The Top 100 Songs of 2018, Part Five: 20 – 1

Welcome to the show! The votes have been tallied (they were all mine), the jury (me) has decided, and the people (maybe like three of you) are hotly anticipating what’s to come. So, here we are. The top 20 songs of 2018. Of course, don’t forget one, two, three and four before you go through the boss level.

See you next time – same DJY time, same DJY channel.

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20. Luca Brasi – Let it Slip

Luca Brasi emerged out of the east coast of Tasmania nearly a decade ago with a mantra that has long been ascribed on countless bodies: “Empty bottles, full hearts and no regrets.” How curious, then, that the lead single from the band’s fourth album speaks openly of vocalist Tyler Richardson’s regrets: “I could have burned a little brighter,” he sings. “I could have shone a little more.” “Slip” is a song about craving human connection and knowing you have to hit rock bottom in order to get back to the top. It’s as human and full-hearted as Brasi’s ever been.

19. Denise Le Menice – Heart

There’s a moment towards the end of the music video for “Heart” in which Denise (AKA Ali Flintoff) grabs a fistful of a heart-shaped cake and digs in. In a way, that’s what listening to “Heart” feels like – it’s such a sugar-rush, you just know listening to it can’t be good for your teeth. It’s a song centred on head-voice girl-talk, shimmering guitar layers and glassy, heaven’s-gate keyboards. It’s soft in the centre and melts in your mouth – one of the finest indulgences of the calendar year as far as Australian music is concerned. Let them eat cake.

18. Basement – Disconnect

Andrew Fisher has gone on record saying “Disconnect” was the lynchpin as far as writing Basment’s fourth album, Beside Myself, went. This was the song, he believed, that made the band unshakably confident in the direction they were taking. Listening intently, it’s easy to see where they got that confidence from – it bursts right out of the gates and makes its presence felt, brimming with vivacity and conviction in its delivery. Truth be told, it could be the single best… well, single, that Basement have ever made. Bonus points for that “prodigal son/what have you done” rhyme, too. Genius.

17. Laura Jean – Girls on the TV

A song like “Girls on the TV” does so much speaking for itself that writing about it almost feels like a disservice. It needs to be heard to be properly experienced. How does one describe the feeling you get as the devastating, confessional storytelling of Laura Jean cuts through the disco-lite backbeat and the layers of Casio on top? Is there a word that sums up the way one’s brain reacts as you attempt to decipher which parts are true and which parts are artistic license? Whatever happened to Ricki? Maybe she’s still out there. Her soul is still dancing.

16. WAAX – Labrador

WAAX play a lot of festivals where, if you swiped right on @lineupswithoutmales, they would be the headlining band. When vocalist Maz DeVita sings “You’re a girl/And a girl isn’t welcome in here,” you can cut the sardonic tension with a knife. Rough translation: “You think I don’t know the shit you people say?” Moments later, she’s barking and biting back in the form of their most mosh-ready chorus – one that cleaned up at every last festival they played in 2018. If WAAX can’t earn your respect, they’re going to pull it out of you with their bare teeth.

15. Courtney Barnett – Nameless, Faceless

This song shouldn’t have been so fucking relevant in 2018. A Margaret Atwood quote shouldn’t hit home so bluntly 36 years after it was first published. We shouldn’t be living in such a climate of abuse, trolling, bullying, harassment and even murder that overwhelmingly targets women. As great and as vital and as important as this song is, it wouldn’t exist in the first place if we were all just a little fucking kinder to one another. Enough said, really.

14. Troye Sivan – My My My!

In the dead territory of early January, it felt like waiting for new seasons of your favourite shows to kick off. That’s when “My My My!” arrived, and in turn made an impact as the first big pop event of 2018. The thing sounds like a complete blockbuster – it’s like a clubbier queer millennial rework of “All Night Long,” and that’s entirely a compliment. Sivan, once the doe-eyed and innocent YouTuber, is all manhood here – take that however you please, gents. It’s confident, it’s sexy, it’s fun and it’s cool – what a way to shake the cobwebs.

