The Top 100 Songs of 2014, Part Five: 20 – 1

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This, friends, is my first post for 2015 and it’s also where I leave you with yet another list – the ninth overall that I’ve made documenting my top 100 songs of the year. Before I send you off, make sure you’ve caught up on parts one through four:

100 – 81
80 – 61
60 – 41
40 – 21

You all sorted there? Awesome. Hey, thank you so much for reading through and checking this all out. Thanks to my friends, fellow writers and all the bands and artists that feature here. Quite figuratively couldn’t have done it without you all. Same time next year, yeah?

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20. Bleachers – I Wanna Get Better

Jack Antonoff is the kind of guy that could easily be seen as cool by association – he’s one-third of indie darlings cum chart-crushers fun., as well as longtime partner of Gen Y superstar Lena Dunham. Don’t let this context misconstrue him at all, however: He has absolutely no issue with holding his own. Look at this breakout smash, which sees Antonoff take the reins of a stuttered piano sample, arena-rock guitar and a chock-a-block chorus that almost threatens to cave in on itself before reinforcing its foundations. An anthem for overcoming odds and being the damn best you can be.

19. Ted Danson with Wolves – Bohemian (I Don’t) Like You

Maybe vocalist/saxophonist Nick Levy paid way too much attention in his high-school science classes. Maybe it was the result of a parental sex talk gone wrong. Hell, the guy could just well have a remarkable imagination matched with a witty sense of humour. It really is anyone’s guess when it comes to uncovering exactly how “Bohemian” came to be created. Whatever the case, the world is certainly a better place for its existence; as is a particular season that also serves as the song’s triumphantly-screamed opening word. Sex, nature and The Dandy Warhols. What more could you ask for, really?

18. The Smith Street Band – Surrender

For someone like Wil Wagner, singing a line like “I’m not from around here” is a shockingly confessional change from a guy who has centred entire songs – nay, entire releases – around singular and familiar surroundings. “Surrender” comes somewhere between Show A and Show B, off the proverbial beaten track and directly into the fire. It brims with the brightness of the band’s sun-kissed guitars and the energy of Chris Cowburn’s impeccably-syncopated drum fills; and feels like home even though it’s approximately 1062 kilometres away. That’s the magic of The Smith Street Band for you, of course. Long may they run.

17. Slipknot – The Devil in I

“Where is your will, my friend?” As the words escape Corey Taylor’s mouth, atop shimmering guitar noise and gentle cymbal rushes, the line has conviction in its execution that very explicitly points toward its questioning being directed inward more than anything else. Indeed, introspect and open-wound pain are what guide “Devil,” which sports all the definitive traits of a classic within the band’s extensive repertoire. It marches along dutifully, playing to both the band’s knack for creating space and their knack for tearing it apart. Much like those bogan car stickers, “The Devil in I” justifies Slipknot’s existence. Step inside.

16. Pianos Become the Teeth – Repine

There is a true weariness in “Repine,” which ostensibly serves as the centrepiece of the script-flipping Keep You record. It’s the clearest in the pained, aching vocals, but it weaves its way through the bristling guitar patterns and the emphatic thud of the verses’ half-speed drum flams. A beacon of light peers through in the song’s refrain, in a manner befitting a crack in the roofing allowing for a ray of sunlight to emerge from the darkness. “Your wick won’t burn away,” it chants. It’s a hope against hope, and one prays that it resonates with the truth. Somehow. Someway. 

15. Ben Howard – I Forget Where We Were

Love is patient. Love is kind. Love is confusing, distracting, disorienting. Love is winter, spring, summer and fall. Love is an artist’s entire body of work; and it’s a single word from a single line in a single song, poem or story. Love is everywhere and nowhere. Love is in every tear shed – out of happiness, out of sadness, out of anger. Love never runs on time. Love leads through the quietest places on earth through to the most crowded streets. Love is what you make it. With this in mind, “I Forget Where We Were” is a love song.

14. Babaganouj – Bluff

For a song with roughly a dozen lines of lyrics in it, as well as falling just shy of the three-minute mark, “Bluff” manages to achieve a remarkable amount. It’s practically equivalent to that biblical miracle of feeding five thousand people with merely a loaf of bread and some fish. So what gets it over the line? It appears to stem from bassist Hariette Pilbeam, venting over a once-hopeful relationship transmogrified into cyclical torture. The ultimate release that comes with her final vocal delivery indicates the song is just as much for her as it is the rest of us.

