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

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

80. The Sidekicks – Everything in Twos

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

79. FIDLAR – 40oz. On Repeat

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

78. Bad//Dreems – Bogan Pride

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

77. Brendan Maclean – Tectonic

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

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

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

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

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

74. Best Coast – Feeing OK

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

73. Sweater Season – Charley

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

72. The Sidekicks – The Kid Who Broke His Wrist

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

71. Citizen – Heaviside

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

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

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

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

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

68. Seth Sentry – Violin

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

67. White Dog – No Good

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

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

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

65. The Story So Far – Nerve

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

64. Endless Heights – Haunt Me

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

63. Justin Bieber – Sorry

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

62. Josh Pyke – Be Your Boy

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

61. Silversun Pickups – Circadian Rhythm (Last Dance)

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

***

Part three up next Monday! 

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

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

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

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

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

DJY, December 2015

***

100. Cosmic Psychos – Fuckwit City

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

99. Kissing Booth – Battlefield

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

98. You Beauty – Illywhacka

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

97. Frank Turner – The Next Storm

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

96. Young Fathers – Rain or Shine

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

95. Alabama Shakes – Don’t Wanna Fight

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

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

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

93. Hockey Dad – Can’t Have Them

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

92. Drake – Know Yourself

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

91. Beach Slang – Bad Art & Weirdo Ideas

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

90. Endless Heights – Teach You How to Leave

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

89. The Bennies – Party Machine

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

88. Pity Sex – What Might Soothe You?

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

87. Miguel – leaves

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

86. Darren Hanlon – The Chattanooga Shoot-Shoot

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

85. Micachu and the Shapes – Oh Baby

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

84. Best Coast – Heaven Sent

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

83. Bad//Dreems – Cuffed and Collared

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

82. Foals – What Went Down

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

81. The Hard Aches – Knots

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

***

Part Two will be posted next Monday!

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

2012: A Year in the Front Row. Part Three: July/August/September

Jan // Feb // Mar
Apr // May // Jun

JULY

With the first half of the year behind me, the remaining six months had a lot to live up to. For what it’s worth, I’d like to think it did; even though nothing quite compared to Janelle. We began proceedings with a two-night stand at Yours and Owls. The two nights couldn’t have had a greater contrast. On the first night, it was a tiny mixed bill of heavy acts, featuring a crowd of just around 30 people – Hira Hira, Rev Jesse, Machina Genova (still one of the loudest bands I’ve seen this year) and Brisbane stalwarts Idylls. The next night, I had to arrive at Owls over an hour before hand just in order to secure my place. The headlining set from U.K. alt-rock lads Basement was still, to date, the most packed I have ever seen Owls. The show was memorable for this alone, but all of the acts of the night – also featuring Harbourer, Cold Youth and Endless Heights – put on solid, enjoyable sets. I’ll admit I wasn’t the biggest Basement fan – I was more going to the show for the experience, as well as to support the venue. That said, they really put a respectable effort into their set, and I enjoyed it quite a bit.

Later that week, I had an incredible four day run that started off with light-hearted whimsy and ended with a punishing crush. It begins with an act I had waited for eight years to see live – and, not to sound like a hipster, but before they even had their own TV series. That’s right: New Zealand’s fourth most-popular guitar-based digi-bongo acapella-rap-funk comedy folk duo, Flight of the Conchords! They packed the Sydney Entertainment Centre out within an inch of its life, and even though it was a massive show they still managed to make it feel intimate and warm. Not to mention hilarious. Holy shit, it was hilarious. Even when you knew the punchline was coming, it was still a total gut-buster. What a wonderful thing to tick off the list.

The first weekend of the month began with a mostly-forgettable matinee show, starring Heroes for Hire and their slightly-dwindling base of tween psychopaths. I was only really in attendance to check out The Sweet Apes, who mightily impressed; and the boys from Luca Brasi. As great as they were, their set was spoilt by a group of girls who sat in the front row with their backs turned to the band, chatting away and playing with their phones. I actually had to go and apologise to the Luca boys for their horrendous actions. This would later turn into a 180-comment-long thread on Heroes’ Facebook page some months later. So I guess some good came of it. Sort of.

