The Top 100 Songs of 2021, Part Three: 60 – 41

Hey! Sorry it took me awhile to get this up. I got COVID! Heard of it? It’s not great! Anyway, hope you enjoy this sail over the halfway mark. Promise this’ll be done by the end of the month. While you’re at it, why not catch up on Part One here and Part Two here? There ya go!

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60. Silk Sonic – Skate

What do women want? It’s been a hot-button topic for many a year now, and most men are still without answers. Needless to say, Bruno Mars and Anderson .Paak are not most men. They saw the absolutely massive uptick of women getting into rollerskating over the last 12 to 18 months, and they promptly cashed in with a blissful roller-disco ode to the phenomenon. You could be cynical about it being opportunistic, but “Skate” is way too sunny to succumb to such a dismissal. It’s a broad, beautiful smile of a song – and it’s exactly what women want, too.

59. WILLOW feat. Travis Barker – t r a n s p a r e n t s o u l

Most of you probably haven’t thought of Willow Smith in a decade… and she’s only 21. Somewhere in the throes of her teens and early 20s, the former child star stopped whipping her hair long enough to notice the world around her. This resulted in a guitar-heavy pop-rock comeback for the ages, helmed by red-carpet walker (and occasional drummer) Travis Barker. The same swagger that carried her tween hit is very much intact – she’s the daughter of a Fresh Prince, after all – but its moody, darker corners breathe new life into this still-burgeoning and fascinating career. With soul.

58. The Buoys – Lie to Me Again

One of The Buoys’ first tracks was “Liar Liar” – a rambunctious garage-punk number about a no-good ex, packed with the usual early-20s angst amidst clattering drums and rousing guitars. The topic is revisited four years later on “Lie to Me Again,” with a changed line-up but the constant of frontwoman Zoe Catterall. Here, she approaches the jilted former lover with the kind of calm that can only come before a storm. It’s not as in-your-face as its predecessor, but its impact is promptly doubled by its barbed lyricism and righteously-convicted chorus. This much is true: The Buoys light up.

57. Geese – Low Era

We’re getting to that stage in history where people with compound sentences for birth years are making some of the most exciting new music. One such act are indie-disco punks Geese, who were scooped up in a bidding war circa 2020. Now the Brooklynites have arrived in earnest for us to gander at, “Low Era” feels especially pertinent – reminiscent of when The Rapture and Clap Your Hands Say Yeah hit the scene. Will Geese have staying power beyond this fleeting infatuation? Impossible to tell. For this moment of post-punk zeitgeist, however, they’re the only living band in New York.

56. Gang of Youths – the angel of 8th ave.

Prior to the pandemic, Gang of Youths moved to London and brought in Noah & The Whale‘s Tom Hobden. This season of growth and change persisted, even in the midst of global shutdown. “angel” was GOY bursting forth and rising to the occasion once more, delivering heartland pop with prolix professionalism. Its parade of shimmering strings, syncopated claps and perhaps Max Dunn’s finest bass-line yet ensured that the Gang was back in business. They might not be a big fish in a little pond anymore, but “the angel of 8th ave.” proved that there was still blood in the water.

55. Halsey – Bells in Santa Fe

If you said this time last year that one of 2021’s most fruitful collaborations would be between Halsey and Nine Inch Nails, you might’ve had more concern raised than if you’d started coughing into your fist and offering handshakes. Nevertheless, they persisted. With additional production from unexpected outsider The Bug, “Bells” sets a scene somewhere between Fair Verona and oblivion with its spiralling synthesizer orchestra. Halsey’s increasing desperation as she tears pages from her Bible and comes to term with impermanence make for one of the most arresting performances of her career. It boils, it burns and it transforms into…

54. Halsey – Easier Than Lying

Halsey has flirted with heaviness in the past (see her underrated “Experiment On Me”), but “Easier Than Lying” hits different. That’s not just a saying, by the way – from its snarling bass to its siren-wail outro and the anchoring of its frenetic drum-and-bass backbeat, there’s never been a song in Halsey’s canon quite like this one. With the intense pacing of a car chase, the song’s relentless energy is carried by another ice-cold, sting-in-the-tail performance from none other than Ms. “Without Me” herself. There was a time when Trent Reznor once marched with the pigs. In 2021, Halsey ran.

53. Citizen – I Want to Kill You

The lead single of every Citizen record since their modern genre classic debut Youth has felt like its own reset. “Cement” forged into slinking alt-rock; “Jet” rode the wave of… well, The Wave… and now “I Want to Kill You” has introduced disco drums and post-punk frenetic ferocity. The best part is that it all still feels like Citizen each time – Matt Kerekes’ writhing yelp, the steely fretwork of the Hamm brothers and that propulsive emotional build that ensures Citizen From Toledo, Ohio can be heard around the world. What doesn’t kill you makes you stronger, and Citizen are absolutely jacked.

52. Polish Club – Stop for a Minute

Polish Club can get as goofy as anyone. They play silly games, make knowingly-hideous album art… even in this song’s video, frontman David Novak chows down on a sanga while dancing in a tux. What “Stop for a Minute” does best, however, is cut through the bullshit – even in what’s arguably the most fun musical environment the duo has ever set up for itself. That seething frustration seeps through the cracks in the mirrorball that separate the art from the artist, rattling from the ceiling against the bass drum kick. It’s not the clown crying anymore: It’s pissed disco.

51. Toby Martin – Linthwaite Houdini

Be it a pregnant city dweller or a radicalised immigrant teenager, Toby Martin has always thrived telling stories that aren’t his own with a surprising sense of belonging. The lead single from his third solo album is no exception, where he hears tell of a small-town escape artist whose grand scheme doesn’t go according to plan. Amongst the wallowing trumpet and the slinking waltz drums, Martin’s writing encompasses the envisioned triumph and the ultimate tragedy that emerges from a story as unique as this one. The truth is stranger than fiction, and few Australian songwriters truly get that like Martin.

50. Olivia Rodrigo – brutal

“Where’s my fucking teenage dream?” For an artist that was introduced to the world via post-Lorde piano balladry, few could have expected the veneer to crumble quite like it did on Olivia Rodrigo’s debut album opener. As that riff churns, she wants it on record that this sweet life of celebrity and status is far from perfect – in fact, it’s tearing her apart inside. “brutal,” true to its name, is the heaviest song on SOUR by a considerable margin. It’s a living, seething testament to the year pop was allowed to rock again. Teenage angst, meet This Year’s Model.

49. Tasman Keith feat. Kwame – ONE

It started off as a rib, when short-king MC Tasman Keith got photos taken with the towering Kwame. What ended up revealing itself over the coming weeks, however, proved this: These motherfuckers weren’t playing. “ONE” is the best song either artist has been a part of – and considering the calibre of their already-illustrious careers, that’s not said lightly. From its urgent beat to its belligerent flow, there’s absolutely no backing down on any front. When the duo knocked this out of the park on The Set, Kwame boasted: “Rap song of the fucking year.” You’re inclined to believe him.

48. Springtime – Will to Power

Gareth Liddiard had a surprisingly fruitful year. Tropical Fuck Storm’s lockdown record finally came out, he reinvented his catalogue live with Jim White and he undertook a new journey entirely with Springtime. Liddiard, White and The Necks pianist Chris Abrahams are no strangers to music with a freer, looser form than your average. That factors into their debut single “Will to Power,” but it’s far from the only story. It’s a sprawling, darkly-shaded take on Liddiard’s barbed Australiana through a strange, dirty lens. Against cascading guitar, creaking piano and the sturdy drumming shuffle of the unmistakable White, Springtime truly blossoms.

47. Holy Holy – How You Been

Somewhere in the shadow realm between pop that rocks and rock that pops lies Holy Holy. Across four studio albums, the Melbourne-via-Tasmania duo who have slowly but surely built a reputation as one of the country’s more likeable and endearing indie hit-makers. “How You Been” showcases the duo at their key strengths. Frontman Timothy Carroll’s performance is heartfelt and rousing; guitarist Oscar Dawson’s buoyant production, meanwhile, allows everything from the rubbery bass-line to the triumphantly OTT solo to cohesively gel. It’s an electric pop effort designed for dancing like no-one’s watching – much like Carroll himself in the accompanying video.

46. Limp Bizkit – Dad Vibes

hot dad ridin in on a rhino

45. Deafheaven – Great Mass of Color

In retrospect, perhaps we could have all seen Deafheaven’s stylistic departure coming. They have, after all, seemingly always existed on the very fringes of heavy metal itself – what’s one extra push out of the genre entirely? “Great Mass of Color” was a headfirst dive into the great unknown – one that, admittedly, could have seen the Northern Calfornia quintet land flat on their face. Instead, however, the band was immersed in a crystallised bliss that revelled in its tranquil undercurrent in tandem with its bursting, resplendent refrain. It’s like a dream, to borrow a phrase. You want to dream.

44. Ruby Fields – R.E.G.O

Ruby Fields is lots of things, but a rockstar is not one of them. She’s just Rubes, slinging beers at the local to get by and shooting the shit with the regulars. “R.E.G.O” is a rumination on this lifestyle – living paycheck to paycheck, but having the inextricable bonds of friendship keeping it afloat. “Haven’t you always wanted to feel like that?” Fields asks, again and again. She’s saying what we’re all thinking, and she knows it. It’s bolstered by her impeccable band, with a special nod to Adam Newling’s fret-bending lead work. Worth a coin in the tip jar.

43. Turnstile – MYSTERY

2021 was Turnstile’s year. No ifs, buts or maybes. The Baltimore natives elevated American hardcore to a level arguably not seen since John Belushi moshed to Fear at 30 Rock – the same building, coincidentally, that Turnstile saw out the year performing inside as part of Late Night. There, they played the track that launched their year: “MYSTERY,” a song that dares anyone feeling froggy to go ahead and leap. Brendan Yates’ boisterous yelp, pondering the great unknown, ricochets off churning guitars and walloping drums to forge something full of life that proudly goes down swinging. Consider the mystery solved.