13. Pianos Become the Teeth – Love on Repeat

On the last Pianos Become the Teeth record, 2014’s Keep You, vocalist Kyle Durfey was still immersed in negative space and cutting emotionally-raw monuments out of the darkness. On Wait for Love, Durfey is blinded by the light: “What in you gets me so carried away?” he asks of his betrothed, sung so slowly and with such calculation it’s as if he’s figuring out what these words mean again. “Love on Repeat” is an upward spiral from a band that’s carved a career on the downbeat, and its resplendent post-hardcore beauty simply cannot be contained. Live, love, repeat. That simple.

12. The 1975 – TOOTIMETOOTIMETOOTIME

Matt Healy, like most modern pop/rock frontmen, is a 21st century digital boy. One of his toys is the internet, and it’s compelled him to the point of literally naming an album A Brief Inquiry Into Online Relationships. Funnily, on what ends up being the band’s most computerised single to date – electronic drums, AutoTune, walls of keyboards – Healy and co. manage to hook themselves onto a key part of the human condition in the modern age. It certainly helps that they give it a dancehall swing and a mirrorball glow, too. The 1975 never sounded more 2018.

11. Ariana Grande – No Tears Left to Cry

What kind of year has it been for Ari? One she’ll never forget, that’s for certain. One of triumph, of tragedy, of hope, of despair and of absolute resilience. It all began with “No Tears” – which, as beginnings go, is a pretty incredible place to start. Although ultimately lost in the shuffle due to the success of “thank u, next,” this endearing pop twirl served as one of the more bold and defiant moments on radio for the entire year. “Can’t stop now,” she insists in multi-tracked syncopation. None would dare stand in her path. No woman, no cry.

10. Anderson .Paak – Bubblin

At first, it was a shock to look through the announced tracklist of Oxnard, Anderson .Paak’s game-six victory lap from the tail-end of 2018. Where the fuck was “Bubblin”? It had come charging out of the gates months prior, all alpha-male bravado and rap-god swagger. It was the hardest .Paak had ever gone on record – not a smooth rnb hook to be seen nor heard. Surely if you’re putting out an album that same year, you’d want the best song you’ve ever made on your own to be among its ranks?

As it turned out, Oxnard was a whole different vibe entirely – such is the nature of .Paak’s creativity. Had “Bubblin” been wedged onto the record, it would not have played well with the others. It’s a song with a life of its own, and no traditional format could have housed it. From its car-chase open to the tense, grandiose swell of its string samples, “Bubblin” made its intentions clear. It came to chew bubblegum and kick arse – and anyone who heard it knew exactly how much bubblegum .Paak had left.

9. Drake – Nice for What

“I WAN’ KNOW WHO MOTHERFUCKIN’ REPRESENTIN’ IN HERE TONIGHT!” Like last year’s chart-topping “Passionfruit,” the first voice we hear on “Nice for What” isn’t Drake’s, but someone else. In this instance, it’s Big Freedia – the self-proclaimed “queen of bounce,” who has dominated the club scene with her towering figure and undeniable stage presence for over a decade now. When she speaks, you listen – and when she wants to know who is motherfuckin’ representin‘ in here tonight, you just know she’s going to find out.

So, a quick roll call. Lauryn Hill is representin’ in here tonight – that’s her hook from “Ex-Factor” on a near-chipmunk speed that’s sampled and looped throughout. In the year that her legendary debut The Miseducation of Lauryn Hill turned 20, the sample felt like a timely reminder of the record’s legacy and its surviving emotional core. Murda Beatz and Blaqnmild are representin’ in here tonight – they’re responsible for this bassy, chopped-soul beat that was designed with bitchin’ systems in mind. When the samples go into overdrive in the song’s second half, it feels like fire is coming off it.

Of course, lest we forget Drake himself is representin’ in here tonight. It’s one of his strongest flows on all of Scorpion‘s exhaustive runtime, mixing his sharp raps with his knack for interwoven melody to deliver something quintessentially his. It’s his vision that brings “Nice for What” together, and in turn makes it a career-best moment. If you don’t know, now you know.

8. Troye Sivan – Bloom

There was a time when many male popstars were “confirmed bachelors” or that were described as “tight-lipped about their sexuality.” Troye Sivan is part of a generation where that hasn’t really come into play – it’s something that has been part and parcel of his image ever since he became famous. Rather than hurt his career, it’s rocketed him – the so-called “pink dollar” has turned him into a millionaire all before hitting 25. This is where the title track to Sivan’s big-business second album comes into play – a song that isn’t hiding itself away in the corner shamefully or remaining tight-lipped about a damn thing.