13. Georgia Maq – Footscray Station

There’s no filter to Georgia Macdonald. You simply cannot take what she does and switch it on and off. It’s a major discredit to one of this country’s most promising songwriters to suggest otherwise. This song is what one should point towards to validate the aforementioned claim of excellence: A ragged, honest waltz through lower-middle class life that also detours through mental health woes and fearless political shaming. Just know that some people will spend their entire lives waiting to write a song that amounts to even half the quality of “Footscray Station.” They will try and they will fail.

12. Young Fathers – Get Up

A lot has gone into the genetic makeup of this song. Its titular phrase has been reconceptualised by everyone from Bob Marley to R.E.M., while it also incorporates a very specific handclap pattern best known for its use in The Routers’ single “Let’s Go.” Lyrically, it drops into heaven and earth, Orwellian dystopia, revolution and debaucherous lifestyles. When it collectively shifts into its final form, however, “Get Up” belongs to Young Fathers and Young Fathers only. When the line of “You lose/I win” drops from out of nowhere, it may as well be a message – a warning – to their peers.

11. The Kite String Tangle – Arcadia

Björk once famously sang that “If you complain once more, you’ll meet an army of me.” On “Arcadia,” Danny Harley actualises it, although his admittedly feels somewhat less threatening than that of the Icelandic nymph’s. The song comes at a breaking point, where both parties have found no way out and past the point of return. It is guided by Harley’s private strikeforce of close harmony, wordless refrain and warm, lushly-painted arrangements. Rarely has the light at the end of the tunnel shone so brightly than within the confines of “Arcadia.” Here begins the true ascension to complete pop magnificence. 

10. Ben Howard – End of the Affair

Perhaps subtle is an odd term to transfix upon a song that quite figuratively lays out its explicit subject matter within its title. Yet, the grace of Ben Howard as both an understated vocalist and a truly prodigious guitar player allows for a quiet, focused stare into the demise. At least, it remains so for the song’s first half. When jazz brushes slip their way into the arrangement, the hunt is on.

Howard himself goes from keeping his cool to throwing it out the window with sharp, pained howls that emerge from the darkest corners of his being. “Affair” is an exhausting, treacherous journey. One must come prepared, certainly, but one must come along for it. There’s not an option otherwise.

9. Yoke – Burden

My yoke is easy and my burden is light.

– Matthew 11:28

Opening an uplifting, higher-plane post-pop number with the line “I’m miserable” is a beguiling paradox to begin with. Let’s push that out further from a contextual standpoint by pointing out that some of the smartest, most textured and accomplished pop music to emerge from Australia within the calendar year came from a former marketed teen star in Kyle Linahan; some ten years and change removed from his only charting single.

If that wasn’t enough, perhaps the most hated band of the year in U2 serves as a template-setter for the steely guitar work, reappropriating their influential stature. “Burden” may feel baffling in a way, but it’s an indelibly-marked foray into bright contrasts and big-city dreaming. Against all odds, it works. Take a look at it now.

8. The New Pornographers – Brill Bruisers

There was no gentle breaking of the news that The New Pornographers were to return after a four-year absence, nor was there any mistaking exactly who it was busting down 2014’s doors with its major-chord slams, sprightly drums and wholly-triumphant “baa-baa-baa”s. They may be fifteen years into the game and trudging through their collective mid-forties, but there is no rust in the wheels for the Pornos.

It’s worth noting that “Brill Bruisers” served as their sixth album’s lead single, opening number and title track. It’s a pretty big deal to throw a triple-threat like that out into the world, something that needs to have a steady amount of confidence in its DNA in order to survive. Not only did “Bruisers” do just that, it flourished. Life’s only certainties are death, taxes and The New Pornographers making everything okay again.

7. Oslow – Blue on Blue

Oslow are the sound of Sydney. Not the Sydney that you may be accustomed to, of course, but theirs is the in sound from way out. Theirs are the friendly faces that both sift through the racks and plug in their amps at Black Wire and Beatdisc Records. They soundtrack carelessly-wasted days and long nights in both the inner and outer western suburbia.

