon. Like, a lot. Carissa is the first of them, a ne’er-do-well teen rebel turned suburban mother who loses her life in a shocking, unexpected way. It’s all detailed by the low drawl of Mark Kozalek, whose uncle was her grandfather. With little more than a classical acoustic guitar, he takes us through his own grieving process; mostly involving the circumstances surrounding her death. It may not have been a pretty sight nor sound, but it made for some of the year’s most compelling listening.

53. Brendan Maclean – Holy Shit

Population, Maclean’s third EP, was essentially a whole lotta Jekyll-and-Hyde action. One minute, he’s the parading electro-pop superstar of “Winner,” the next he’s the uncertain and visibly-struggling end of a frayed relationship on “Holy Shit.” Maclean’s return to the piano allowed him to take off the cape to reveal the mild-mannered reporter beneath, adding in warm harmonies and a tightly-percussive backbone to his rock-and-hard-place confusion. It’s smart, honest and ranks among the finest songs he’s ever written. Yes, he’s the life of the party – but sometimes he’s the girl crying in the “Stupid” video, and that’s okay too.

52. Megan Washington – Limitless

Was there a more right-in-the-feels opening line this year than “There’s a certain kind of lonely where you sleep in your jeans”? In a year full of revealing moments for the Brisbane-born singer-songwriter – a touching Australian Story, reverting to her real name to release music – “Limitless” proved to be one of the most resonant. Perhaps it was the icy synths or the tightly-wound drums guiding its pained lyrics, or perhaps the the echoing detour into the bridge. Whatever the case, Washington managed to find a method within her madness. Us jeans-sleepers are all the more grateful for it.

51. Kyary Pamyu Pamyu – Kira Kira Killer

It’s growing increasingly difficult for us Westerners to get an idea as to what the hell is going on in the realm of Asian pop music. The only thing that we know is that we want more of it and we want more of it now. At once sounding like the final level of an adventure game and the theme song to the cutest show in the known universe, it’s a task unto itself to properly describe what Kyary Pamyu Pamyu has got going for her. Her amazing technicolour dream-pop needs to be experienced first hand. Happy! Happy! Happy!

50. DZ Deathrays – Gina Works at Hearts

Sometimes, you’ll hear a riff that’s indicative of a band ready to take it to the next level, from “Buy Me a Pony” to “Covered in Chrome.” The opening seconds of “Gina Works at Hearts” locked it in instantly – hell, even if the rest of the song was said riff, they’d have made it. Of course, there’s a lot going on here – as much a sugar-rush of power-pop as it is a rip-snorting rock-radio champion, DZ get the best out of both worlds and stake out their territory intently and defiantly. Shit’s very much about to get real.

49. Conor Oberst – Hundreds of Ways

A rose by any other name would smell just as sweet, as well as prick you just as sharply with its thorns. Whether he’s a Monster of Folk, a Desaparecido or wandering through the Mystic Valley, Conor Oberst is still finding avenues in which to deliver his acutely-detailed world-watching. He’s evolved substantially from LiveJournal-worthy angst into the man that stands before you, leading a parade of ironically-triumphant horns, cooing backing vocals and chirpy lead guitar through such damning lyrics as “I hope I am forgotten when I die.” He may ramble on and on, but we’re still in the procession.

48. Interpol – All the Rage Back Home

Perhaps we’ve been looking at Interpol wrong this entire time. While their albums have often been met with indecision, indifference and derision – particularly within the past ten years – there’s something about the band’s singles that have remained entirely agreeable as a sole constant. El Pintor was bound to set people up for disappointment, given the high expectations with which it was anticipated; but its lead off proved to be one of the finest moments the NYC natives have ever put to their names. At once a slow-motion swell and an urgent rush, “Rage” is a straightforward, singular beast.

47. King Gizzard and the Lizard Wizard – Hot Wax

It’s pretty safe to say that King Gizzard are the kind of band that are working on no-one’s terms but theirs. Dropping two albums a year on average, the wonderfully-weird septet have kept audiences both simultaneously guessing their next move and standing back in awe of the miniature empire they have created. Then, of course, they’d drop “Hot Wax” and you’d be too busy shaking your hips to care about anything else. That beat! That harmonica howl! That bass! As you read this in the future, where they’ve presumably just released their twelfth album, remember this as a turning point.