Moving on to the main course of the weekend: Hardcore 2012! Featuring a slab of local and international punk, metal, grind, hardcore, metalcore etc. to work through, I ventured in as a casual observer, cherry-picking the best of the bunch and appreciating the ferocity and energy of the crowd, who lunged at the stage at any given opportunity. Amazingly, there were no major fights and the weekend was surprisingly dickhead-free. The Hi-Fi staff were attentive, the sound was solid, the security knew when to step in and when to let things play out; and there were easily some of the best “heavy” sets I’ve seen all year on display. Top of the lot was Ceremony, the Californian punks who gave less than zero fucks about how much they “fitted in” with the rest of the bill. Ferchrissake, the guitarist was walking around wearing a leather Prince vest. They just got up there and tore the venue apart. Rather than alienating them, the crowd totally went for it, from their intense early songs like “Pressure’s On” and “Kersed” to newer stompers like “Hysteria” and “Repeating the Circle.” What a ripper – love this band something chronic.

Of course, the big talking point was the two farewell sets from Perth’s Break Even. While Ceremony was the big one for me, I still had nothing but love and respect for the BE boys – and their spots were fantastic. I don’t think I’ve heard a bigger sing-along this year than when they opened the Sunday night with “October 27.” Truly explosive, almost bone-chillingly good stuff. Other highlights included the madness of Extortion, the unholy riffage of I Exist and the OTT fun of headliners Terror; who I’ve never given much of a chance in regards to their recorded material but have still enjoyed thoroughly across the three times I’ve seen them. Overall, a very solid weekend – “hardcore lives,” as Scott Vogel might say.

As a bookend to all of this, I headed back up to Sydney in the afternoon following to grab a spot at Black Wire for Ceremony‘s only headlining Sydney set. With support from the gnashing Dark Horse and the tuneful Life and Limb, this was a high-energy show that sticks out as easily the best of the three times I saw Ceremony this month. It took all the no-bullshit reckless punk abandon of the Hardcore shows and shoved it directly into your face – I’m genuinely surprised that no major damage was done to the venue given the sure of boisterous shouting, screaming, diving, climbing etc. that was taking place throughout the band’s hour-long set. Great fun and highly memorable in the grand scheme of 2012.

For what was supposed to be their only show of 2012, I headed along to the Annandale that Friday to see The Mess Hall kick out the jams for the first time in seven years. I have no bloody idea why it took so long between drinks, but I’ll make a point for it to never happen again. What a ripper set from these guys, turning the Annandale into a sweaty mess just like only they can do. By means of contrast, the next day I saw an old friend, Annaliese Szota – who literally used to live up the road from me – play a headlining show at a theatre where I spent years in after-school drama classes. Oh, and Monica “Play School” Trapaga was there, too, as both the MC and as a cabaret performer. Needless to say, it was a pretty full-on night of nostalgia for me from a degree of levels. Needless to say, it was also lovely.

Around the middle of the month came somewhat of a bum note thanks to a disappointing set from Ladyhawke. I’m quite the fan, and do enjoy her music. Live, however, she’s quite uncomfortable and it lacks the punch that it needs to work in this element. Ahh, nevermind. Maybe next time. At least I got to catch the legends of Franzal Rhomb a few days later, who packed in a sweaty and fun crowd to the Manning Bar along with the crew from I Exist. Fuck yeah.

Festival season yet again! This time, I packed in three Splendour in the Grass sideshows into three days. Not a bad effort, if I do say so myself. Of course, I would have loved to head along to Splendour – the only shows of the year for Explosions in the Sky and Gossip, major live highlights of years previous; not to mention acts like Azealia Banks and Bloc Party. Not bad, I say! Still, getting to see just a handful of the line-up’s best acts was sufficient enough. First up was fun., a band I had wanted to tour for years – especially considering I never got to see The Format, the first band of fun.’s vocalist Nate Ruess. I took my sister along and we had an absolute blast at their show at the Metro, which was absolutely squashed in like nothing I’d seen at the Metro in yonks.