42. No Rome feat. Charli XCX and The 1975 – Spinning

Around August, Charli XCX dropped an ambigious tweet with a question that left her devotees guessing: “rip hyperpop?” Her two singles since this have indicated a new direction is imminent for March’s Crash, which means that “Spinning” might be her last true hurrah as a glitched-out pop weirdo for the time being. If that’s the case, what a way to go out. Trust the Dirty Hit all-stars to assemble an all-star dirty hit – an all-syrup squishee bender with intense hypercolour and a robotic empire of Charlis parroting the titular phrase on a telling loop. She’s making us dizzy, still.

41. easy life – skeletons

“skeletons” is so excited to get going, it practically trips over itself – cue the tumbling drums and smash-cut to the word of the day. It’s a disarming beginning to a song that coasts on smooth sailing, but that may well be the point. A closer inspection, of course, sees that this future-soul cut from the Leicester lads portrays purported paranoia over a partner’s playful past. It’s a little Mac Miller; a little Rex Orange County; a little Hot Chip. There’s some fascinating moving parts at play here. What easy life have concocted, ultimately, is guaranteed to rattle some bones.

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Listen to the DJY100 thus far in the Spotify playlist below:

Back next week with part four!

The Top 100 Songs of 2021, Part Two: 80 – 61

Why hello there! Can I interest you in another 20 songs that were the best songs of 2021? I can? How lovely! Do make sure you’re up to date by hitting up Part One over here prior to that, of course. It’s only fair!

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80. The Goon Sax – Psychic

Forgive the pun, but there’s a good chance you didn’t see this one coming. Having carved a jangle-pop niche, equal parts 2010s zeitgeist and a chip off the old block, The Goon Sax pulled off an impressive pivot on their third album’s second single. Things get dark on “Psychic,” from the incessant pound of the programmed drums to the knife-edge guitars battering against it. The chorus is light pouring in from the cracks, all before tensions mount in the verses once again. If you haven’t yet found yourself a crossing over point with this ever-evolving Brisbane trio, consider consulting “Psychic.”

79. Amyl and the Sniffers – Guided by Angels

As the world slowly started turning again, it felt like “Guided by Angels” arrived at exactly the right time to start kicking a bit of forward momentum. It’s the perfect opener for the band’s excellent Comfort to Me LP, capturing both the band’s spark-flying live presence and the ethos of their garage- and punk-rock hybrid. Through every tom roll, every chugging guitar and every “FUCK!” that frontwoman Amy Taylor barks, you’re witnessing a band ascending to new heights and creating something just like heaven in the process. “Guided” isn’t the cure to the world’s problems, but it’s a great start.

78. Jerry Cantrell – Atone

You’d be forgiven for missing this one – Alice in Chains aren’t the household names they were, least of all the other guy in Alice in Chains. Under a relative cover of darkness, however, this grunge veteran turned in one of his best efforts in years. “Atone” finds a resolute balance between Cantrell’s day-job and his sporadic solo career – the close harmonies are pure Alice; the snarling resonator guitar riff is pure Cantrell. Revelling in darkness and southern Gothic imagery, “Atone” shows you can put a man in a box, but he’ll always find ways to think outside it.

77. Courtney Barnett – Rae Street

One of the most common observations about Courtney Barnett’s songwriting is that it’s… well, observational. That’s rarely taken a more literal form across her career than it does on “Rae Street,” so named after the titular stretch across the north of Fitzroy. Here, our protagonist finds herself watching the world going by and taking notes on the neighbourhood. In anyone else’s hands it would feel mundane, but finding the extraordinary within the ordinary has been Barnett’s bread and butter since before she blew up. With the guiding hand of Warpaint’s Stella Mozgawa, “Rae Street” thrives in its own unique way.

76. Halsey – honey

There’s lots of moving parts to “honey” – at least, more than initially seen. It’s an ode to queer affection and femme-fatale addiction – certainly not the first of Halsey’s career, but definitely the most explicit. It pits bright acoustic guitar against steely bass – both of which happened to be played by Trent Reznor. That’s accentuated by four-on-the-floor back-beats that occasionally splash into tom-heavy rolls – all of which happened to be played by Dave Grohl. It stems from the album If I Can’t Have Love, I Want Power, but “honey” is the sound of symbiotic relationships between both.

75. Amyl and the Sniffers – Hertz

“Take me to the beach! Take me to the country!” Amy Taylor is rattling at her cage, begging to be let loose. This anywhere-but-here restlessness is something that felt particularly relatable this year, but it’s given an extra boost of electricity care of the Sniffers’ urgent and bustling instrumentation. You can feel the sweat coming off this one, not to mention the sparks flying. With every listen and every flurrying dance-along, there’s a strong argument to be made for “Hertz” as the best Amyl song to date. “I want you to love me!” Taylor screams. Really, how could you not?

74. Eliza & The Delusionals – Save Me

There’s something borderline cinematic about what Eliza & The Delusionals deliver here. The Gold Coast band have always made a point of emphasising the influence of 80s pop within their work, but it’s especially pertinent to this sun-kissed heartbreak. The warm glow beneath the mirror ball allows “Save Me” to shimmer and revel in its quiet desparation, pinpointing moments of lost connections and rekindled flames. Whether you’re in or out of love on the prom-night dancefloor, “Save Me” will save you. Not a moment too soon, either – it stand proudly amongst the best singular moments of their still-young career.

73. Citizen – Black and Red

As a new decade begins, it’s worth looking back at some of the defining acts from the 2010s emo revival. One such band was Toledo’s Citizen, who were never keen on repeating themselves even at the heights of the genre’s resurgence. This cut from album four offers a focused, tightly-wound band that’s channeling new terrain with precision and integrity. At points it’s more Bloc Party than Balance & Composure, which may deter the demo-was-better cross-arms, but the alarm is far from silent. It’s an engaging evolution from one of alternative rock’s most underrated, undeterred players. Here’s to an upstanding Citizen.

72. Low – Days Like These

You’re not prepared for when it hits the first time. “Days Like These” begins in perfect harmony – quite literally, as husband-and-wife duo Alan Sparhawk and Mimi Parker warmly sing together through the waft of a vocoder. Sparhawk adds some sparse, glistening chords… and then it hits. It hits fucking hard. It genuinely may be one of the most shocking moments in music for the entire year. To say more would be to spoil “Days Like These,” but rest assured to be able to achieve such a surprising element to your music after 25-plus years is truly remarkable.

71. Kings of Convenience – Rocky Trail

Who remember the folk-pop revolution of the 2000s? Norway’s Kings of Convenience were, fittingly, royalty of the genre – across stunning LPs like Quiet is the New Loud and Riot on an Empty Street, they brought close harmony and flamenco guitar into the earbuds of the blog generation. So, how does such a sound fare after a decade-plus? In all honesty, like an old blanket. Instantly familiar, even after going through the wash, and gentle to the touch. Just hearing Erlend Øye and Eirik Glambek Bøe singing together again is enough to make your heart soar. Long live the Kings.

70. Baby Beef – It Stings

Cameron Stephens, AKA Christian Values, has always been the secret weapon of Baby Beef. Stealing the show on the group’s best singles with his vocal runs and enigmatic presence, “It Stings” is his first run at centre-stage. It’s one Stephens does with aplomb, reflecting on lost loves finding new love in a city where running into one another is inescapable. It offers vivid imagery about the mental anguish that ensues (“There’s no need to treat me like a rescue dog” feels especially pointed), as well as an inherently-relatable hook to hang its hat on. Consider Stephens a secret no more.

69. Phil Fresh feat. RISSA – On the Low

Yeah yeah, a song about hooking up is at number 69. Rest assured, Phil Fresh has earned this shit. “On the Low” is one of the year’s smoothest rnb cuts, balancing out its dynamics with perfection and offering an exceptional exercise in platonic honesty. RISSA’s guest turn is a star-maker, matching up to Fresh’s finesse with her own velvety late-night coo. The slinking bass of co-producer/co-writer Xiro, too, adds further dimension to the duet dialogue. Fresh has stated his EP title, L.A.T.E., is a backronym for “love ain’t that easy.” “On the Low” serves, then, as that notion’s strongest exploration.

68. Fred again.. – Sabrina (I am a Party)

In “Explaining My Depression to My Mother,” poet Sabrina Benaim lays out her greater anxiety to an audience in awe. It’s a stunning performance, reveling in home truths and heart-wrenching realisations. A very real risk is run by producer Fred again.. by dragging it kicking and screaming into the club. What he does on “Sabrina,” however, is thrive on the performance’s tension. The siren-blare beats and the booming synth-bass hold her words under cold, unforgiving red light. Soon, she’s lost to the gathering crowd – which is, in its own way, a reflection on what Benaim was going for originally.

67. Ed Sheeran – Bad Habits

Ed Sheeran’s got no business being here. The king of the basic whites? The high chief of bland singles? How’s this wimpy little ginger snuck his way in? Simple, really: The little vampire freak has momentarily forgotten how to be Ed Sheeran. His tiny acoustic guitar is nowhere to be seen, making way for MIDI piano tinkering and thudding sub-bass guaranteed to raise a snarl. Assistance from Snow Patrol’s Johnny McDaid and the aforementioned Fred again.. certainly helps matters, too. “Bad Habits” is a transmogrification from the weekend to The Weeknd; a lazy Sunday afternoon to an all-out Saturday night.

66. BROCKHAMPTON – DON’T SHOOT UP THE PARTY

Self-proclaimed boy-band BROCKHAMPTON alerted their devotees that this year’s ROADRUNNER LP would be their penultimate album. If “DON’T SHOOT UP THE PARTY” is the last great BROCKHAMPTON song, then, may it be said: What a way to go out. All guns blazing, pun intended. Every verse boasting impeccable flow atop the mechanical, intrinsic beat. The perfect bridge, right down to its Kendrick homage – way better than the other Kendrick homage going around this year. It’s a shame they’re saying goodbye when they’re still this effortlessly good, but we’re gonna keep going hard until the party’s over. Shoot your shot.