46. Ariana Grande feat. Iggy Azalea – Problem

There’s a new diva in town, and the mainstream press has not let anyone go without hearing the news – Grande was the centre of several “investigative” pieces surrounding her behaviour at photo-shoots. Still, the pint-sized popster had bigger fish to fry, and that came in the form of a dynamic kiss-off taking place in a cold war between sax hooks and sub-bass booms. “Problem” was all business from its opening moments and refused to let up. You may well have tried to deny its place at the table, but this was never about you-ou-ouuuuu. Not good. Not great. Grande.

45. Ty Segall – The Singer

For a guy who’s known for his bounding-off-the-walls energy (see his performances on Conan and that Chicago morning talk show), it’s been strange to watch Ty Segall mellow out a little more as he edges closer to 30. Following on from an entirely-acoustic affair in 2013, Segall kept people guessing on his Manipulator LP, where a song presumably included as a breather between rockier numbers ended up being one a true career highlight. “The Singer” tripped the light fantastic and put particular emphasis on the latter. Rarely has “Sing/Sing louder” sounded less like a refrain and more like a mantra.

44. Ryan Adams – Gimme Something Good

Sometimes, you gotta go back. Back when the uniform of the nation was blue jeans and a white t-shirt, your hometown was either your best friend or your worst enemy and the perfect Saturday night was out with your best girl. It’s a time that Ryan Adams has ostensibly wound up in, and on paper it may well not make sense for a noted balladeer to draw such substantial influence from this style. Once the organ calls out beneath Adams’ reverb-heavy guitar swagger, however, it’s the equivalent of the puzzle pieces setting themselves into place. Consider that something good given.

43. Jon LaJoie – Please Use This Song

Taco may have wound up with the Sacko (last place) in this year’s season of The League, but in most other respects, his portrayer took out the Shiva. Not only did he have a memorable casting in the guilty-pleasure hit Let’s Be Cops, Sir LaJoie also took his brand of provocative parody work into the realm of what’s commonly being referred to as “corporate indie” (Hi, Sheppard!). Even when taking the complete mickey out of the genre, he’s done such a dead-on impression that he’s inadvertently wound up as the king of it all. This is the right song, indeed.

42. Brody Dalle – Don’t Mess with Me

We may be ten years removed from the demise of The Distillers, but their ghost is rattling around somewhere here. Of course, it helps that their fearless frontwoman is the mastermind behind it, but there’s more to it: The first lady of rock hasn’t sounded this menacing, guttural and flat-out tough since the days of Coral Fang all that time ago. Put it this way: Most bands would get laughed out of the room if they were to try out a refrain like this song’s title. In Dalle’s hands, you’ll need a quick exit and a clean pair of pants.

41. Pinch Hitter – All of a Sudden

There aren’t many worse places to start having a panic-induced existential crisis than on the strict confines of a plane. Still, Pinch Hitter managed to take the lemons given to them and make some of the sweetest lemonade possible. Part math-rock shuffle, part fluttering baroque pop explosion, “All of a Sudden” explored the greater possibilities of this unique double-banjo project and took its listeners along for the ride. A cameo from Jen Buxton and Jai “the new Terminator” Courtney reciting the brilliant refrain of “Everything’s matter/Everything matters” take this song to a higher (pardon the pun) plane of existence. Incredible.

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40 – 21

Top 50 Albums of 2014, Part Two: 40 – 31

He’s at it again! Part one is here ICYMI.

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40. Modern Baseball – You’re Gonna Miss It All
Spotify || Rdio || Bandcamp

There’s an endless stream of great lyrics that flow through Modern Baseball’s second album, but perhaps its most telling moments come through its asides, its mumbles and awkward fumbles. “Yeah… about that…” comes with awkward pauses on ‘Fine, Great,’ while the line “I could not muster the courage to say a single word” practically falls over itself in ‘Apartment.’ It’s an awkward and uncomfortable record, but in a way it has to be in order to convey the dissatisfaction and blank, distant gazes that come with such sighing honesty among its smart pop-punk and understated alt-rock. Whatever forever.