The very next day saw Mr. Jack White decide that he would play that night’s show with his all-male band, Los Buzzardos. Said show took place at the Hordern Pavilion – and, after roughly a decade of enjoying his various projects, I FINALLY got to see the great man at work in the live environment. What can you say? Absolutely sensational stuff, especially if you’re a big fan from any period of his career. It spanned all of it – when you open with a Stooges-esque reworking of Black Math, from the iconic Stripes LP Elephant, you just know you’re in for a good night. Blister-inducing guitar work, insane drumming, a great spread of sounds and plenty of hits; as well as some lesser-known stuff. Pretty much perfect, really.

Finally, I checked out British blues-rockers Band of Skulls at the Factory. Of the three, this was probably my least favourite – not a discredit to the show, per se; but moreso a credit to both fun. and Jack, which were absolutely mammoth and top-of-the-heap. This was still a solid, entertaining rock show – particularly with a band as great as The Laurels in support. Not life-changing or anything, really; but still a very, very fun set.

For something completely different, the month ended with a return to Yours and Owls for one of the biggest surprise gigs of the year. I went along after hearing some great things about U.S. post-metal acts Rosetta and City of Ships, but had never really given either one much of a listen. Really, I was headed along to their Wollongong date almost exclusively to see my boys in Totally Unicorn; plus the excellent Brisvegan openers in Nuclear Summer. I had no idea what to expect – perhaps why this show blew me away so much. It was an intense experience, never more so than during Rosetta’s performance. Post-metal is quite the thing to pull off live, it takes quite the energy and the precision as a band. That said, I have never seen anyone quite like Rosetta – before or since. Emotionally draining, resoundingly powerful and truly rewarding. I am so, so glad I went to this show.

TOP 5:

  1. Jack White
  2. Rosetta
  3. fun.
  4. Ceremony
  5. Flight of the Conchords

DISHONOURABLE MENTION: Ladyhawke. I really want to support my fellow Aspies in the live environment, but bland shows make it quite difficult.

+++

AUGUST

Another month, another Milhouse show. Guess where? Always a pleasure to watch these guys do their thing – not the first time in 2012, and sure as shit not the last! Next up was a great exercise in contrast involving Melbourne wunderkinds Snakadaktal. The year prior, I had seen the band at Goodgod Small Club, performing to a sold-out room where the only people under 18 were in the band. Now, I had a chance to see them again in very different circumstances, albeit just up the road at the Metro Theatre. With an adoring all-ages audience looking on, they showed just how far they’ve come in such a remarkably short period of time. Pretty special to be a part of, really.

It never rains with Children Collide – it pours. After doing two nights of their national tour in March, I followed it up with a two-night stand at their Sydney shows. They took place at The Standard, a relatively intimate and interesting venue up the other end of Oxford Street. I quite like the venue, and definitely enjoyed my time at these two shows; which featured irrepressible stoners Dune Rats and Adelaide weirdos Bad Dreems in support. The crowd was energetic and receptive, and I even managed to sneak a stage-dive in during Jellylegs, the closing number of the set. The security, however, left a lot to be desired on the second night, getting quite aggressive with some harmless punters. I informed the Standard about this, and they were thankfully very responsive and determined to make the venue a friendlier environment. I haven’t been back since, but I hope they’ve stuck to it.

It’s weird just how long I had waited for the next gig. Something for Kate had been a part of my life for over a decade, thanks to hits ranging from 1999’s Electricity to 2006’s Cigarettes & Suitcases and everything in-between. My sister Eloise and I grew up with their music, so to find ourselves in the front row of a returning SfK show in the glorious, glorious surrounds of the Annandale was more or less a dream come true. This was the night I fell in love with some of my most beloved songs of 2012, namely Miracle Cure and Eureka; both from the at-the-time unreleased Leave Your Soul to Science. Of course, it also meant I finally got to hear my aforementioned loves, plus Monsters, Deja Vu et al. Easily one of the best Annandale shows of the year.

Later that week, I’d kick off a three-day run celebrating a considerably wide stretch of Australasian music. It began with Kate Miller-Heidke and The Beards joining together in a peculiar bill that somehow managed to work quite well. The grandiose humour of The Beards allowed the audience to relax themselves into Kate’s set, which was equal parts delightful and sweet as it was intense and emotively striking. She truly is a spectacular performer; and it was so great to hear tracks from Nightflight live, which was easily one of my favourite records of the year. The following night, New Zealand post-punks Die! Die! Die! took over Yours & Owls for a ferocious evening of high-octane noise. Although the crowd was relatively small, they were fucking rabid from the get go.

There was diving into drumkits, smashing of foreheads into microphones and dog-piles onto lead singer Andrew Wilson. And yes, I was the catalyst for each. In fact, I’m pretty sure ending up with an imprint of Andrew’s mic that stuck for the entire weekend was my favourite gig injury of the year – apart from maybe the shiner I got at Refused, but that’s another story for another time. Finally, I got to support my dear little friends in Highways as they played their first-ever headlining show at the Annandale Hotel. Apart from their set, I spent the day hanging out with some new friends, teasing the Forever Ends Here boys and selling merchandise for Way with Words while hanging at Highways’ merch table. I love those little matinee shows; they’re always good fun and the vibe is always sweet. Support them!

My last two shows of the month saw me once again celebrating some local talent, as well as making a pretty major tick on the bucket list. First up was Alpine, who I saw for the eighth time in Wollongong. Now that I think about it, I don’t think I’ve ever missed an Alpine show in Wollongong; supporting or otherwise. I’m pretty happy about that, now that I think about it. I adore these guys so much, and to see how much their audience has grown in the time that I’ve known them as both musicians and people really inspires me. Then, a big one: The original line-up – well, what’s left of them – of The Beach Boys. Yep, including Brian Wilson. That was the selling point for me. It ensured that I would have to be in attendance. And I am so very, very glad that I was. Yes, it was a very daggy show. Yes, there were probably too many ballads (“Disney Girls,” guys? Really?). Yes, Mike Love is a businessman first and a musician second these days. But come on. I got to hear I Just Wasn’t Made for These Times. I got to hear Wouldn’t It Be Nice. I got to hear God Only fucking Knows. The band – mostly made up of Brian Wilson’s guys – were incredible. This was a truly delightful and heart-warming show. I enjoyed it worlds more than I expected to, as well as more than I probably should have.

TOP 5:

  1. The Beach Boys
  2. Something for Kate
  3. Kate Miller-Heidke
  4. Die! Die! Die!
  5. Snakdaktal

DISHONOURABLE MENTION: Far Away Stables and We Saved the Party opened for Highways. I awarded them no points. May God have mercy on their souls.

+++

SEPTEMBER

What a big month I had here! A few choice internationals, some brilliant locals and my second of four interstate trips in the name of live music. It all started with Seekae, the little Sydney electronic adventurers that could. In a smokey and very-sold-out Basement, they put on an intense and engaging show that sees them in the finest form of their career. Hope we hear from them again soon with album number three! The next night was spent with three great Aussie bands in Little Scout, Bearhug and Light Giant; the latter of which were playing their first-ever gig at this show. Speaking of firsts, this was also my first time at FBi Social and I had a blast checking out the friendly, intimate surrounds. I sadly haven’t had the chance to return since, but hoping to in 2013. What a surprisingly pleasant Friday night in the midst of Kings Cross.

Saturday was spent with a tonne of mates from the FasterLouder forum, who all joined together to celebrate the release of The Smith Street Band‘s excellent second album, Sunshine and Technology. With mates Hoodlum Shouts, Restorations and Milhouse in support, the Smithies took to a heaving Annandale for beer-y sing-alongs, stage-dives and a loud and lively crowd. Took all of Sunday to shake the comedown, I can tell you that much. Well, most of Sunday, at least. On Sunday night, I snuck up to Cronulla to watch my dear-friend-slash-hot-patootie Lanie Lane at the Brass Monkey. It was intimate, charming and a very relaxing way to end what was a very busy week.

What happened next… ahh, what happened next. If only I could fully describe just how incredible, exciting and life-affirming what happened next truly was. This, friends was the Poison City Weekender. Or just The Weekender. Whatever you want to call it, it’s a magical place to find yourself. Whether it was whoah-oh’ing along to the Restorations boys, stage-diving with the Smithies and Luca Brasi, discovering the genius that is Lincoln Le Fevre or falling in love with Lucy Wilson‘s voice, there was so much to do, see and get involved with. I’m not ashamed to say that after TSSB’s set – the last set of the last day – I cried. I cried for about 10 minutes straight. I can’t begin to tell you what being a part of that entire thing meant to me. I made so many great friends, I saw so many great bands, I immersed myself in the beauty of Melbourne and its live music scene. What a time.

Upon returning home, complete with an accursed Melbourne flu, I sneezed my way through a show at Wollongong’s Uni Bar, technically headlined by The Rubens but show-stolen by Bertie Blackman. I got in just as her set started and she was worth every cent. The next night, I got to see the Enter Shikari boys tear it up once again, this time at the UNSW Roundhouse. Interesting time for uni students in NSW, that’s for sure. ES were as entertaining as always, even busting out their own title track for the first time in ages much to my delight. Pity the support act, In Heart’s Wake, were such garbage. We went from letlive. to this?

Some well-deserved time off lead to a solid run of internationals for the last three days of the month. First up was the guitar-god badass, Gary Clark, Jr. I was the very first person to buy a ticket to this show, but I sure as hell wasn’t the last – that was one of the most packed audiences that I’ve ever seen at the Annandale. People were hanging from the rafters to welcome GCJ at his first-ever Sydney show, and he gave them exactly what they came for – lick after lick of the electric blues. Not to mention a voice that’s pure honey. Oh, and a killer live band. Tick, tick, tick.

Roughly 12 hours later, I returned to the Annandale to check out Defeater and Blacklisted from the States. Bit different to Gary, of course, but y’all know about the spice of life and shit. This was a really entertaining show, with both bands showing off different kinds of hardcore that were matched in intensity and conviction in delivery. Always good fun to hang out at the Annandale as often as possible. Also a shout-out to Latham’s Grip, who I hung out with and watched at the Lansdowne that evening. Good times.

At last, Sunday rolled around. The last day of the month. Admittedly, not normally a time to party. But hell, I had two reasons to celebrate: a) It was a public holiday; and b) MC Lars was in town! For those of you unfamiliar, MC Lars is a geek/comedy rapper who got really popular around 2006 on the back of his debut album, The Graduate. Despite it being so many years on since then, I’d never gotten a chance to see him live up until now, so I was pretty damn stoked to catch him. I got to be in the front row, play the part of Marty’s boss in “Signing Emo” (have a listen to the song and you’ll understand) and hug the man after him being somewhat of a mid-teens hero to me. Oh, did I mention fucking Horsell Common played, too? Are you flippin’ kidding me, bro? Sure, they’re essentially the John Farnham of mid-2000s rock, but that was a major trip to see those guys again – especially after seeing Trial Kennedy‘s final show a few months back. The only detraction from the whole thing was that it took place at Spectrum – or, as I like to call it, Satan’s armpit. What a destitute and loathsome place. Don’t expect me back at that venue anytime soon.

TOP FIVE:

  1. The Smith Street Band
  2. Restorations
  3. MC Lars
  4. A Death in the Family
  5. Gary Clark, Jr.

DISHONOURABLE MENTION: In Heart’s Wake. Suck a fuck, you hacks.