65. Carly Pearce feat. Ashley McBryde – Never Wanted to Be That Girl

There’s surprising parallels between this and “The Boy is Mine”: two women at the height of their power within a particular genre trading verses on their relationship with the same man. While Brandy and Monica asserted their dominance, however, Carly Pearce and Ashley McBryde are commiserating – Pearce has been cheated on, and McBryde has unknowingly been the other woman. Both bring powerhouse performances and utmost conviction here, proving they’re collectively far superior than the no-good man they’ve left behind. For those wanting country-pop with a bit more sizzle than your average Bourbon Street steak, “Never Wanted” is that song.

64. Modest Mouse – We Are Between

The 2010s were odd for Modest Mouse, especially considering how dominant they were the decade prior. With one (average) record and an increasingly-erratic live reputation, word of new material surfacing in 2021 felt like good news for people who love bad news. Imagine the surprise, then, when “We Are Between” comfortably became their best since 2007’s game-changing “Dashboard.” Robust, off-kilter and just that tiny bit unpredictable, it rushes forth in the same spirit of other modern ModMo material without hesitating at the finish line. Maybe that garden hose Isaac Brock is being chased with hasn’t yet caught up with him.

63. Plaster of Paris – Internalise

“Recent nostalgia” feels like an odd term, but it’s a unique sensation applied to this cut from Melbourne trio Plaster of Paris. Remember that rush you got the first time you heard Sleater-Kinney? What about when you heard the Gossip, or Savages? It doesn’t feel like all that long ago, but there’s still that little tinge of a bygone era when names like that arise – this bold, unapologetically queer and decisive take on proto post-punk. “Internalise” pulls at these memories and these elements to forge something new, fresh, emotive and exciting. Easily one of 2021’s most underrated tracks.

62. 1300 – No Caller ID

You might be reading this sometime in 2022 when 1300 have inevitably blown up. Maybe they got a feature on a Kid LAROI track, or they signed to 88rising, or they’ve ended up on some other astronomical plane entirely. Wherever they are in the future, just know that their future started here. 152 seconds of ice-cold, merciless rap-game shit that goes harder than it has any right to. This Korean-Australian collective are most likely painting the future of hip-hop within the country before our very eyes, and it’s a remarkable thing to witness. “No Caller ID” is worth answering for.

61. Green Screen – I am Boring

The thing about first impressions, as they say, is that you only get one. The thing about Green Screen’s first impression is that they only needed one. “I am Boring” is neon city-pop with an electric undercurrent and a multifaceted approach, resulting in one of the more antithetically-titled tracks to come out in 2021. Its major-minor tonality, matched with its impressive vocal tradeoffs, result in an experiment boasting extremely positive results. “People are dancing/The earth is dancing,” prophesises cohort Zoe Catterall in amidst the synth-claps and the springy synthesizers. Be the change you want to see in the world, right?

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Listen to the DJY100 thus far in the Spotify playlist below:

Back next week with part three!

The Top 100 Songs of 2021, Part One: 100 – 81

Hey team! We’re back once again with the DJY100, and there are some absolute doozies headed your way. Before we get to rocking, though, have you had a listen to the supplementary list of 50 songs I loved this year that just missed the cut? You should totally do that!


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 2021

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100. SPEED – WE SEE U

When the airhorn hits, it signals one thing: The gang called Speed has arrived. In a year of precious few throwdowns, the Sydneysiders cut through with Australian hardcore’s first proper viral hit and turned heads around the globe – see the pure joy of this YouTuber’s reaction for proof. It’s gone in 60 seconds, but its presence is felt long after the final two-step comes to a screeching halt. For those that have missed getting caught in a mosh, as well as those who remember when punk rock could be this much fun, Speed will have you in cruise control.

99. Green Screen – Date Night

On paper, you wouldn’t expect much common ground between sugar-sweet Zoe Catterall of The Buoys and the ice-cold baritone of Baby Beef‘s Hewett Cook. As it turns out, their yin-and-yang makes for an enthralling exercise in queer electro-pop with a dramatic flair. “Date Night” is one of the finest examples of this from their collaborative Green Screen project, in which the odd couple evens out over pulsating, late-night synth-bass and the flickering candle of new romance in amidst the dark of the city. “Have we been reborn/In each other’s arms?” asks Cook in the song’s bridge. In many ways, yes.

98. Mike Noga – Open Fire

Mike Noga never set out to write a swan song when Open Fire was cut – but it goes to show that you should make every album like it’s your last, because there’s every chance it could be. The late, great singer-songwriter opted for an antipodean tweak of “Dancing in the Dark” on his final record’s lead single and title track, sauntering around the synths and honing in on arguably the best chorus of his career. Many thanks to Noga’s family and friends for ensuring this saw the light of day, giving this criminally underrated musician the send-off he deserved.

97. Phil Fresh feat. Kymie and Kwame – IG Luv

If you can’t relate to DM-sliding social media horniness after two lockdowns, you’re either a devoted monogamist or just prudent. This playful bounce from Phil Fresh’s debut EP is bolstered by a pristine Kymie hook and a spotless Kwame verse, the latter returning the favour for Fresh’s excellent turn on “TOMMY’S IN TROUBLE.” Fresh himself is far from an afterthought, though – his vision is what carries this bright, technicolour hip-hop right through its runtime, not to mention his bravado and confidence ensuring the thematic crux is conveyed to the nth degree. A fire-emoji react if there ever was one.

96. Approachable Members of Your Local Community – Just Say It

There’s a cynical approach (pardon the pun) to seeing polite, goofy Jewish boys adding a blond-hair-blue-eyes Instagram influencer to their line-up. Let’s make it clear, though: Sage Mellet isn’t Cousin Oliver. She’s Frank Reynolds. She just wants to be pure – and with “Just Say It,” she climbs through the couch and serves up a resplendent indie-disco kiss-off. Her first outing at the helm of AMOYLC, complete with Gab Strum production sheen, is an instant career-best for the Melbourne outfit. Much like her brother before her, she blooms just for you – and you can’t help but be utterly charmed.

95. Tigers Jaw – Hesitation

Tigers Jaw are at the point in their career where they often find themselves playing with bands that grew up listening to them. They’re not a heritage act by any means, but a new generation has come up under their wing – or paw, in this analogy. March’s I Won’t Care How You Remember Me proved that the Scranton emo OGs weren’t about to go quietly, though – not least of all when this excellent indie-rocking single, released just seven days into the year, saw them as infectiously catchy and splendidly harmonious as ever before. Tigers Jaw: They’re still grrrrrrrreat.

94. Sly Withers – Breakfast

At the long-standing Australian intersection of pub-rock and pop-punk, Sly Withers have grown leaps and bounds the last few years cementing themselves as a great white hope of guitar music within the sunburnt country. There’s exemplary demonstrations of their excellence of execution across second album Gardens, but “Breakfast” asserts itself among the true champions. Packing the crunch of its guitars and heartiness of its lyrics into an ice-cold bowl, the Western Australians channel the American midwest and pack in as much emotional heft as three minutes will allow. It’s Jimmy Eat World eating the most important meal of the day.

93. Teenage Joans – Wine

A common trope is to claim young artists are wise beyond their years. Teenage Joans aren’t, nor have they ever purported to. They’re still making mistakes, acutely aware how early into adulthood they actually are. “Wine” reflects this, blending bright guitars and crashing drums with searing melodicism and exuberant abandon. “I saw you at the spelling bee” is an immaculate depiction of innocence lost; “You age like wine/And I still haven’t aged to like wine” is stark self-realisation about age gaps just big enough to fall through. Just because TJs aren’t wise beyond their years, doesn’t mean they’re not wise.

92. Spacey Jane – Lots of Nothing

Well, well, well… look who found themselves launched into the stratosphere in 2021. Sure, their silver-medal performance in the heated countdown certainly gave them a boost, but “Lots of Nothing” ensured the Perth pop explorers remained amongst the stars. They shine bright on this stand-alone cut, retaining their distinctive rock jangle but simultaneously nudging it out into slightly farther reaches than 2020’s Sunlight – just enough to indicate they’re making progress, and having plenty of fun while doing so. Bonus points for incorporating the word “servo” into a verse, too. Even if they eventually conquer America, they’re still Our Spaceys.

91. Skegss – Bush TV

Does the fact “Bush TV” follows an almost-identical conceptual structure to earlier single “Smogged Out” (read: big city escapism in a dead-end moment) mean Skegss have carved out a niche? Maybe, but more than anything it proves prowess with variations on a theme. With a four-chord ramble and Jonny Lani’s brisk drums giving some downhill momentum, the north-coast trio bound through home-truth honesty and rousing reflections on the state of things. They’re keeping the bastards honest, while also ensuring their bastardry doesn’t go unchecked. Once again, Skegss keep their imperfections in perfect form – don’t you dare change the channel.

90. Mitski – Working for the Knife

Comeback singles, traditionally, possess at least some degree of “I’m back, bitch” energy. It’s expected here: “Working for the Knife” is Mitski’s first single in three years, and follows on from the biggest album of her career in Be the Cowboy. You’d know none of that from listening to it, though – an understated, morose minor-chord slow-burn that mourns a life lost to the throes of capitalism. If anyone else tried this after so long away they’d be rightly ostracised. Within the framework of Mitski’s career, however, it’s another ingenious swerve from one of modern indie rock’s most unpredictable figures.

89. Moaning Lisa – Something

In their best songs, Moaning Lisa capture moments. “Carrie” is a slow-waltz into a desperate thrash of lust; “Lily” is slow-motion heartbreak; “Take You Out” slinks into new romance. That same energy radiates through “Something,” as it charts the progress of infatuation from the ambient sounds of its bass intro to the immediate post-punk guitar chops of the verses. You go along for the ride, thinking back to the moments you felt the same way. That’s the best thing about the Melbourne-via-Canberra outfit – theirs is a distinct balance of universal introspect, where it’s wholly theirs but somehow yours too.

88. CHVRCHES – Good Girls

“Killing your idols is a chore/And it’s such a fucking bore/But we don’t need them anymore.” Lauren Mayberry arrives dressed to kill at the helm of CHVRCHES’ third single from the excellent Screen Violence, pitting her convictions against cascading synth arpeggios and a mechanical kick-snare that wouldn’t feel out of place in NIN’s “Closer.” The bones of what you believe a CHVRCHES song to sound like are still very much in-tact, but the skeletal structure has shifted. The trio has created a monster here, and they’re proudly letting it loose for their own personal reckoning. No more Mr. Good Girl.

87. Palms – This One is Your One

“This One is Your One” wasn’t just about Sydney garage-rock veterans Palms making a triumphant return after six years in absentia. It was also a coming-out party for frontman Al Grigg, using the song to profess his love to his boyfriend and let the world know of the rainbow hanging over their intensity sunshine. Don’t let the schmaltz fool you, though – this is still a bright, rough-and-tumble rocker with its rough edges left proudly intact. There are few choruses in Palms’ canon simplistic as “Always, I know/Never ever gonna let you go.” Simultaneously, however, there are few more effective.

86. Billie Eilish – NDA

2021 began for Billie Eilish with The World’s A Little Blurry – an intense, two-hour-plus doco capturing her ascent and the myriad of growing pains that ensued. For a mainstream pop-star film, it was surprisingly raw – fitting, given Eilish is among the least-likely mainstream pop-stars of the last decade. “NDA” sees her venturing further down the rabbit hole of fame and privacy, skipping the playfulness of “Therefore I Am” and sinking straight into some of brother Finneas’ most intense production work to date. Full disclosure: There may not be a more fascinating story unfolding in modern pop right now.

85. Crowded House – To the Island

Neil Finn has no qualms with playing the hits – nor should he, given how many he’s got. Where he differs, however, is not relying on them. Much like the boat he paddles in this very video, Finn is still a keen explorer. With a new crew in tow – including two of Finn’s sons – the expanded quintet shift through dark waters and uncharted territory with refreshing ambition and the kind of free-wheeling experimental approach that pays off in spades. Many heritage acts fear desecrating their canon – on “To the Island,” Crowded House proudly build it even bigger.

84. Justin Bieber feat. Daniel Caesar and Giveon – Peaches

Never short of a photo opportunity, Justin Bieber instead sought a shot at redemption in 2021. Following the worst album of his career in the droll, uninspired Changes, the former child star bounced back with a more refined, mature approach to modern rnb with Justice – an album that didn’t betray his age nor permanently transmogrify him into Wife Guy Number One. Best of all was “Peaches,” his strongest solo hit in a half-decade and a perfect vehicle to raise the profiles of smooth-singing up-and-comers Daniel Caesar and Giveon. Forget “Yummy” – “Peaches” is perfectly juicy pop, coast to coast.

83. Amenra – Ogentroost

Fans of All Elite Wrestling know parts of “Ogentroost” well. An edited version guides Dutch grappler Malakai Black to the ring each night, with its sinister guitars and banshee-howl vocals. If you want to face the real heavyweight champion, however, venture forth on the full ten-minute version that opens the doom-metal band’s De Doorn LP. There were few moments in heavy music throughout 2021 that offered up a journey quite like this one, centred on a tense, atmospheric build to its tumbling drums, haunting choir (lead by Oathbreaker‘s Caro Tanghe) and seismic hurtle into the abyss. Down for the count.

82. Snowy Band – Call It a Day

A lapsed-Catholic confessional opens this fittingly-reverent, hushed jangle-pop number: “I prayed to God in a parked car.” There’s a calm and repose to the second single from Snowy Band’s second album, but this does not equate to a lack of emotion or any shortage of delightful imagery. “Full moon, overfilled, smeared yellow/Fell on the buttered side,” coos frontman Liam Halliwell atop chiming guitars and understated drums. Its breathy delivery emerges from the shadows of Melbourne suburbia, but resonates far beyond its immediate reach. If you’ve been seeking heartfelt, honest and homegrown songwriting of the indie-rock persuasion, consider your prayers answered.

81. Squid – Pamphlets

Remember when Björk arrived as a fully-formed weirdo in the 90s, and we all wondered how she could get any weirder and she found a way? That’s sort of what Squid’s 2021 looked like. Already one of the more eccentric indie exports of their native UK, their debut album already felt like it had a certain expectation to live up to. They, too, found a way – particularly on Bright Green Field‘s closer, an eight-minute art-rocker where one minute it’s oh so quiet, the next there’s an army. It unravels into their most intense, ambitious song yet. Spread the word.

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Listen to the DJY100 thus far in the Spotify playlist below:

Back next week with part two!

The Top 100 Songs of 2018, Part One: 100 – 81

He’s making a list, and checking it twice. ‘Tis the season for the DJY100 to kick off yet again, so welcome aboard! In case you missed it, I recently put up a playlist of 50 great songs that just narrowly missed out on being in the final list. If that’s at all of interest, you can have a listen over here:

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 2018

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100. Baker Boy feat. Dallas Woods – Black Magic

If you’ve been fortunate enough to catch one of Baker Boy’s high-octane live shows in the past 18 months, you’ll immediately recognise this song as its opener. It’s about as brassy and bold an introduction as one can get – through the rumble of the didgeridoo and with assistance from exceptional up-and-comer MC Dallas Woods, Baker Boy hurtles a steady flow of bilingual braggadocio at listeners with barely a moment to catch your breath. “Either you do or don’t have it,” philosophises the song’s mantra-like hook. In case it wasn’t already clear, Baker and Woods are in the former pile.

99. Daphne & Celeste – BB

Daphne & Celeste first rose to fame by teasing boys in hit single “U.G.L.Y.” – as in, you ain’t got no alibi. Almost 20 years later, they reconvened and targeted a whole new generation with a sly, hilarious takedown of white guys with acoustic guitars. Every Tom, Dick and Sheeran gets promptly served in this unexpected comeback, surging with electro-pop urgency and scoring a few triple-word scores in its lyrics. Under the watchful eye of producer/songwriter Max Tundra, Daphne & Celeste are as fun and cheeky as they ever were. “All singer-songwriter bros sound the same”? We didn’t say that!

98. Boat Show – Restless

Less than 30 second into “Restless,” it lands. “You’re a dickhead/Trash shit” can lay easy claim to the thorniest, snarkiest opening line of 2018. Would you expect any less from the same sardonic Perthians who gave us “Cis White Boy” not a year prior? One of the standouts of second album Unbelievable, Boat Show focus less on hardcore-punk intensity here and more on head-bopping garage rock. This doesn’t deaden the message, however – if anything, it drives it home with all the more clarity. In their biggest year to date, Boat Show had tracks like “Restless” to back it up.

97. The Gooch Palms feat. Kelly Jansch – Busy Bleeding

Ask anyone who menstruates, and they’ll tell you the same thing: It sucks the big one. Still, if there’s any band that can spin a negative into a positive, it’s Newcastle’s finest export. Drummer Kat Friend takes the lead on this rousing, defiant rocker – and when backed up by a fellow menstruator in TOTTY‘s Kelly Jansch, she sounds more or less unstoppable. Spinning their usual jangle-rock into something a bit slicker and tougher, “Busy Bleeding” is the sound of The Gooch Palms broadening their horizons and expanding their palette. It’s unexpected, but that’s what happens when you’re seeing red.

96. Denise Le Menice – Addiction

When she’s not exhuming her inner riot grrrl at the helm of the aforementioned Boat Show, Ali Flintoff likes to enter the dream-pop landscape as Denise Le Menice. Although not quite the same extremes, consider Denise the Adventures to Boat Show’s Code Orange – a chance for an artist well-versed across multiple schools of songwriting to engage the finer points of each. On her debut release as DLM, Flintoff gets warm and fuzzy – and not just on the guitar tone. With chirpy harmonies and a persistent drum machine, “Addiction” threatens to have one forming just that with repeat listens.

95. Kanye West & Lil Pump feat. Adele Givens – I Love It

Skrrrt! What may proudly be the dumbest pop hit on record in 2018 was a bizarre feast for the senses. From its oversize suits to its skull-rattling bass, “I Love It” leant in on Lil Pump’s lackadaisical AutoTune flow and West’s reckless abandon to create something essentially inescapable. Should we have expected more from the man responsible for “Jesus Walks” and “Hey Mama”? Sure, but we also could have expected a whole lot less from the kid whose sole claim to fame was “Gucci Gang.” Basically, “I Love It” is a frat party. Not on board? Then don’t COME, motherfuckahhh.

94. Kira Puru – Molotov

Much like previous single “Tension,” “Molotov” lives and dies by its bassline. Listen to that fucker – it sounds like it could cut through steel. In sashays Puru, who takes the distinct groove and promptly parades across it. It’s pure peacocking, and in the context of “Molotov” it works a goddamn charm. It’s safe to say Puru has never sounded like she’s had more fun on record than this boozy big-swinger. After years of singing the blues, “Molotov” is the sound of Puru bursting into millennial pink. “Watch me now,” she says before the beat kicks into overdrive. With pleasure.

93. Cat Heaven – Razorlight

The structural DNA of Cat Heaven meant they were always going to thrive in the realm of post-punk – two-thirds of the band form the current rhythm section of Sydney’s beloved Mere Women, while the remainder shredded away in perennial underdogs Hira Hira. With their powers combined, Cat Heaven form a robust power trio, easily filling out the spaces that linger in their songs through instinct and propulsive dynamics. “Razorlight” serves as the embodiment of their collective talents – a twisting bassline, a hat-heavy drum groove, striking guitar dissonance and the emotive, tortured vocals of Trisch Roberts. Simply put: Heavenly.