THREE TOP TRACKS: Two Good Things, Notes, Your Graduation.

LISTEN:

39. DZ Deathrays – Black Rat
Spotify || Rdio

With the wizardry of Gerling alum Burke Reid guiding them, Brisbane’s finest party-starters maintained the rage on their all-important second album. It’s worth pointing out that there was far more to the album than what was presented on surface value: While DZ kicked their boots into several slices of snarling garage rock, they also found themselves slowing to a crawl and exploring the possibilities of more than one guitar – let’s try a half-dozen. Why not? Black Rat is the sound of a band expanding their empire, refusing to be either restricted or defined by what’s previously been laid out.

THREE TOP TRACKS: Northern Lights, Reflective Skull, Gina Works at Hearts.

WATCH:

38. Jane Tyrrell – Echoes in the Aviary
Spotify || Rdio

A supporting player that has had people begging for a lead, Jane Tyrrell is regarded as one of the finest vocalists to emerge out of Australia’s hip-hop community. Here, she takes those lessons learned and breathes fresh life into them. Assisted by a stellar team of producers and multi-instrumentalists, Tyrrell revels in deep, dark secrets; conveyed with the kind of sorrow that can only come from raw-nerve connections to every last lyric. At once breathily intimate and unreachably distant, Echoes is the sound of an artist taking flight for the very first – and certainly not the last – time.

THREE TOP TRACKS: The Rush, Echoes in the Aviary, Raven.

LISTEN:

37. Mere Women – Your Town
Spotify || Rdio || Bandcamp

The bloodline of Mere Women runs through DIY punk, indie rock, basement electronica and warehouse post-punk. It fits in everywhere and nowhere at the exact same time; such is the nature of its genre traversing and integral versatility. Truth be told, there’s very few bands that quite match what it is that Mere Women do, and that’s never been more the case than on Your Town. Each note feels cacophonous, cold to the touch and bristling with anxiety and defeat. It all falls into place, painstakingly detailing what happens when things between people disintegrate into nothing at all. Truly jawdropping.

THREE TOP TRACKS: Our Street, Golden, Home.

LISTEN:

36. Outright – Avalanche
Bandcamp

There is no band in Australian hardcore right now more important than Outright. There is no band in Australian hardcore right now that will sit you down, shut you up and give you the severe reality check that you need the way Outright will. No album in Australian music this year was able to encapsulate such fury and such authoritative defiance like Avalanche did – and in such a short amount of time. How much more evidence do you need in order to see Avalanche as a milestone for its scene and its genre? Do we have everybody’s attention now?

THREE TOP TRACKS: A City Silent, Troubled, With Your Blessing.

LISTEN:

35. Megan Washington – There There
Spotify || Rdio

What kind of year has it been for Megan Washington? It’s all out in the open now. Everything. She’s publicly confessed to having a stutter, told all about a failed relationship that even had a wedding on the cards… hell, she’s even performing under her full name now. The details are not spared on There There, and its seemingly-cathartic release benefits both her and those that have always perceived her to be an excellent and important songwriter. This is Washington’s single best collection of songs, and those that investigate its innermost secrets are the ones that will be rewarded greatest.

THREE TOP TRACKS: Limitless, Marry Me, My Heart is a Wheel.

WATCH:

34. St. Vincent – St. Vincent
Spotify || Rdio

It doesn’t matter if it happened when she dropped her debut, when she teamed with David Byrne or even when she stole the show during SNL: You’ve fallen in love with Annie Clark. As St. Vincent, she has been responsible for some of the most arresting, envelope-pushing art-rock this side of the century. Not only was this reaffirmed on her self-titled LP, it showcased some of the finest examples of it. Whether she’s shredding with the flair of an 80s metal star or tiptoeing around delicate arrangements with the grace of a ballerina, the love affair remains in full swing.

THREE TOP TRACKS: Digital Witness, Bring Me Your Loves, Birth in Reverse.