“I’ve been saving this for you, baby,” offers Sivan in a careless whisper over the thud of toms and wafting synth that is so airy it could float away at any moment. Soon, the floor gives way to the chug of electric bass and a gated snare that could take off Phil Collins’ head if it swung any harder. Sure, Sivan has even less right to be nostalgic for the 80s as he does the 90s, but he feels right at home in this musical environment – it feels like an homage to Bronski Beat, queer icons of yesteryear that paved the way for Sivan to be the young man he is today. “Bloom” is all the radiance of a rainbow without ever having to put up with a drop of rain. It’s here, it’s queer, get used to it.

7. Ashley McBryde – Radioland

On its largest and most obvious scale, “Radioland” is a song about Nashville. It’s about the dreamers that come there to make it big, stepping off a bus with their guitar case in hand and looking up at the skyline that Dylan so mythologised some 50 years ago now. On its smallest and most intimate scale, however, “Radioland” is a song about Ashley McBryde. She’s one of American country’s newest emerging stars, scoring big support slots for genre heavyweights like Eric Church and fulfilling dreams like playing the Grand Ole Opry since the release of her major-label debut Girl Going Nowhere. Before all of that, though, she was just “five years old with a hairbrush microphone.” All the key moments of her life were linked back to discovering her musical heroes and her favourite songs from the magic of radio – which, in turn, made her want to be a musician herself.

McBryde’s story in “Radioland” is direct and specific in its references, from the radio host (the late Casey Kasem) to the car in question (a Chevrolet). At the same time, though, it’s such a human feeling that was felt by so many of a certain age that it’s easy to insert yourself into the picture. There’s also a particular electricity and urgency to McBryde’s delivery that gives this song a bit more oomph than your average country radio playlist-filler – hell, give this a couple of tweaks and it could be a lost Gaslight Anthem single, and that’s entirely a compliment. “There ain’t a dream you can’t dial in,” McBryde promises in the song’s indelible chorus. If there’s one thing “Radioland” is about more than anything, it’s not letting your dreams just be dreams. There’s a whole world out there for the taking – and that’s not bad for a girl goin’ nowhere.

6. Kacey Musgraves – High Horse

Just as the women of country have never been afraid of getting their hands dirty, they’ve also never been afraid to dress to the nines and lower the mirrorball. “High Horse” is the centre of the country-pop Venn diagram, taking ample amounts from both without upsetting a balance. Most artists that have fallen into this category usually end up just ditching their country elements entirely and transmogrifying into pop giants – here’s looking at you, Tay-Tay and Florida Georgia Line. Kacey, on the other hand, has never forgotten her roots – the album “High Horse” comes from is titled Golden Hour, which alludes to the time of day that the sun sets but to her tiny Texan birthplace (population 200). As far as her music has progressed and as much as she’s branched out creatively, you won’t see her records shifting from the Country section of the record store anytime soon.

Think of “High Horse” as a tribute to the more ambitious efforts in the history of country music. The so-called “countrypolitan” sound, which matched southern drawls with orchestral fanfare. The crossover of Dolly Parton and Shania Twain to pop radio. The tried-and-true kiss-off song, all sass and finger-snap confidence that can cut someone down to size faster than you can play a C major. Musgraves takes all of this into battle as “High Horse” locks into its groove and comes out swinging, and she arrives on the other end of it without even so much as a smudge of her make-up. Critics from either side of the fence could hop off their titular steed and find themselves some common ground on “High Horse”’s dancefloor. There’s room for everyone. Y’all come back now, y’hear?

5. Flowermouth – Gown

“Hold on/We can make it.” Now if that wasn’t something you needed to hear in 2018, then you could well have been in the wrong year entirely. This standalone single from Perth’s Flowermouth was a light in the darkness for most of 2018. Its bright, jangly chords burst from the speakers, the hi-hats splashing like the first dive into the pool for the summer to come. That’s not to suggest that “Gown” is at all footloose and fancy-free, though – there’s an underlying tension that never quite resolves, which makes it all the more engaging to listen to. The 2:34 runtime gives it instant replay value, too – you’ll want to make the most of your time listening to what “Gown” has to offer, and no doubt want to frequently return to it.