They reflect a dissonance and greater dissatisfaction, but approach it with honesty and resolve rather than melodrama or superfluous subversion. “Blue on Blue,” much like “Desert Dog Rd.” before it, is a proud product of its environment. Oslow are the sound. Raise up your hands and sing along.

6. Cloud Nothings – I’m Not Part of Me

It’s easy to forget how young Dylan Baldi is. In spite of the very markedly clear leaps and bounds his project has taken in the last few years, the project’s origins stem from when he was barely out of high school. In turn, lyrics such as “I’m learning how to be here and nowhere else/How to focus on what I can do myself” begin to paint a clearer picture when one is reminded of the immediate fact. We’re still witnessing a work in progress when it comes to the young man behind the music.

It’s also easy to forget that Cloud Nothings officially became a trio in 2014, losing their lead guitarist and not seeking a replacement. There is enough activity within “I’m Not Part of Me”’s musical structure that there is easily enough work cut out for two guitars. The fact it’s all achieved by Baldi in the one go simply adds to the seemingly-endless fascination that he inspires as a creative force in the indie rock realm. The enigma develops and work continues.

5. TV on the Radio – Happy Idiot

As lyricists, TV on the Radio have been known to draw from the abstract to convey their point. Perhaps their best-known song contains a metaphor for sex using the story of Little Red Riding Hood. Earlier in their career, they spoke a loving relationship using the shocking imagery that came with the unforgettable line “I will be your ambulance/If you will be my accident.” Fast forward to present day, however, and they’re done beating around the bush.

“Since you left me, babe/It’s been a long way down” is a line seemingly straight out of the earliest development of blues; “I’m gonna bang my head through the wall/’Til I feel like nothing at all” is about as bluntly forthright as a lyric can possibly be. These, as well as a wall’s worth of quotable phrases and lyrics, are painted over churning bass, warped vocal samples and an incessant hi-hat and snare pattern. It’s more or less a new perspective to take the band’s ideas and symbolism from. It’s a different kind of different. It’s waving at cars. It’s numbed pain and new beginnings.

4. tUnE-yArDs – Water Fountain

You can argue all you wish, but as far as 2011 was concerned, its defining musical moment came from a wide-eyed, floor-tom-wielding woman covered in bizarre make-up and neon flare, screaming the big rhetorical question of “WHAT’S THE BIZNESS, YEAHHHHHHHH?” It was here that the project of Merrill Garbus properly shed its lo-fi, relatively-quiet skin and rebirthed into a widescreen procession of avant-garde indie-pop.

We pick up more or less where that single left off with “Water Fountain,” where we’ve been lead through a pathway of school-girl handclapping games, tinkling percussion and the wandering basslines of Nate Brenner, the project’s secret weapon.

Garbus finds the most obtuse angles in her surroundings and seeks them out for both her melodic and lyrical approach, exploring to depths that a lesser performer would outright fear. Every song feels like an adventure when you’re with tUnE-yArDs, and it’s always worth your while to let it get you off the damn couch and dancing with reckless abandon. “Water Fountain” has got you all in check. Woo-hah!

3. Hockey Dad – I Need a Woman

Make all the jokes you please about the collective ages of Hockey Dad contrasted with singing about women instead of girls. Let us not forget the teachings of our saviour Prince: “Women, not girls, they rule my world.”

Besides, who has time to deal with semantics when we’re dealing with the single most delectable slice of indie rock to emerge from Australia in the entire year? Guided by the production finesse of Big Scary’s Tom Iansek, “Woman” was the first time most were properly acquainted with the Windang natives (make your own Computer Town Australia references in your own time, locals).

It left a thoroughly lasting impression, spreading far beyond the initial reaches of the so-called leisure coast – and why not? You’ve seen, you’ve heard and you know by now, surely. It’s all bright blues and hazy greens, with an Instagram filter for a millennial twist and that extra tang. It’s a joy to listen to, every single time.

2. Sleaford Mods – Tied Up in Nottz

It’s more than that.