92. The 1975 – Love It if We Made It

Matt Healy has never sounded as wrought and as entirely desperate on record than when he’s yelping this song’s titular phrase, sounding as if he’s on the verge of tears. He spits Trump quotes with acidic bile, staring down the eve of destruction. As A Brief Inquiry Into Online Relationships rolled out single by single, it became less a question of what The 1975 were going to do next and more of a question of who they would be. In the case of “Love It,” they became doomsday preppers with an army of synths and gated snares in their arsenal.

91. Charlie Collins – Mexico

Emerging from the shadow of previous band Tigertown, Charlie Collins here forges an inroad into alt-country with formidable results. Although just her second single as a solo artist, Collins’ years of singing and songwriting factor in considerably to the sound of “Mexico.” It’s an inherently accessible song, from its big swinging pre-chorus to the sweet-spot harmonies that garnish its central hook. The twangy low-end guitar, courtesy of husband Chris Collins, also lends a distinct western feel. As its title suggests, “Mexico” is centred on time and place – and it’s quite the journey. Long live Charlie Collins – sorry, viva.

90. Brendan Maclean – Where’s the Miracle

Thriving on tension and release, Aus-pop bon vivant Maclean makes a considerable departure from his previous singles on “Where’s the Miracle.” Fearlessly shaking the family tree, Maclean builds to the titular question being asked over and over by ways of wafting synths and palm-muted strings. Although it’s cathartic, the tragedy lies in the fact you’re no closer to answering it by the song’s end. It says a lot that such heavyweights as Donny Benet, Montaigne and Ainslie Wills are present and accounted for here, and yet the focus remains on the man himself. That’s conviction. That’s staying power. It’s miraculous.

89. The Weeknd – Call Out My Name

It’s easy to forget the man who became one of the world’s biggest rnb crossover stars was once an underground king, riding high on a hat-trick of mixtapes throughout the summer of 2011. With the release of My Dear Melancholy, The Weeknd came the closest he’s come in years to capturing something that bridges between eras. Its lynchpin is its opener, arguably the most powerfully love-lorn song has penned since “Wicked Games” – or, at least, since “The Hills.” It’s pure soul vocally, while the production feels like a heart shattering in slow motion. There’s vitality in the Starboy yet.

88. BROCKHAMPTON – NEW ORLEANS

It’s a fascinating contrast. “Perfectly fine!” a voice assures in the opening moments of BROCKHAMPTON’s iridescence. “It’s fine!” If Ron Howard were narrating this, he’d quickly interject: “Things were not fine.” What follows is a car-alarm beat that has all the grace and subtlety of a swinging hammer, with its half-dozen rappers all galloping in to hurl their own grenades across the battlefield. For a group that targets and positions itself as a boyband, it borders on genuine shock that they’d put something forth as confrontational and abrasive as this. Still, it makes for one hell of an album opener.

87. Camp Cope – How to Socialise and Make Friends

From humble surrounds of Melbourne suburbia, Camp Cope’s imagery borrows primarily from the minutiae of everyday life – finding the extraordinary within the ordinary. On their second album’s title track, something as simple as riding a bike is used as an extended analogy for moving on – with every new trick comes new confidence; with that confidence life begins again. “I’ll wave to you as I ride by,” sings Georgia Maq defiantly as she’s propelled ahead by her engine-room rhythm section. She could ascend to the heavens, E.T. style, and it would feel entirely realistic. Such is their songwriting prowess.

86. Young Thug feat. Elton John – High

Thugga is far from the first person to play on the infamous “I’m gonna be high as a kite by then” line from Elton’s “Rocket Man.” He might be the first, however, to do so with such an explicit blessing from Captain Fantastic himself. The irrepressible rapper turns John into a via-satellite hook guy, dispensing his own twists and turns atop of barren piano and trap hats. Despite its pensive nature, there’s something surprisingly wholesome about the whole thing. Whatever Sir Elton sees in Young Thug, you’re entirely thankful that he sees it. Overall staying power? A long, long time.

85. Shinedown – DEVIL

Towards the end of 2018, Adam Levine made comments concerning rock’s absence within the mainstream and the charts. “I don’t know where it is,” he said. “If it’s anywhere, I wasn’t invited to the party.” Consider “DEVIL” as his – and your – invitation to radio-rock in 2018. Though far from Shinedown’s first rodeo, they haven’t sounded so in control in at least a decade. The drums pummel and swing, channelling the rough-and-tumble drop-D guitar as it matches Brent Smith’s boisterous proclamations. Was there a better raison d’etre in a 2018 single than “It’s about to get heavy?” Probably not.

84. Pusha T – If You Know You Know

King Push spent the year getting shit done. He was the first artist to drop an album during Kanye’s Wyoming sessions, the first rapper to get a beef into 2018 mainstream news and was arguably one of the key hip-hop artists that wasted the least amount of time across the collective calendar year. With the release of DAYTONA, he basically walked away from an explosion without looking at it – that’s how fucking cool he was. It all began with this merciless and effortlessly swaggering intro track – pure bombast and showmanship atop a classic Yeezy beat. Go off, King.

83. White Blanks – Go Right Now

There’s a bittersweetness to the single from these Wollongong garage-dwellers. On one hand, it’s a rousing, defiant fist-pumper that fires off hooks relentlessly until they stick in the brain. On the other, the celebration wasn’t to last – in November, the band announced their upcoming tour would be their last. Although they weren’t around for a long time, anyone who saw the Blanks live knew that it was more often than not a good time. Their spirited take on a tried-and-true genre was to be commended, and “Go Right Now” is as fitting a swan-song as you’re likely to get.

82. Chance the Rapper – I Might Need Security

Of all the deep-cuts in the sample library, no-one could have ever seen a Jamie Foxx HBO special being anywhere near the top of the pile – let alone it working to the degree it does. Then again, no-one was expecting anything from Lil Chano at all this year – to get six new tracks total was quite the pleasant surprise. Of that half-dozen, “Security” easily tops the list. If it’s not Foxx’s expletive-laden sample that grabs you, then surely Chance’s uber-specific political targets and news-flash flow will. If you ain’t down with that, we got two words for ya.

81. LOSER – LOSER

It takes a lot of confidence to give your band a title track – especially if it’s figuratively your very first release. Still, LOSER have all the reason in the world to be confident – comprised of Poison City’s finest alum, they know exactly what they’re doing. Here, the trio muscle in on fast-paced, index-finger-wagging power-pop. Its urgent guitar buzzsaws its way through the speakers, only to have the chorus promptly bowl you over. It’s almost predestined to soundtrack a night at one of the many Melbourne pubs these guys cut their teeth in. Starting again never sounded so good.

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Thanks for reading! Don’t forget you can stream all of part one via Spotify here:

INTERVIEW: The Getaway Plan (AUS), November 2011

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Damn, dude, remember these guys? Very much of a time and place for MySpace kids from Australia. “Where the City Meets the Sea” was an end-of-school anthem. We all kinda grew up with this band. Then, we kinda moved on. Having them back in 2011 on a reunion tour was like “Oh, hey! Cool!” Then it kind got old. They’ve since made two albums no-one listened to and half the band has left – which is especially funny when contrasted with one of the quotes in this interview.

This one’s a Q&A. I initially didn’t quite like doing these, but I think I’m a bit more used to it by now – I do a lot more these days in terms of formatting. This one’s a bit too casual for my liking – I’d occasionally fall into the “hey bro, what’s goin’ on?” line of question formatting. Still, it’s funny to read now.

– DJY, May 2016

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AHM: Hi Matt! The Getaway Plan had only split up for something like 18 months when the reunion was announced. It’s probably the shortest break-up time we’ve ever seen! What triggered the idea in the four of you that perhaps you’d made a mistake?
MATT WRIGHT: It was more that our relationship as friends got better. Eventually, we got into the flow of just hanging out and talking – after awhile, the idea came up to make another record. It seemed silly not to.

With that said, you had already settled into your own band [Young Heretics] when the announcement of The Getaway Plan getting back together. Surely there were worries that the same problems would arise again, and that maybe the whole thing could turn bitter quickly?
Not at all. It was all really, really clear and obvious from the get-go. It just worked. All the problems that we had before were irrelevant – it just felt great. We are really dedicated to this band now.

In April, the band headed out on the Reclamation tour, which was the first official tour that you guys had done since the split. How did you find it?
It was absolutely amazing. The shows ruled, dude – especially the two shows we did at the Metro in Sydney. The tour was everything we hoped it would be and more, man. Back when announced the single reunion show that we did, the response was fucking insane. The show in Melbourne sold out in, like, seven minutes or something. It totally threw us. We were laughing at the fact that it happened, we just couldn’t believe it.

You guys premiered a lot of new material on the tour, including a song with Jenna McDougall [of Tonight Alive] on vocals. Is that song going to be on the album?
Yeah, it’s called “Child of Light.” Jenna wasn’t available to sing on the studio version, unfortunately. We did, however, get a children’s choir in for the song.

A children’s choir? No shit!
Yeah, dude! It was fucking crazy.

That’s so stadium rock – it seems like that would be something that you wouldn’t have even considered trying in your early years. That must have been a really interesting experience for you guys.
We’ve always been a little overly ambitious when it comes to recording and stuff, but to pull that off…man, it was just incredible. On this record, we’ve got orchestras, choirs, double basses, horns, everything. We kind of went all out for this one [laughs].

You might as well! This is, after all, your triumphant return.
Exactly!

Let’s talk about the writing of Requiem. One can only imagine it was a very different experience to creating Other Voices, Other Rooms.

It was quite different; because Clint [Ellis, guitarist] was away for most of it, off touring with [the] Amity [Affliction]. He’s left them now, but it was pretty difficult for him and us trying to balance those commitments.

So, with Clint gone, did that mean you were writing most of the guitar parts?

It was more like we were writing songs without lead parts and then letting Clint come in later to record his parts. For the most part of the writing, it was just me, Dave [Anderson, bassist] and Aaron [Barnett, drummer] in a rehearsal studio together. Clint came in around February for a week and got to recording instantly. He was loving the songs – he’d been listening to what we’d been doing thanks to that thing called the world wide web. Maybe it’ll take off [laughs]. It was alright in the end – we were closer at the end because of it. He’d actually written a lot, too. He’d been writing on the road. It was still pretty stressful for all of us, though.