Its short-burst nature recalls Teenage Fanclub; its major/minor contrasts and focused melodies recall Jimmy Eat World. Even with these clear comparison points, however, it’s evident that Flowermouth are on their own path – and if you’ve shown any interest in the emo revival either here or abroad, you’ll be wise to follow them down.

4. Mitski – Nobody

It’s Mitski’s party, and she’ll cry if she wants to. As it turns out, she really, really wants to – her music has a reputation that precedes it for being highly emotional, deeply pensive and painstakingly introspective. No-one lays it on the line quite like your best American girl does, and never was that more apparent than on album number five, Be the Cowboy. Specifically, we have to focus in on the album’s second single, “Nobody,” which more or less served as a memetic red flag were it played on repeat (as pointed out by the great Allison Gallagher). People may have made plenty of jokes and viral niche tweets about “Nobody,” but if we could be serious for a minute: This song fucking spoke to people, man.

Essentially a 21st century “Lovefool” without the happy resolve, “Nobody” simultaneously sighs and exalts through its bouts of romantic desperation and subtle sociopolitical commentary. The guitar chirps and the hi-hats swat down a Saturday Night Fever groove, but spiralling away in the centre of it all is Mitski herself. In any other vocalist’s hands, the pain and crushing loneliness of “Nobody” would be pure melodrama and maybe even camp. Not so with her, though – no-one is more believable when they sing lines like “I just want to feel alright” and “Still nobody wants me.” That’s not even touching the titular word, which is sung so much that it could have easily lost its sense of meaning. Again, not a chance of that happening with Mitski at the wheel – if anything, every repetition sticks the knife in a little bit more. By the time you’re up to the nightmarish second key-change in the song’s dizzying conclusion, you feel as though you’ve gone through that terrifying tunnel in Willy Wonka and the Chocolate Factory. The only difference? “Nobody” isn’t a world of pure imagination. It’s as real as it gets.

3. 5 Seconds of Summer – Youngblood

Around the time of their second album, 5 Seconds of Summer had a cover story in Rolling Stone – every band’s dream, naturally. It was spread around on account of it featuring an admittedly-bizarre, hilarious story involving a botched attempt at co-writing with Nickelback’s Chad Kroeger – Google it if you’re so inclined. If you want to get a real idea of where 5SOS’ minds were at, however, skip to the end. In a moment of kids being kids, they decided to pull a prank on their management by hopping out the window of their dressing room and pretending they’d done a runner. “We could have ran,” said guitarist Michael Clifford. “We could have ran far away.”

There was almost certainly more to that than meets the eye. Think about it – these were children that were swept up in international stardom and immediately put on a pedestal to become the world’s next boy band sensation. It’s a far cry from matinees at the Annandale Hotel, that’s for absolutely certain. By the time they were done with their sophomore slump – the antithetically-titled Sounds Good, Feels Good – that desire to run could have only felt more present than ever before.

“Youngblood” is the sound of 5 Seconds of Summer hitting the ground running. It’s the sound of boys becoming men, and men becoming certified global popstars. The tussled-hair mall-punks they once were had to die in order for this song to live – and it’s undeniably a song that lives its life to the absolute fullest.

The song is propelled along by a rock shuffle – a simple structural move that allows the song to swing a little while still maintaining a standard 4/4 time signature. A music teacher might explain it thus: Instead of your usual one, two, three, four, it’s this: one-and-a two-and-a three-and-a four-and-a. Examples range from Tears for Fears’ “Everybody Wants to Rule the World” to Katy Perry’s “I Kissed a Girl,” all the way to Battles’ “Atlas.” Even something as simple as this is one of the largest deviations from the norm that 5SOS have ever committed to record – and we haven’t even gotten into what the expatriate Sydneysiders are doing sonically.