It’s more than the single best opening line on any song to be released at all in 2014 – and perhaps this entire decade. It’s more than the z (“zed, you cunt”) in the song title.

It’s more than the vitriolic poetry tagged all over its pulsing post-punk rhythm section, equal parts “Chickentown” and Original Pirate Material. It’s more than underclass war, seedy city underbellies and breakfast-cereal analogies for the collective unconscious (“Fucking shredded-wheat Kellogg’s cunts!”).

It’s more than a repulsive, kneejerk response to a tepid, predictable popscene. It’s not even the debate over whether miscrediting “The Final Countdown” to fucking Journey instead of fucking Europe was an intentional move or not.

This? This is what you need to hear.

It’s not what you want to hear, oh no.

If Sleaford Mods have anything in greater doubt about you, it’s your truth-handling abilities. They’ll make Jack Nicholson look like Mother fucking Teresa once they’re done with you. This is simply the home truths that have to be hit.

There could be endless fuck-about picking out more of the laureate lyricism of “Nottz,” but the only one that has to stick is this: “We are REAL.”

1. Future Islands – Seasons (Waiting on You)

By now, you have arrived to this part of the list, seen the above song title and video and immediately had this reaction.

It’s understandable and forgivable. But a copout? Absolutely no way.

There was never any question as to where this song would end up – not just here, but on countless similar lists looking back at both individual and collective preferences. “Seasons” transcended that. Our lists may as well have been referred to as “The Best 99 Songs of The Year That Weren’t Seasons.”

Those that heard it knew immediately. Those that saw it on that performance during what was to be David Letterman’s last full year on air knew immediately. Christ, Letterman himself knew immediately. It was more than just a shaken hand and a throw to Craig Ferguson when it ended – he grabbed Samuel T. Herring, still an unruly mess of sweat and passion, and offered up one of the year’s best quotes: “I’ll take all of that you got!”

He wasn’t just speaking on behalf of himself that night. He saw something greater in what was offered up that night. A band four albums into their career became the best newcomers of the year. A star was born. A song already full of life was somehow reaffirmed.Perhaps most importantly however, the broken heart that dangles on the song’s lyrical precipice was sewn back together.

The love grew bigger and bigger until it encapsulated radio, the blogosphere, endless parties and every last essential playlist. This was a song to centre one’s entire universe around.

This song wasn’t just the finest to be released in this year – this song was this year.

This was dancing in the face of fear.

Dancing to the end.

Dancing like no-one was watching.

Except everybody was – for they were doing just the same.

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Tracks by female artists (artist/featured artist/vocalist is female): 26.

Tracks by Australian artists: 38.

Oldest person on the list: “Weird Al” Yankovic, 54 at the time of recording.

Youngest person on the list: Hockey Dad’s Billy Fleming, 17 at the time of recording.

Multiple entries:

Angus & Julia Stone (94, 90), Hockey Dad (87, 56, 3), The New Pornographers (77, 8), Death From Above 1979 (71, 60, 30), Future Islands (70, 1), Slipknot (68, 18), Oslow (63, 7), TV on the Radio (62, 5), Coldplay (59, 27), Georgia Maq (57, 13), DZ Deathrays (50, 24), The Kite String Tangle (38, 11), Babaganouj (35, 14), Ben Howard (33, 15, 10), Yoke (25, 9).

And, once again, feel free to download the podcast version of this final part. You can do that by clicking here. It’s free, y’know!

Thanks so much.

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

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

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

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

39. St. Vincent – Digital Witness

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

38. The Kite String Tangle – Words

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

37. Jane Tyrrell – The Rush

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

36. Ken Stringfellow – Kids Don’t Follow

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

35. Babaganouj – Too Late for Love

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

34. Kelis – Breakfast

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

33. Ben Howard – Conrad

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

32. Luca Brasi – Borders and Statelines

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

31. Swans – Oxygen

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

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

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

29. Bertie Blackman – Run for Your Life

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

28. Kiesza – Hideaway

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

27. Coldplay – Magic

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

26. Tkay Maidza – U-Huh

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

25. Yoke – Jabiluka

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

24. DZ Deathrays – Reflective Skull

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

23. Sia – Chandelier

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

22. The Gaslight Anthem – Get Hurt

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

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

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

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20 – 1