With Amity growing so popular, was there ever a fear that he might choose them over you?
I dunno. I think that now that we’re back, the idea of anything changing, any members moving or anything like that…[trails off] …it’s not gonna happen. [laughs] But if it did, you’d be sure that it would definitely mean the end of this band. We wouldn’t be The Getaway Plan anymore. But everything has turned out so well, and we’re all so happy with the record – I can’t see this changing anytime soon.

Did you make a point to change your sound from the one established on Other Voices, Other Rooms?
We didn’t really intentionally try to do anything. You should expect something different, though – quite different. It has been four-and-a-half years since our last record. We’ve grown a lot in that time, and have a much greater understanding about working with one another. I’m not gonna say that it’s a Young Heretics and Amity hybrid…but it’s pretty different. There’s a song on the record which is probably the heaviest song we’ve ever written, which is really caustic. You’ll know it when you hear it. The whole thing is really diverse, though.

One last thing: With all of this new material, is there any chance of hearing some Hold Conversation tunes on the Requiem tour later this year?
We’ve kind of decided as a band that we’re not really going to be playing those songs anymore. They were great for awhile, but it’s been so long and we broke up for two years – those songs just don’t mean as much to us anymore. Imagine you’re a kid, right, and you do a painting when you’re four years old – imagine being asked to paint that picture for the rest of your life. Those songs don’t really represent the people that we are anymore. It’s not that we’re embarrassed by them, but they just don’t fit stylistically with us as a band. The setlist is pretty full as it is, anyway.

So we’ll never hear The New Year again live?
Aww, never say never – but, for now, it doesn’t look like it. [laughs]

INTERVIEW: Northlane (AUS), November 2011

www.benclementphoto.com Copyright BenClementPhoto 2011

I have no issue in claiming Northlane as one of my favourite Australian bands these days. I might not be in that mosh/metalcore scene – and I don’t feel like I’d be particularly welcome if I was – but I admire the growth and the evolution of Northlane’s sound. There are few heavy bands in this country that can step to them; and them’s the facts. I knew something big was on the way when they put out their debut, and that’s where this interview takes place.

Adrian was a talented vocalist, albeit a bit of a brat – he once blocked me on Twitter because I corrected his your/you’re usage. Still, he was a kid. He was growing up as Northlane were exploding, and he couldn’t handle it. No-one’s holding that against him. In fact, it ended up being a blessing in disguise – with Marcus on board, they’ve been able to reach their full potential. Anyway, this interview’s fine. It’s fun, even. Adrian was a good kid to interview because he was just so stoked on his own band – and you can’t really blame him.

– DJY, May 2016

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Names are a formality worth skipping, according to Adrian Fitipaldes. To the twenty-year-old, everyone is either “mate,” “man” or “dude” – variations of which we are constantly given throughout our interview. There is one name, however, that Fitipaldes wants to engrave on every mind he encounters – the name of Northlane, the band he has fronted for the past couple of years and the band that have finally delivered a huge debut album in the form of Discoveries. “We’ve been working really hard on it,” he enthuses on the line from Melbourne. “What we really want it is to make an impression; to impress everyone. This album’s been in the mix for awhile, man.”

“We went over-time a bit at Electric Sun studios,” he continues, discussing the developmental stages of Discoveries. “John, our guitarist, is a bit pedantic and can be a bit crucial with his lead tones. He ended up re-recording a lot of his parts just to perfect them. We had to do the vocals for ten tracks in two days – which was brutal on me! Then we kept going back and forth with our mixes and mastering, just to continually refine it and make it the best we could.”

Electric Sun Studios, a popular recording studio in Blacktown in Sydney’s west, wasn’t actually the band’s first choice. Adrian reveals that the band initially wanted to head overseas to lay down Discoveries. Unfortunately, it just wasn’t in their budget to do so, which ended up being a blessing in disguise. “If you want to save money, you’re gonna have to do it in Australia,” explains Fitipaldes. “The thing is, though, we really love everything that’s come out of Electric Sun – and, in my personal opinion, it’s the best studio in the country. They have so much experience in the industry, they’re so easy to work with and they have such great ideas. Y’know when you have an idea of what you want something to sound like? They showed me exactly what I wanted to hear.”

Needless to say, a lot of effort has gone in on the band’s behalf to make Discoveries as bold and ambitious as a debut record can be. It’s worth noting that you shouldn’t be expecting more of the same in relation to the band’s first release, the six-track EP Hollow Existence from 2010. According to Fitipaldes, the respective contexts surrounding each of them could not be more different. “On the EP, we were working off a budget,” he says, “and we just wanted to get our name out there as soon as possible. We didn’t really give the production aspect much attention, so that was something we really wanted to step up when it came to this record.” He then adds, with an out-of-character ocker drawl and tongue placed firmly within cheek: “Jus’ wanted to show ‘Straya that we’re not f**kin’ around, ‘ey?” He cracks up, before shouting “don’t put that swear word in there!” in mock-horror.

The differences between Hollow Existence and Discoveries increase when discussion turns to the musical direction taken on the LP. “The EP has got different elements to it,” says Fitipaldes, “but I think the record is really honing in on our musicianships, and setting us apart from other Australian bands. We really want to stand out, and show that we’re not just copying other bands – we’re actually formulating our own ideas, and we’re doing stuff that’s different. I mean, you still want to please your fans and be a part of the hardcore scene – you still want to have the energy and the passion that the hardcore scene is all about. But, at the end of the day, you’re not going to please everyone. Not everyone’s going to like it, and you have to accept that.”

For what it’s worth, Discoveries is an impressive record. Not content to stay within a mould or a limited set of ideas, the album is a strong collection of material that has its foundations laid in hardcore but has no issue with expanding into territory that’s more melodic, heavier, darker and even more electronic – sometimes within the same song. Northlane make no apologies for it, either – they refuse to compromise integrity for popularity, or to get rid of a more out of place section to make way for another boring breakdown.

“I think you’re going to see a lot more of it really soon,” comments Fitipaldes on the topic of hardcore bands in Australia breaking free of generic structure. “Especially in Sydney. I feel it’s been really over-saturated with generic genres. It’s getting tougher and tougher for bands to stand out from the rest. Hopefully, in the next few years, we’re going to see some really cool bands coming up. I mean, there already are some cool ones coming up – I just want to see some more!”

INTERVIEW: La Dispute (USA), October 2011

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Here’s one that slipped through the cracks from my time writing for Hysteria. I have been a La Dispute fan ever since their debut Australian tour back in 2009. I gotta say, it’s a remarkable transition to go from playing abandoned houses and rehearsal studios to the Corner and the Metro. I’m glad I got to see it all go down. This feature is okay – I think Jordan was still getting used to the idea of people talking to him about his band, and I think I was still getting used to the idea of talking to people about their bands. Call it a work in progress!

– DJY, May 2016

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As an album, Wildlife is the type of release that feels wholly satisfying – and that has almost as much to do with the context as it does the album itself. The album in the wake left after 2008’s Somewhere at the Bottom Between Vega and Altair, its particularly fiery take on emotive post-hardcore resonating with audiences worldwide. As excellent as Somewhere was, however, it simply couldn’t tide over the band’s more eager fans – a new album was needed to quench their thirst.

“Yeah, it’s been nearly three years since the last record,” says Dreyer, calling from California in the midst of the band’s seemingly endless touring life. “We’ve been keeping occupied with some smaller releases in that time – we did another Here, Hear. EP and we did a split with our good friends in Touche Amore. This last year or so, though, has just been spent piecing the record together. We planned ahead and put a lot of thought into how it would sound – and we honestly couldn’t be prouder of how it’s turned out.”

Although Dreyer feels that Somewhere and Wildlife are quite different records to one another, he is also aware that the comparisons between the two are inevitable. When it’s suggest that there is more of a linear concept to Wildlife than there was on their debut, Jordan notes that particular train of thought is on the right track. “We definitely had an idea of what we wanted it to sound like and what we wanted it to be about,” he said. “It’s important to us to create something that is very much an album experience, something that you can listen to from start to finish. We didn’t want that to be the only way that you listened to it, though – we really wanted to make sure that each track had its own individual merits, too. Essentially, we wanted Wildlife to be something perceived both as a whole and by the sum of its parts.”

In this regard, it’s safe to say that La Dispute have succeeded. As well as containing some of the best songs the group have ever written – the devastating “King Park,” the unbridled aggression of “Harder Harmonies” and the bare-bones honesty found in “a Letter” – it flows with a very smart sense of cohesion and connectivity. It’s quite safe to say that Wildlife is the band’s crowning achievement, with a sound that not only expands from the foundations laid on Somewhere at the Bottom, but also expands into new musical territory previously untouched.

“We weren’t exactly looking for a specific sound,” says Dreyer on the songwriting process of Wildlife. “It certainly required us to cover a lot of different areas, because of the lyrical nature of the songs. We never sat down and specifically said that we were going to write a heavier record or a softer record or whatever. More than anything, we just found what we were writing and recording was a natural progression from what we had done in the years previous. A lot’s happened in that time, y’know, and we’ve all experienced a lot of things – it just felt like we were bringing everything that we had learned to the table this time around.”

As with any La Dispute release, the album has a strong lyrical focus. With a myriad of literary influences (see the Here, Hear. experimental EPs for proof of this), the songs bring its listeners into a deeply personal and often quite dark area of the characters’ lives; and this is arguably more prominent on Wildlife than there has been on any other of the band’s releases. “A lot of the songs on Somewhere were about other people,” says Dreyer, who is the band’s sole lyricist.

“It was kind of my first proper attempt at conveying my ideas of storytelling. I feel that’s definitely progressed on this record – I felt as though I really needed to step up and convey a more personal perspective on what has happened to other people. There were a couple of interactions that I’ve had with people these last few years that ended up being turned into songs. I felt it was important that their story was told, but also that my viewpoint on their story was conveyed as well.”

Although nothing from Wildlife was previewed when the band toured in January of this year, the quintet were still able to effortlessly hang the Sold Out sign on several of their tour dates; once again engaging a cult craze with many fans travelling to a series of shows or even the entire tour. “That was pretty incredible,” says Dreyer with an incredulous laugh. “I mean, the shows were a bit bigger than last time, and we made a lot of new friends – and we got to see a lot of people from the first time around, too. That was really special – Australia is always so good to us, and we just can’t believe our luck sometimes.”

The Top 100 Songs of 2015, Part Two: 80 — 61

Here we are for part two. Response was unreal last week, thanks for checking it out and sharing it around. Here we go again! Part one here.

80. The Sidekicks – Everything in Twos

“Everything in Twos” turned up less than a month into 2015; dropped its bags and set up shop. It wasn’t going anywhere – nor should it have. Ducking and weaving through shimmering guitars and bouncing drums, it’s the type of power-pop that packs lyrical density to complement the bright, bursting tone; straight from the John K. Samson and John Roderick school of songwriting. Once you’ve surrendered to its wide-eyed charm and heartfelt, harmony-laden chorus, there’s no going back. It clocks in at 2:47, but you’ll be under its spell within the first 30 seconds – or your money back, guarantee.

79. FIDLAR – 40oz. On Repeat

The cheap beer has run dry, there’s no cocaine left and FIDLAR are not as stoked on the whole ‘stoked and broke’ thing that they were a couple of summers back. They’re still making belligerent, snotty garage pop-punk at its core, but the opening number on August’s Too saw them get a little more up-close and personal with their feelings – anger, depression, confusion et al. A dash of wurtilizer and toy piano is just enough to note growth and maturation on their part. Not a complete reinvention – because, duh, FIDLAR – but it keeps you guessing. Listening, too.

78. Bad//Dreems – Bogan Pride

Sure, these Adelaide natives enjoy a torn flanny and a smashed tinnie as much as the next bloke. Even with this in mind, Bad//Dreems are acutely aware of their native land’s major issue with hyper-masculinity. As the guitar scratches urgently against a pounding punk beat, “Bogan Pride” tears down beer-swilling muscle junkies with bitter, unrepentant fury. The irony of more of these types attending Bad//Dreems shows as their profile continues to (deservedly) rise probably won’t be lost on the band. At least they’ll always have this. Bonus points: The only song in the list to feature an exasperated “FUCK’S SAKE!”

77. Brendan Maclean – Tectonic

With synth arpeggios that orbit the planet and gated snare that could knock out Phil Collins in a single hit, “Tectonic” is the furthest that Mr. Maclean has ever ventured from the piano. Much like when Tim Freedman whipped out a keytar in the second verse of “Thank You,” the crowd was confused. But then, they cheered! And oh, how they danced! “Tectonic” is a pulsing, twirling piece of interplanetary pop – a shot in the dark that resonates in high definition. You could say the song was how Brendan got his groove back if only he’d never lost it.

76. Philadelphia Grand Jury – Crashing and Burning, Pt. II

Five years ago, the Philly Jays premiered a new song on tour entitled “A New Package for You,” another archetypal rush of knockabout indie-pop with a wild side and a spring in its step. For the band’s comeback album, the song was resurrected – a new hook, a slightly-slower tempo, a new hair-metal guitar break into the bridge and a bit of sprucing up here and there; hence the “Pt. II” suffix. Its origin story alone is indicative of how the track encapsulates their past, present and the future – it’s “A New Package” in a new package. Get excited.

75. EL VY – Return to the Moon (Political Song for Didi Bloome to Sing, with Crescendo)

The National’s Matt Berninger hasn’t always written zingers (lest we forget “Sometimes, you get up/And bake a cake or something” or “Standing at the punch table/Swallowing punch”), but initial listens to his side project’s first single will have you scratching your noggin over whatever mumbo-jumbo he’s spouting off. ‘Triple Jesus’? ‘A saltwater fish from a colourblind witch’? Who knows? Moreover, who cares? The thing about “Return to the Moon” is that it makes perfect sense in clear spite of itself. It’s a pop oddity; a guitar swagger, an off-beat handclap.If Berninger’s enigmatic charisma can’t win you over, perhaps nothing can.

74. Best Coast – Feeing OK

Five years ago was the summer that Best Coast’s debut, Crazy for You, was the ultimate girl guide – an album full of lyrics to quote endlessly on Tumblr while others would reblog and add the phrase “figuratively me!” Not to discredit that album whatsoever, but the best parts of the band’s third, California Nights, are when they’re tackling some of the bigger issues than boy problems and weed. On the album’s opener, Bethany Cosentino laments being there for everyone except herself; learning slowly but surely how to start putting her well-being first once again. It’s figuratively a great start.

73. Sweater Season – Charley

For a band quite figuratively less than a year old to be delivering a song as confident in nature as “Charley” is the equivalent of your infant child skipping the ‘goo-goo’s and ‘ga-ga’s entirely and skipping ahead to reciting a Shakespearian sonnet. In one swiftly-paced and smartly-written piece of proto-grunge indie, the band establishes a dual guitar tone to kill for – all sunshine and radiation – while simultaneously tossing killer one-liners like “I forget what I regret” – later transmogrifying into “what I have left,” for full effect – on top, almost as an afterthought. Damn baby geniuses.

72. The Sidekicks – The Kid Who Broke His Wrist

Steve Ciolak has never shied away from deeply-personal writing – it’s where he embraces it the most that his songs shine. That being said, there’s something about the way he reminisces on childhood spent and a youth now lost to a man on the verge of his thirties that, for whatever reason, feels somehow – importantly – different. It resonates in a way one might not initially expect – perhaps to do with how he still sees so much of himself in the boy that he once was; still finding himself unable to make a proverbial fist. Heartbreaking – and bone-breaking.

71. Citizen – Heaviside

For a band that used to recall acts like Sunny Day Real Estate and Jimmy Eat World, it’s strange that Mogwai and post-Deja Brand New are immediate comparison points when discussing the quietest moment from Citizen’s fascinating second LP. Yes, it’s a departure – and a major one at that – but the faded, distant shimmer of the guitar and the immediate, raw-nerve vocals that feel as though we have cut to the core of what this band is – and, more importantly, what it can be. For a song about purgatory, Citizen sure know where they’re headed on “Heaviside.”

70. Rihanna feat. Kanye West and Paul McCartney – FourFiveSeconds

A Barbadian, a black skinhead and a Beatle walk into a bar… yes, the year’s most unlikely combo were also behind the year’s most unlikely pop smash. Not that these three haven’t seen a hit or two in their lifetime – least of all Macca – but it was the manner in which “FourFiveSeconds” presented itself that made for such an intriguing prospect: Quiet. Unassuming. Raw. Soulful. No braggadocios raps, no “na-na-na”s, no nostalgia. Just an unplugged, intimate moment with true music royalty. A true career highlight for each – and given their combined history, that says a remarkable deal.

69. The Smith Street Band – Wipe That Shit-Eating Grin Off Your Punchable Face

The night Tony Abbott was elected, The Smith Street Band played a sold-out Corner Hotel, telling their captive audience that this was not a man to be trusted or one that spoke for them. In the year of Abbott’s demise in the public eye, it began with this furious, damning five-minute suite detailing his evil, hateful ways in explicit detail. It’s the angriest song the band has ever recorded – and, as it stands now, their most important. “A change is gonna come,” Wil Wagner warned, echoing sentiments of the late Sam Cooke. Less than a year later, it did.

68. Seth Sentry – Violin

No-one likes to see the clown crying. When Seth Marton isn’t goofing off, flirting with waitresses or talking about hoverboards, he’s capable of eloquent and passionate introspect. An open letter to an absent, arrogant father, “Violin” is Seth’s most private and painfully-personal song. As Marton’s cathartic furor rains down, so too does his discontent and malaise over how things have panned out. The song’s lynchpin comes in the form of its first and last line – which are one and the same. It brings the song full circle, leading one to hope against hope the bastard hears every last word.

67. White Dog – No Good

From the warehouses, garages and four-track recorders of Sydney, White Dog emerge with fists swinging and teeth sharpened. “No Good” seethes. It radiates from the back of cracked, split-open radio speakers. It prowls the streets of the inner-west wielding a switchblade. It’s the loudest, rawest and most primal sound to erupt from the DIY punk scene this year – and most other years, too, if complete honesty is allowed. If you’re not getting the message already – or maybe you just weren’t paying attention – remember this: “No Good” is the antithesis of its own name. That’s punk as fuck.

66. Major Lazer feat. DJ Snake and MØ – Lean On

Diplo is King Midas – everything he touches becomes gold. DJ Snake is King Henry VIII – he’s a wild motherfucker that’ll chop people’s heads off for the thrill of it. MØ is the lady of the lake – she holds the sword with all the power. By some bizarre head-on collision, the three have been pitted against one another in a three-way dance – and everybody wins. “Lean On” was, for many, the highly sought-after ‘song of the summer.’ More importantly, it was an assertion of pure dominance for both the charts and the dancefloor. Just go with it.

65. The Story So Far – Nerve

The best pop-punk right now is made by kids raised on Through Being Cool that are through being cool. Beyond empty slogans and Tumblr drama lies music that can be artistic, cathartic and genuinely engaging. The Story So Far have evolved into such an act, having grown up before their audience’s eyes and winding up on the wrong side of their 20s with a bad attitude and some killer riffs. Subsequently, “Nerve” stands as one of the most righteously-angry songs of both TSSF’s canon and the calendar year. Any self-respecting rock fan needs to hear them out on this one.

64. Endless Heights – Haunt Me

When Joel Martorana gave up screaming and turned his attention to singing two years ago, it was a confusing and suspicious move to some genre stiffs. As his voice rings out on “Haunt Me,” however, one struggles to recall Endless Heights without it being there. It suits the hypnotic drone of the guitars and the brisk drumming to absolute perfection, and presents itself as further evidence that the change in direction for the band was undoubtedly the right decision to make. Succinctly, “Haunt Me” gets a lot of work done in a considerably-short time. The power of Heights compels you.

