The Top 100 Songs of 2018, Part Two: 80 – 61

Hey, reader! Make sure you’re all caught up with the first 20 songs by clicking here. They’re good, I promise – and, wouldn’t you know it, these ones are even better!

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80. Moaning Lisa – Lily

Moaning Lisa’s second EP, Do You Know Enough?, is the audio equivalent of four seasons in one day. When “Lily” rolls around, the storm is settling in and things are taking a turn for the worse. A considerable stylistic departure for the Canberra natives, “Lily” is a slow-motion lucid dream in which a private universe crumbles and drifts into the abyss. Anchored by picked-out bass and beds of guitar feedback, the song subtly sweeps and builds to what may be the single most devastating lyric of the year: “Now I have nothing left for you to take.” Welcome to heartbreak.

79. Joyce Manor – Think I’m Still in Love with You

When Joyce Manor dropped Cody back in 2016, the cool kids gave them a bunch of shit for it. Pitchfork said it sounded like Everclear – like that was a bad thing! Still, it must have gotten to them in one way or another – their fifth album, Million Dollars to Kill Me, is even poppier than last time. Hell, this track from it in particular sounds like a lost Cheap Trick single, all tight harmonies and chugging major chords. Forget leaning in – Joyce Manor have gone completely head over heels here. Fitting when you think about it, really.

78. Fiddlehead – Lay Low

A lot of hardcore kids never got over Have Heart breaking up, and fair enough too. Consider this, though: Have Heart died to so that Fiddlehead could live. There is an urgency and vitality to what this supergroup of sorts are doing, packing short and punchy songs full of throat-tearing hooks and emotive lyrical pleas straight from the heart. Of all the tracks that compose their debut LP, “Lay Low” is the pick of the litter. It comes out swinging from its opening chords and refuses to relent until you’ve felt everything there is to feel. The sun has risen.

77. Silk City feat. Dua Lipa – Electricity

There are two mayors in Silk City – super-producers Diplo and Mark Ronson. As it turns out, this town is big enough for the two of them – and just as well, considering they’ve also invited a friend in rule-setting pop sensation Dua Lipa. Her high-energy joy matches up perfectly with Ronson’s retro piano stabs and Diplo’s insistent handclaps, leading to a chorus that would be envied by anyone from HAIM to Miley and back again. This is house music on such a mammoth scale that it’s bound to wake up the neighbours. And if they don’t like it? IDGAF.

76. BROCKHAMPTON – SAN MARCOS

If you’re angling BROCKHAMPTON as a boy-band, then “SAN MARCOS” is the ballad performed on the B-stage in the arena, sitting on stools. That’s figuratively what they did when they performed this centrepiece of their fourth album for Like a Version on their eventful Australian tour – which, coincidentally, is also where the music video was filmed. It’s one of the group’s most heartfelt, introspective songs to date, showcasing both a maturity and a vulnerability within their creative spectrum. There may not be a more resonant refrain from the year passed than “I want more out of life than this.”

75. Cloud Nothings – Leave Him Now

“Leave Him Now” is a song about a troubled straight relationship in which the female party is advised to remove herself from it. The twist is: That’s it. Dylan Baldi is not putting himself forward as the substitute. This isn’t a “drop the zero and get with the hero” scenario. This is about a genuine concern for a woman’s wellbeing and stability. It takes a trope of songwriting across multiple genres and decades and subsequently turns it on its head. If that wasn’t enough, it’s also one of the catchiest songs Baldi and co. have ever written. How about that.

74. The Hard Aches – Mess

Here’s what you need to know: “Mess” is the first song on the album Mess. The word “mess” is the fourth word you hear on the entire album, and it’s repeated over a dozen times throughout. It’s a unifying theme for an album that’s ostensibly about everything falling apart. Lest we forget, this is not a new place for them – existentially, at least. They’ve been here before and they’ll be here again. So, they sing over big chords and swinging drums: “We’re not burning out.” It’s defiant. It’s purposeful. It’s resolute. Truth be told, they’ve never been more believable.

73. Basement – Stigmata

Basement have found themselves associated with a few different movements and scenes, such is the versatile nature of their music. They’re flagged for emo-revivalists while simultaneously being added to pop-punk playlists. What a song like “Stigmata” showcases, however, is what they’re capable of at their crux: An alternative rock band. A damn fine one, too. A callback to when it was a good thing to be. A time of Jerry Cantrell harmonies, Pixies dynamics and snares that hit like they’re being played next to your eardrum. The genre is unquestionably in good hands – even with gaping holes in them.


72. Confidence Man – Don’t You Know I’m in a Band

How did a semi-anonymous disco band fronted by a classic pervert and a Lolita become one of Australia’s biggest live acts? It’s all in the name: Confidence Man put themselves forward and danced like there was no-one watching, and kept doing so even as those watching amassed into thousands. NPR’s Bob Boilen once described them as “perfectly goofy,” and there’s truth to that – but it’s not the whole story. A song like “Band” is an acute takedown of the rockstar lifestyle, while also serving up a better chorus than any wannabe could dream of. They have confidence in them.

71. East Brunswick All Girls Choir – Essendon 1986

It’s funny that East Brunswick’s debut album was called Seven Drummers – when “Essendon 1986” kicks off in earnest, that’s exactly what it sounds like. Jen Sholakis is the central focus of this spiralling, seething number, her toms rumbling the earth beneath her as her bandmates carve into their respective stringed instruments. The band has never sounded this dark, this aggressive or this forthright – and it’s this immediate shift that ends up paying off to create their finest singular moment to date. A fading, sepia portrayal of restless outward Australia that, truthfully, couldn’t have come from any other band.