WATCH:

33. Tiny Ruins – Brightly Painted One
Spotify || Rdio

Hollie Fullbrook may be a particularly quiet artist, but there’s a certain je ne sais quoi about her that will stun you into silence. She’ll be recalling a specifically-detailed story from her childhood at one point, falling helplessly in love with a nearby worker at another. What ties it all together is both Fullbrook’s knack for stunning melodies and impeccable, tidy arrangements incorporating warm horns, pinches of strings and her exceptional rhythm section. Brightly Painted One deserves to be seen, heard and known.

THREE TOP TRACKS: She’ll Be Coming ‘Round, Me in the Museum, You in the Wintergardens, Ballad of the Hanging Parcel.

LISTEN:

32. Slipknot – .5: The Gray Chapter
Spotify || Rdio || YouTube

It was always going to be driving a hard bargain in order to make people care about Slipknot again. Six years have passed since their previous record, a tragic loss almost ended the band entirely and perhaps their best-known player exited the fold permanently. It’s either on account of this or in reaction to it, but The Gray Chapter is an album that overcomes every obstacle. It’s an album that makes the impossible possible, pounding its fists through the coffin and rising up to complete unfinished business. It’s the sound of a band who won’t go down without a fight.

THREE TOP TRACKS: Custer, Sarcastrophe, The Devil in I.

WATCH:

31. J Mascis – Tied to a Star
Spotify || Rdio || YouTube

On paper, an acoustically-oriented record from one of the most prominent, inventive electric guitarists of the past 30 years would appear to be fruitless, confusing and counter-productive. One pities the fool, of course, who would ever think to doubt or question the motives of one Joseph Donald Mascis, Jr. Whatever style of music he lends his formidable songwriting abilities to, the Dinosaur Jr. mainstay is sure to make it a worthwhile endeavour. Star marks his strongest solo album, delving into Nick Drake-esque introspect and sweetly-soft falsetto. It betrays what you know him best for, making it all the more fascinating.

THREE TOP TRACKS: Every Morning, Me Again, Wide Awake.

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The Top 100 Songs of 2014, Part Two: 80 – 61

In case you missed out on part one, you can check out the previous 20 songs here. If not, then let’s get right back into it…

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80. Manchester Orchestra – Top Notch

Four albums in and Manchester Orchestra’s Andy Hull is still searching. Not just for himself, or some kind of greater truth; but for what can be found and what can be learned in the ways other people. He remains one of the poignant and powerful voices within contemporary indie rock, and this is cemented with the resolute, belligerent opener to April’s Cope. An occasionally-cacophonous affair, Hull remains centred at its core. “I know there’s no way to fix it” isn’t a line delivered with despair – it’s a line delivered with acceptance. The search continues.

79. sleepmakeswaves – Something Like Avalanches

The last twelve months have seen sleepmakeswaves translate their cult status among fans of local music into something far greater than any of them could have anticipated: top 40 chart positions, ARIA and Triple J award nominations and a reputation as our single greatest post-rock export. At the centre of this has been “Something Like Avalanches,” which lead us into their exceptional Love of Cartography while also serving as quite possibly their single finest moment. Its whisper-to-shout progressions, seemingly-endless array of left-hooks and bursts of energy tidily summarise why we’re dealing with one of Australia’s most important bands right now.

78. Run the Jewels feat. Zach de la Rocha – Close Your Eyes (And Count to Fuck)

A hip-hop behemoth, an effortlessly-cool underground king and one of the true rock revolutionaries of the 90s – what could possibly go wrong? On what was one of the year’s most badass numbers, Mike and Jaime bark with authoritative force over malfunctioning, bass-gurgling beats; dropping references to everything from Al Pacino to The Anarchist Cookbook. This all happens before leading in the former Rage Against the Machine frontman on a verse that is potentially his most vital since The Battle of Los Angeles a whole fifteen years ago. Old dogs, new tricks and a certified banger to show for it.

77. Mere Women – Our Street

The idea of impermanence within the confines of a relationship isn’t something that’s often brought up in songwriting – we’re either at blossoming, tender beginnings or the hateful, bitter end. “Our Street” is a song that looks at that moment where you see the end in sight – the hook of “I’ve walked down this street so many times” is one of both familiarity and frustration through boredom. It’s backed by some of the best guitar sound on any record in 2014; as well as a minimal but noticeable shade of accessibility shining through the band’s art-rock exterior. Misery loves company.

76. The Decemberists – Make You Better

Colin Meloy’s days of drowning children, barrow boys and giant whales are behind him. That’s not to suggest that he’s lost any of his imagination in his hyper-literate songwriting, but more that he’s focused back in on reality. On his band’s first single in four years, he guides his acclaimed wordplay through a romance that seeks co-dependence and relit flames while maintaining an honesty about what it all means. It’s unpretentious in its delivery, and yet it still leaves an impact just as strong as any of their more melodramatic numbers. A great mind of modern music has rebooted.

75. The New Pornographers – Champions of Red Wine

Less than a year after dropping an exceptional solo LP, Neko Case was at it again; this time with the Canadian collective she made her name with all those years ago. Years have passed since the last Pornos offering, and yet it immediately falls back into place; albeit with slightly different surroundings. An earth-orbiting synthesizer leads the fray; which weaves in and out of a washed-out acoustic guitar, a sturdy kick-kick-snare backbeat and some truly beautiful vocal interplay between Case and A.C. Newman over a wordless Irish-folk-flavoured refrain. No time for losers – The New Pornographers are still the champions.

74. Modern Baseball – Two Good Things

Detached, disillusioned, dissatisfied, dissociative… this, people, is how youth of today are feeling. Modern Baseball did a better job than most (if not all) of reflecting this on You’re Gonna Miss It All, providing a song that’s both endlessly quotable (“Mathematically, that can’t be more than one end of a candle/Bottom of the night, can’t find my socks”) and meticulously crafted. As one of the more subdued moments of the album, it recalls The Weakerthans in structure, while also alluding to doo-wop (see the “da-da-da” rounds following the first verse) and late-2000s pop-punk. Here they are now – entertain them.

73. Aaron West and the Roaring Twenties – Divorce and the American South

Last year, Dan Campbell was asking himself “Did I fuck up?” on The Wonder Years’ “Passing Through a Screen Door.” Here, he flat-out confesses “I’m a fuck-up.” Well, sort of: He’s saying it as Aaron West, the titular character of his solo project. West pleads with his estranged wife on an answering machine, revealing more of his inner turmoil than he’d care to do in person. Little else touches Campbell’s solo performance, but they’re justified inclusions – pedal steel adds guiding lights to this sad country song; while a lone trumpet sounds out the finale with a trace of hope.

72. Hilltop Hoods – Cosby Sweater

Without getting into too much detail, it wasn’t a great year for Bill Cosby. His choice of clothing from the 80s, however, was doing just fine. Alluding to a famous photo of Biggie Smalls wearing the titular jumper, the Hoods returned to the limelight with one of their most fun singles yet from a thoroughly-consistent new album (a rarity if said album is your seventh). If the rollicking beat wasn’t enough, the energy and tongue-in-cheek cultural references (Oprah, Pat Benatar, chess legend Bobby Fischer) from MCs Suffa and Pressure ensured that it went over the line. And it’s all good.

71. Taylor Swift – Shake It Off

70. Death From Above 1979 – White is Red

A teenage romance ending in tragedy is as old as the hills – and even they’re sick of hearing “Last Kiss” over and over. It’s an intriguing concept, though, when it comes from a band normally inclined to skip the foreplay – their last album was called You’re a Woman, I’m a Machine, for shit’s sake. “White is Red” recalls love turned sour on a late-night runaway drive going anywhere. It’s sprinkled with clear influence of heartland-rock storytelling, yet delivered in a manner best paralleled with the band’s “Black History Month.” A colourful song that also revels in its darkness.

69. Future Islands – Doves

Releasing the doves has always been a grandiose gesture going well over the borderline of the flat-out ridiculous. This kind of theatricality is brought to mind by the title alone of this cut from Future Islands’ fourth studio album, so imagine what happens when it actually kicks in with its arena-sized snare flams and John Oates synth-chimes. It’s yet another example of the band potentially coming off as too out-there, too cheesy, too goofy… and then just nailing it entirely. A pop smash best served with that slithery dance move Samuel T. Herring does that recalls SNL‘s “sloppy swish” sketch.

68. Royal Blood – Little Monster

The backlash for rock’s next big thing arrived just as quickly as the cover stories and Dave Grohl soundbites proclaiming them to be saviours of the genre. Wherever you ended up on the spectrum, it was hard to ignore a track like “Little Monster” – if for no other reason that it was a loud motherfuckin’ song. A hybrid of QOTSA at their most stoner-metal meeting Muse at their ballsiest, the track simultaneously kicks up dust and kicks out the jams. “You say you got nothing/So come out and get some,” offers bassist/vocalist Mike Kerr. Don’t mind if we do.

67. Slipknot – Custer

Dun-dun-da, dun-dun-da, dun-dun-da-da-da. It might look like a slap-dash use of onomatopoeia, but it served as a dog whistle to metal fans returning to the world of Iowa’s premier nu-metal survivors. Genre politics aside, the fact that the band is still standing at all after all they have been through is a miracle unto itself. To deliver a song like this, however – an all-guns-blazing sensory assault that makes a song like “People = Shit” sound like Jack Johnson – surely cements them as a band that have paid their dues in full and one that deserves far more credit.

66. Collarbones – Turning

It’s always important to note the creativity in each single from Collarbones: What can initially seem like something that’s going to collapse into itself steadily and surely turns itself into a pop-and-locking wonderland. It’s as if they’ve rearranged puzzle pieces where they were clearly not originally intended to go and created a different picture entirely. In this instance, it’s a choppy, jolting slice of electro-pop that’s as much rnb come-ons as it is Macbook-hunched techno. “You make me feel like someone new,” sings out Marcus Whale – and it’s enough to get you excited for who they may be next.

65. Jenny Lewis – Just One of the Guys

We’re past the casual sex and the pained relationships of Jenny Lewis’ days in Rilo Kiley. As she approaches 40, she finds herself considering her own position in relation to her friends, her public perception and the supposed ticking clock following her around. Of course, we all know that Lewis is far more than “just another lady without a baby,” as she puts it; but it’s hearing her come to that conclusion on her own accord that makes this dreamy pop number all the more worthwhile. Now, about that tour with Kristen Stewart and Anne Hathaway as her backing band…

64. Weezer – Back to the Shack

The first words out of Rivers Cuomo’s mouth on Weezer’s first single in four years are “Sorry, guys.” No shit. Who’d have thought the man responsible for Make Believe and Raditude would be rushing to make amends with the die-hards? Perhaps it was their extensive touring of The Blue Album that made him reconsider what makes a great Weezer song, but the mojo is very much swinging in this two-chord rocker. “Maybe I should play the lead guitar,” he considers, “and Pat should play the drums.” They do just that, and we’re rocking out like it’s ’94 all over again.

63. Oslow – Cliffy

Cliff Young – aka Cliffy – was an Australian power-walker who won a marathon with a simple but clearly-effective shuffling method. Whether this was an influence on the third single from Oslow’s exceptional second EP is anyone’s guess, but a) It’s fun to speculate; and b) It’s reflected in the band’s focus on the groove and the spaces that go between each note as opposed to filling every gap. Oslow are clearly winning the race when it comes to the field of forward-thinking indie-rock emerging from Australia, so you’d best catch up – at your own pace, of course.

62. TV on the Radio – Careful You

One of the more understated romantics in alternative music singing in French? That’s how you do it. TV on the Radio have rarely shied away from romance in the past, ranging from the yearning (“Will Do”) to the R-rated (“Wear You Out”). It’s a little more subdued here, with Tunde Adebimpe sending his heart-on-sleeve lyricism into the ether with cooing keys, buzzing bass and some truly old-school drum machine loops. This is how TV on the Radio enters their forties – not with a whimper, nor with a bang, but with a kiss. Stop the world and melt with them.

61. La Dispute – For Mayor in Splitsville

Each room in the house that was conceptually centred around the band’s third album – titled, er, Rooms of the House – allowed vocalist Jordan Dreyer to explore memories, lost lives and a seemingly-forgotten past that’s slowly pieced together. At this point, he’s come across a particularly-ruined space, triggering memories of his childhood, as well as both the proverbial and literal tonne of bricks that came crashing down in the demise of his adult life. It’s clear that when he screams “I guess, in the end, we just move furniture around,” he’s not just talking a couch and a chair.

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