63. Justin Bieber – Sorry

It takes a lot for a man to own up to his mistakes – especially if that man was, up until quite recently, a boy despised on a global scale. With an A-team of producers spreading the good word on his behalf – in this particular instance, Sonny “Skrillex” Moore – Bieber’s path to redemption is a gruelling, arduous one for us to undertake. As long as songs like “Sorry” keep turning up, however, the path shall be paved with gold. Anyone not left dancing in the spirit of the song’s phenomenal video just isn’t Beliebing hard enough in themselves.

62. Josh Pyke – Be Your Boy

Sure, he’s a bit more Smooth FM than Triple J these days, but there’s a lot to be said for the fact Josh Pyke has never changed his stripes for anyone. He’s always been a hopeless romantic, a dreamer and an old soul – and all of this entwines beautifully on what is unquestionably his best song in years. Layered percussion and cooed backing vocals prove to be a warm bed for Pyke’s rekindled-youth flame to rest upon; and its sweetly-sincere chorus will do the rest of the job in worming its way into your heart. Ahh, Pykey. You’re alright.

61. Silversun Pickups – Circadian Rhythm (Last Dance)

When photos of Silversun Pickups first surfaced, many thought that the voice they were hearing belonged to bassist Nikki Moninger. Naturally, they were in for a world of shock when they inevitably saw Brian Aubert step up to the mic, but “Circadian Rhythm” is a Sliding Doors moment of sorts that shows what life would be like if it was actually Moninger that took the lead. As luck would have it, it’s a total delight – a more subdued and intimate moment from a band that normally go to 11. This, indeed, is a dance well worth immersing yourself in.

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Part three up next Monday! 

Don’t forget you can download the podcast version of Part Two here.

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.

FBi Radio’s “Out of the Box” – October 22, 2015

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In October of 2015, I was asked to be a guest on Out of the Box, a one-hour lunchtime program every Thursday on Sydney community station FBi Radio. The premise of the show, which was hosted at the time by the absolutely delightful Ash Berdebes, is to look at a person’s life through the music that they love; with the guest programming eight songs that mean something to them. I was honoured to be asked on the show – which has also featured really cool guests like Paul MacThe Umbilical BrothersÓlafur Arnalds and Evelyn Morris aka Pikelet – but I was fretting quite a bit over what to choose. I think I put together a fairly solid and diverse list; all songs that meant something huge to me at different parts of my life.

Here are the songs I chose. You can also listen to the entire hour, which features a pretty honest chat with yours truly, by streaming it through FBi’s Radio On Demand by clicking here.

A huge thank you to Ash for asking me on and for her producer, Rachel, for doing a great job. I worship this station, and couldn’t believe my luck that I got to be involved with a show.

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Sesame Street – Imagine That

I picked this song for two reasons. The first is that it is the first song I remember truly loving and knowing all of the words to. I would have been three, maybe four when I first heard it. I was fascinated by all of the music on Sesame Street – Jim Henson would go on to become one of the biggest parts of my upbringing, through both Sesame Street and the Muppets. I think the reason that this song stuck out to me was that it was about using your imagination but also remembering that being you is the best because no-one else can be exactly like you. Ernie sings it, and I’ve always loved Ernie almost entirely because of this song. There’s also “I Don’t Want to Live on the Moon,” which also clocked me square in the feels. I forgot about this song for a few years and then rediscovered it. The day that I did I cried and cried and cried. It all came flooding back to me. I also picked this song because I knew for a fact that it would have never been played on FBi before.

The Cruel Sea – Takin’ All Day

The Cruel Sea were the first band I ever saw live. I bought Over Easy when I was eight years old because I liked the cover. I later saw this video on rage and felt very grown-up for liking an “adult” band playing bluesy rock music. I wanted to play drums, so I wrote to Jim Elliott, the band’s drummer, via their PO box. He wrote back and we stayed in touch for many years. In 2002, they announced a show in St. George’s Basin. My dad took me – even though it was an over-18s gig – and I got to meet Jim and had a poster signed by the entire band which is still on my wall to this day. James Cruickshank recently passed away, and I know a lot of people are rediscovering The Cruel Sea – I hope this helps.

The Forest – The Bear

Flash forward to 2008. I’m in my final year of high school and a lot is going on – I’ve discovered that I have Asperger’s, having been diagnosed as a child but never told; I’ve ostensibly come out as bisexual at a Catholic high school and I’m angry, confused, lonely and trying to find sense in what’s happening in my life. Around this time, I see a band play at a local community hall called The Forest. They’re a “skramz” (emo/post-hardcore/indie) band from rural Queensland. Although they identify as Christian and I was quite outspoken against Christianity (high school rebel!), their music was so intense and passionate that it got through to me. As long as I treated the imagery as just that, we had an understanding.

I bought their self-titled, homemade EP that night. Every day before my final HSC exams, I would play it as loudly as I possibly could – somedays I’d even scream along if I was walking by myself. Javed, the band’s lead singer, works in video games now and lives in Sydney with his wife and his beautiful daughter. He may be done with this band, but I’ll forever be grateful to him for that EP and getting me through that time in my life.

Parades – Hunters

I loved Parades. More than I’ve loved a lot of bands. To this day, I have no idea why they put up with me – I was probably so annoying and so clingy. Still, they became friends – really good friends. People I trusted and cared about and wanted to hang out with. foreign tapes was another album that got me through a lot – a major break-up, more struggles with anxiety, the utter loneliness of my uni degree. The hours of travel I undertook to see these guys play – eight times in total before they split – was always made worth it.

I picked this song from the album because I once screamed the “SO IT GOES ON ENDLESSLY” part so loud I started crying. In the front row. These two other guys thought I was crazy. I lost myself in the moment. Parades allowed me to do that. I wish they were still around.

Lemuria – Mechanical

2012 features the worst thing that has ever happened to me – the untimely and accidental death of my mother to a one-person car crash in April – as well as the best week of my entire life – going to one major international gig a day from Monday November 12 to Sunday November 18; seeing Radiohead, Refused, Beck, Silversun Pickups in Adelaide, Ben Folds Five in Adelaide, Harvest in Sydney and Coldplay. The soundtrack to both of these parts of my life was the album Get Better by Lemuria. I discovered the band through a random blog some years before but had never properly given them a listen until one of their songs came on shuffle not long after my mother’s passing. It helped me through and was there for me whenever I needed it – there were weeks where it was all that I listened to. It made me feel like there were others out there that were just as lost and confused as I was.

Getting to meet Lemuria when the came to Australia in 2014 was such a huge thing for me. Nearly broke down telling them what their music meant to me. One of the highlights of my life was getting to sing “Lipstick” from Get Better with the band at Black Wire Records. I chose the last song from the album because of all the times I have screamed along the “SHUT UP” refrain until I literally couldn’t anymore; as well as it being a highlight of their show at Hermann’s Bar – surrounded by friends singing along so loudly that Sheena, the band’s singer, gave up singing into the mic and just let us carry it.

mowgli – Slowburn

Cameron Smith, Curtis Smith, Dave Muratore, Eleanor Shepherd and Jay Borchard have all been friends of mine for quite awhile. Eleanor, the bass player, I’ve known since we were in primary school. I met Cameron in 2008, watching his old band Epitomes play every other weekend. Dave was brought in as the lead guitarist for a band I was playing with at the end of 2009; a few months after meeting Jay for the first time at a La Dispute show – which is, ironically enough, the same situation in which I met Curtis, Cameron’s brother, in 2011 to complete the set.

I bring up the fact that I am friends with all of them – even though Curtis is no longer in the band – purely because I want to state that the fact I think mowgli are one of the best bands this country has produced in the 21st century is not because they are my mates. It’s because their music speaks to me on the same way that The Forest did all those years ago – they capture my rage and my passion and my disconnect from the world around me. I have seen mowgli play live over twenty times, and each time I am utterly blown away by their talents. This was my favourite song of 2013 by a considerable margin – I still rank it as one of my all-time favourite songs. I think everything about it is perfect.

The Smith Street Band – Belly of Your Bedroom

This was included as a shout-out to Poison City Records, the Poison City Weekender and the remarkable friends that I have made through both. I was almost intimidated by the scale of the Weekender at first – I arrived at my first at the age of 21, incredibly anxious, nervous, excited, overjoyed and overwhelmed. I’ve since felt immediately at home there – I almost feel like part of the furniture. The Weekender is a time when I am connected with friends from all over – some that I see every week, some that I only get to see for that weekend. Once all the shows and the side-tours surrounding it are done, it feels like the end of camp to me.

I have made so many great mates through the community that Poison City has created – the fact they have made the queer, anxious yeti (as I sometimes call myself) feel so welcome and so loved speaks volumes about the environment of it. At the centre of the Poison City universe is The Smith Street Band – I chose my favourite song of theirs, which ostensibly deals with being the weaker part of a relationship (been there, done that, bought the t-shirt) and features the vocals of another dear friend, Lucy Wilson.

Georgia Maq – Footscray Station

Since 2009, I have played solo under the name Nothing Rhymes with David. I’ve been lucky enough to share a stage with some remarkable songwriters. None have challenged me in the same way that Georgia Maq has. I find her music endlessly fascinating, remarkably engaging and uniformly brilliant. I see so much in her that she is often too self-deprecating and unaware to see in herself. I fear that she will never, ever know how good she is. Each time I watch her perform, I more or less sit in stunned silence – when I’m not compelled beyond my will to sing along, of course.

I find the storytelling in this song so incredible – it took me a good half a dozen listens to fully comprehend it. Everytime I’m in Melbourne and I find myself out at Footscray station, I think of this song and I can’t help but smile. The first time I saw her live, she couldn’t believe that I knew every word to this song and that I was in the front row singing along. I couldn’t believe I was the only one.