A love-lorn minor-key call from the darkness, the song dips its guitars in reverb and sheen as it simultaneously gives the bass a steely, bold presence. Thundering tom rolls from Ashton Irwin add a human touch in-between extended drum programming, while vocalist Luke Hemmings gives the performance of his career up-front. He’s all of 22 years old and sounds like he’s at the tail-end of a bitter divorce after a decade-long relationship – how on earth he was able to muster that sort of weariness and exhaustion on this vocal take, God only knows. The most important part is that you believe him – and, by extension, you believe “Youngblood.” You believe in 5 Seconds of Summer.

“We could have ran. We could have ran far away.”

“Youngblood” runs for its life.

2. IDLES – Colossus

You can hear “Colossus” coming from a mile away. Of course you can – it’s called “Colossus,” for fuck’s sake. It snarls, it prowls, it stomps, it creeps, it seethes, it slithers, it lurks. It goes – and it goes and it goes. It was probably the most menacing song released in 2018 – and, after the year that we all had, you probably couldn’t have asked for a more fitting soundtrack.

Primitive in nature and brutish in execution, “Colossus” builds a droning soundscape through its churning drop-C guitars and the swelling, scattered drums. Every cycle feels as though it’s pounding into your skull just a little bit harder each time, as frontman Joe Talbot drives home intense lyrical imagery over a mournful blues scale vocal melody. Perhaps no other frontman in rock right now could couple such a unique line as “I’ve drained my body full of pins” with an even more unique line in “I’ve danced til dawn with splintered shins.” There’s so much to take in when you hear it the first time, it’s still marinating when it’s repeated in the second verse. As a whole, IDLES’ Joy as an Act of Resistance was one of the year’s most quotable LPs – and you needn’t look further than its opening number as evidence.

The song’s double-time finale is less the firing of Chekov’s gun and more a bloody massacre. It’s meant to be screamed along to rather than sung, and moshed to rather than danced to. It’s pure catharsis, taking one of the year’s most steady, tense builds and promptly throwing it out the window into oncoming traffic. If you’re not left breathless and dizzy after the full 5:34 of “Colossus” has passed, you’re doing the damn thing wrong. Go again until it goes – and it goes and it goes.

1. Childish Gambino – This is America

Childish Gamino is dead. Long live Childish Gambino.

Donald Glover began rapping under the name – taken from a Wu-Tang Clan name generator – a decade and change ago, cockily spitting high-pitched raps over the likes of Adele, Grizzly Bear and Sleigh Bells. Over time, it morphed into something nigh-on unrecognisable from its beginnings, incorporating elements of dance music, soul, funk and rnb along the way. With the release of the groovy “Awaken, My Love!” in late 2016, pared with the announcement that Glover would soon be retiring the jersey, few expected Glover’s next move to have anything to do with the intense hip-hop with which he made his name.

When we first pressed play on the video for “This is America,” we were lead in with an African-style chant, shaking percussion, finger-picked acoustic guitar and Glover’s sweet, harmonious opening line: “We just wanna party/Party just for you.” If ever a listener has been lulled into a false sense of security, it was in this moment. So, this is how Childish Gambino ends – not with a bang, but with a whimper. As it turned out, we literally could not have been more wrong – it was around this time the first gunshot went off, and “This is America” truly began.

Childish Gambino is dead. Long live Childish Gambino.

“This is America” is the sound of an artist with nothing to lose. What are these motherfuckers gonna do – end his music career? Dude’s in the fucking Lion King remake. No boycott from some sweaty Fox News troglodyte is going to derail this singular moment in Glover’s extensive body of work. “This is America” is an unstoppable force and an immovable object, all in one. It rattles PA speakers the same way it rattles proverbial birdcages. It simultaneously rages against his native country’s obsession with guns and has no issue with dropping some sucker dead on the spot. It’s dissonant and subversive; celebratory and defamatory; a blaxploitation film and a dystopian horror. Glover has never released a song even remotely similar before, and it’s looking more and more likely that he never will again.

Childish Gambino is dead. Childish Gambino is fucking dead. Long live Childish Gambino. If he’s going down, every last one of us is going down with him.

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Thanks so much for reading, hope you enjoyed the list.

Before I post the playlist, some quick stats.

47% of the list is by or features Australian artists
43% of the list is by or features at least one non-male artist
37% of the list is by or features at least one non-white artist

The multiple entries were as follows:
Four entries: The 1975 (92, 49, 22, 12)
Three entries: Courtney Barnett (68, 36, 15), Troye Sivan (61, 14, 8), Drake (58, 37, 9)
Two entries: Baker Boy (100, 67), Denise Le Menice (96, 19), Kanye West (95, 48), BROCKHAMPTON (88, 76), Chance the Rapper (82, 41), Moaning Lisa (80, 43), Joyce Manor (79, 60), Dua Lipa (77, 30), Basement (73, 18), Luca Brasi (55, 20), Aunty Donna (52, 47), IDLES (44, 2), Post Malone (39, 29), Mitski (35, 4), Charlie Puth (32, 23), 5 Seconds of Summer (31, 3)

And now, enjoy the DJY100 in its entirety!

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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]

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.

Top 50 Albums of 2014, Part One: 50 – 41

It’s the most magical time of year — list season! A couple of days ago, I kicked into my top 100 songs of the year, which you can catch up on over here. Over the next month, I’ll be sharing that as well as my top 50 albums of the year. While there was a lot of controversy over the fact that no album went platinum this year, I feel it’s more a sign of the times than an indication of the quality of the music released in 2014. Across the 300-plus albums I experienced throughout the year, I completely ran the entire spectrum; from the uplifting and inspiring to the menacing and terrifying and back again. Let’s take a look now at the records that defined the year for me and see what you think. Love them? Hate them? Haven’t heard them? Let me know!

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HONOURABLE MENTIONS: Hilltop Hoods, Lanie Lane, Indian, Colossvs, Panopticon, Fishing, Swans, Xerxes, Sturgill Simpson, Collarbones, Mary Lambert, Cynic, OFF!, Shellac, Mastodon, The Roots, Woods of Desolation, The Magic Numbers, Spoon and Pharrell Williams…

50. La Roux – Trouble in Paradise
Spotify || Rdio

Did you honestly ever expect to see or hear from Elly Jackson again? After her universe of hype imploded in her early twenties, she’s made sure that if La Roux was to ever return, it was going to be precisely calculated and on her own terms. The hooks are just as sharp, the production just as crystallised and pristine – but it’s delivered with a smarter and more restrained look at broken hearts and ambiguous relationships. Think of Trouble in Paradise as less of a sequel to the project’s exceptional 2009 debut and more of a reboot of the franchise.

THREE TOP TRACKS: Silent Partner, Kiss and Not Tell, Tropical Chancer.

WATCH:

49. IDYLLS – Prayer for Terrene
Bandcamp

From the depths of Brisbane, a firebrand of heavy Australian music re-emerged with a new lineup and a new approach to their tactical, cacophonous grindcore. The introduction of squealing, churning saxophone mixed in a touch of the avant-garde, while the album’s longer songs allowed the band to explore their own musical surroundings with arresting, impressive results. Prayer for Terrene was more than just some sort of post-apocalyptic soundtrack – it was the sound of a band realising its full potential and making the most out of it. An essential step forward from a band leading the pack in their field.

THREE TOP TRACKS: PCP Crazy, Crashing Boar, Lied To.

LISTEN:

48. Behemoth – The Satanist
Spotify || Rdio

Everything about The Satanist is defiant. A band venturing into its tenth album should have none of the vitality and maintained-rage that is omnipotent and omnipresent within the tracklisting here. Furthermore, The Satanist is defiant in respects to to Behemoth itself still being here – frontman Adam “Nergal” Darski was struggling with leukaemia for a couple of years, a devastating blow in any context. Perhaps it’s this that has given the band the rush of adrenalin it needs – a scream to the heavens, a clear and open statement of unfinished business. The devil rides on.

THREE TOP TRACKS: The Satanist, O Father O Satan O Sun!, Blow Your Trumpets Gabriel.

WATCH:

47. Loudon Wainwright III – Haven’t Got the Blues (Yet)
Spotify || Rdio

At 68 years young, the senior Wainwright has a lot of grief with you people. His dog’s misbehaving, there’s nowhere to get a beer, the news is always awful and – to top it all off – he might have depression. Maybe. If he doesn’t, he will soon. At least, so we think. It doesn’t matter what subject he tackles – it’s always given a unique spin and approached with Wainwright’s distinct kind of wry, often black, humour. With The Blues, the Third remains one of the more underrated songwriters around. He just hasn’t had his respect paid – yet.

THREE TOP TRACKS: Harlan County, Harmless, Man & Dog.

WATCH:

46. Chumped – Teenage Retirement
Spotify || Rdio || Bandcamp

The cover art of Teenage Retirement is a photo of a dude on his lonesome, chilling out in his pool and watching the world go by. It’s reflective of perhaps the best way to enjoy the debut album from this exceptional Brookyln outfit who, in a way, are picking up where albums like the Speedy Ortiz and Waxahatchee records from 2013 left off. It all ties into forward-thinking alternative rock with an all-important and oft-ignored central female voice – and as far as that realm was concerned, few dominated with such aplomb the way Chumped did. We’ll all float on.

LISTEN:

THREE TOP TRACKS: Hot 97 Summer Jam, Old and Tired, December is the Longest Month.

45. Miranda Lambert – Platinum
Spotify || Rdio || YouTube

Country’s crazy ex-girlfriend next door doesn’t do things by thirds. Her albums are always packed to the brim, with an A-team of producers, co-writers and instrumentalists filling each song. It’s this that has allowed her to rise to the top of the food-chain on her own terms – while her bro-down peers want any random girl up in their truck, she’s telling the same dudes that they “can’t ride in her little red wagon.” She may as well be saying that they couldn’t lace up her boots – and she has the songs to back it up. Giddy up.

THREE TOP TRACKS: Priscilla, Platinum, Old Shit.

LISTEN:

44. Vales – Wilt & Rise
Bandcamp

Sometimes, what you need is a record of furious, unforgiving post-hardcore. Not that fringe-flicking shit with the superfluous keyboardist and the neck tatts – we’re talking about the purest definition of the term, insofar as that it’s a progression from the standards and moulds set. Wilt & Rise goes beyond your average tough-guy shit and is completely devastating on its own terms, delivered with pure conviction and a seething, unshakable rage. The band are not only the most important new voice being heard above the drone in their native UK, they’re threatening to do the same on a global scale.

THREE TOP TRACKS: White Horse, Dead Wood, Wildfire.

LISTEN:

43. Copeland – Ixora
Spotify || Rdio

Immediately, there was a sense that Aaron Marsh and co. were headed far beyond any cash-in reunion territory when they announced their reformation – there was a new album on the way, six years removed from their finest hour, You Are My Sunshine. If Ixora did anything as an album, it validated their return to the fold. Copeland remains Aaron Marsh’s most important vehicle, with each new song delivering on stirring indie rock and heartstring-plucked balladry that stand up with any of their prior works. Ixora blossoms and blooms, reminding listeners to never take bands such as these for granted.

THREE TOP TRACKS: Ordinary, Erase, I Can Make You Feel Young Again.

LISTEN:

42. Neil Cicierega – Mouth Silence
Soundcloud

User:neilcic has been responsible for more internet sensations than you’d ever begin to think. Put it this way: If the phrase “Snape, Snape, Severus Snape” means anything to you, then there’s plenty more where that came from. Here, Cicierega delivers a sequel to his Smash Mouth-obssessed debut, and no-one is safe. He continues to terrorise the world of pop culture and 90s nostalgia with some truly nightmarish pairings – Soundgarden and The Carpenters, System of a Down and Elton John, Oasis and Oasis. It’s jarring, it’s bizarre and it’s hypnotising in its brilliance. Keep the internet weird, son. BEST!

THREE TOP TRACKS: What Is It, Wndrwll, Crocodile Chop.

LISTEN:

41. Mariachi El Bronx – Mariachi El Bronx
Spotify || Rdio

Barely a year after yet another exceptional record from The Bronx, their alter-egos have emerged in a fanfare of trumpets, percussion and enough sing-alongs to last until The Bronx V. Despite an all-too-simple game plan and a very specific stylistic palette to draw from, MEB have substantially matured their sound across three albums; adding in a much-needed personal touch to the traditional folk music. There’s a lot of introspection going on in regards to the album’s lyricism, which serves as a beautiful contrast to the outward and extroverted music. Their greatest achievement yet – it’s high-time you joined the procession.

THREE TOP TRACKS: Everything Twice, Sticks and Stones, Right Between the Eyes.

LISTEN:

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