70. David Byrne – Everybody’s Coming to My House

The erstwhile Talking Heads frontman was behind one of the year’s most critically-acclaimed and beloved live tours, bringing a barefoot ensemble of untethered musicians onto stages across the world with a celebratory, career-spanning setlist. The tour took place on the back of what surprisingly ended up being one of the year’s more overlooked LPs in American Utopia, Byrne’s first proper solo endeavour in years. “House” was its lead single, and is filled with a classic sense of Byrnian paranoia and unease while simultaneously peppering in a sizzling horn section and head-voice, Sampha-assisted melodies. Long may the grand Byrne spectacle continue.

69. Parquet Courts – Wide Awake

“Is anybody sleepy?” a voice sarcastically quips before the gang vocals of “Wide Awake”’s second verse boldly answer back with the titular phrase. This sardonic easter egg is a reflection on Parquet Courts as a whole – they do what they do primarily with a knowing wink, playing up their surrounds while also maintaining a deadpan. “Wide Awake” is one of their most uncharacteristic songs to date – a percussive funk procession with double-dutch chants and a literal layer of bells & whistles. They even scored “fluke indie hit” bingo by playing the damn thing on Ellen – go figure.

68. Courtney Barnett – Charity

Courtney Barnett can turn on a dime – or a 20-cent piece, depending on what part of the world she’s touring in at the time. Take the huge chorus of Tell Me How You Really Feel‘s rocking final single as a prime example: Figuratively seconds after singing the phrase “Everything’s amazing” in three-part harmony, she delivers one of the year’s most brutal lines in “So subservient/I make myself sick.” It’s so subtle that you don’t even notice the first listen, but by the time you do you’re looking at a far bigger picture. Here, Barnett is seeking a deeper connection.

67. Baker Boy – Mr. La Di Da Di

Three years prior to “Mr. La Di Da Di,” a certain voice heard in a certain song asked the age-old question: Now, if I give you the funk, you gon’ take it? Not only did Baker Boy take it, he let it possess his entire being. No, “La Di Da Di” wouldn’t exist without “King Kunta” – but that wouldn’t exist without George Clinton, which wouldn’t exist without James Brown, and so on and so forth. Radiating pure positivity, Baker Boy is the latest in a long line of exceptional artists that are black and proud. Say it loud, y’all.

66. Ball Park Music – Hands Off My Body

It doesn’t get much more wholesome, family-friendly and generally PG than Brisbane’s Ball Park Music. Not to say they’re bland or uninspired, mind you – just good clean fun. What happens, then, when they promptly go off the rails? Vocalist Sam Cromack is a man possessed on this single from the band’s fifth album, propelled by an atonal keyboard blip and a persistent breakbeat as he goes around chopping body parts off. It’s easily the band’s most gruesome and dissonant song to date – and yet, in classic Ball Park fashion, it’s a certified festival killer. Everybody do the chop-chop!

65. Wafia – I’m Good

For a few years, break-up songs well and truly got Adele’d. They were all saccharine, mopey and downright depressing – a cheap imitation of “Someone Like You” done by, well, someone like her. With “I’m Good,” we’re making an earnest return to the celebratory end of a shitty relationship – it basically sounds like the audio equivalent of walking away from an explosion without looking at it. The song drips with effortless cool – its wafting synth bass and four-on-the-floor strut give it a “Stayin’ Alive” swagger, while Wafia herself breathily kisses off her shitty ex. “I’m Good”? Damn right.

64. Vacations – Steady

True to their name, Vacations sound like they’re playing live and direct from where you want to be – which is pretty funny when you find out they’re from Newcastle. All joking aside, the quartet are locked square into the tone-zone – summery guitar reverb, warm bass, roomy drums and some lush harmonies to boot. “Steady” might be the song where they most singularly nail it across the board – a bashful, honest love song filled with hazy chord inversions and an instantly-memorable refrain. Indie didn’t get a whole lot more charming in 2018 than Vacations – Australian or otherwise.

63. E^ST – I Don’t Lack Imagination

Melisa Bester isn’t the kind to mince words. Hell, she named her EP Life Ain’t Always Roses, which is about as blunt and unapologetic a phrase as you can get. “Imagination” from said EP is surrounded by – ahem – flowery production and slinky rnb melodies. The lyrics, dissecting an impervious relationship dichotomy, still manage to cut through across a slim three-minute runtime. That – and, by extension, the song itself – deserves considerable credit. Pop fans were once told to go west – either by kings or boys. Now, the future is female – and the future is E^ST.

62. The Presets – Downtown Shutdown

Among the issues Australia has faced since The Presets last put out an album are human rights crises facing asylum seekers and the swift closure of pubs and venues across Sydney. On “Downtown,” Julian Hamilton and Kim Moyes decided to kill two birds with one stone (sorry, PETA) by addressing both head-on in a parade of slap-bass, pogo-bounce grooves and skittish electronics. The titular phrase is an obvious allusion to the restricted nightlife of Sydney, but the refrain is chanted by St. Paul’s Lutheran Church Choir – which is primarily made up of African immigrants. Consider the man stuck to.

61. Charli XCX feat. Troye Sivan – 1999

“Does anyone remember how we did it back then?” asks Charli XCX halfway through “1999,” seemingly to no-one in particular. Hey, Charli, do you? Lest we forget our heroine was all but seven years old in the titular year – and her sidekick for this song turned four. It’s a gripe, sure, but it’s a small con up against a long, long list of pros. Among those are Oscar Holter’s throwback beat, the hammered-home chorus and what ended up being one of the year’s best music videos. They mightn’t actually remember 1999, but they’ve made sure we’ll never forget “1999.”

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That’s it for now! You can stream all 40 songs so far via the Spotify playlist below:

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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: