The Top 100 Songs of 2020, Part Five: 20 – 1

We move now, at long last, to put the lid on 2020 with the 20 best songs of the year. A warning that there’s a lot to say about the top 10, so only stick around if you’re feeling adventurous.

Parts one, two, three and four are here, here, here and here respectively.

Let’s fucking do this.

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20. Fontaines D.C. – Televised Mind

When they were first making noise, the most common term for Fontaines D.C. was “post-punk.” It made perfect sense circa Dogrel – after all, it was all we had to go off. What if, however, Dogrel was a punk record… and A Hero’s Death was the real post-punk record? The churning bass, the Madchester big-beat drums and the surf-nightmare baritone guitar on “Televised Mind” is like night and day when paired next to, say, “Boys in the Better Land.” It’s an evolution; a primordial and powerful progression. Whatever it is, it’s post-something. They’ve once again gotten ahead of the game.

19. Gorillaz feat. Peter Hook and Georgia – Aries

“Aries:” the best Gorillaz single since “DoYaThing,” and also the best New Order song since “Crystal.” While the band’s previous collab-heavy project Humanz felt like too many cooks, Song Machine saw the fictitious troupe get the balance just right. Case in point: the legendary Peter Hook pulls out a classic high-fret bassline for 2D’s weary, emotive vocal. Meanwhile, electronica upstart Georgia patterns a V-drums undercurrent that drives it along before literally bursting into high tide (what a chorus, while we’re at it). This team-up may seem like a bizarre love triangle, but in execution “Aries” was written in the stars.

18. The 1975 – If You’re Too Shy (Let Me Know)

The role “If You’re Too Shy (Let Me Know)” plays shifted significantly. Its initial April release was a final burst of hype for the band’s Notes on a Conditional Form, after endless delays and an elongated hype trail. Post-Notes, it’s symbolic of better times – where we hadn’t yet been let down by the exhaustive hour-20 bloat that ensued. In either case, through the good times and the bad, “Too Shy” survived. It stood alone as one of the band’s brightest and bubbliest singles to date. Everybody wants to rule the world, but “Too Shy” actually followed through on it.

17. Cry Club – Obvious

There’s two pertinent lines in “Obvious.” The first, from the perspective of Heather Riley’s bank account, is “Bitch, you need to stay at home.” This, mind, was written well before every bitch needed to stay at home for months. The other is in the song’s chorus: “How could anyone say no?” Cry Club are irresistible by design. They are a beloved pop band making beloved pop songs. This is among the best they’ve penned, from its ascending cascade of keys to its urgent, propulsive drums and topped off with a sweet cherry of a melody. Cry Club feels like home.

16. Jackson Wang – 100 Ways

Jackson Wang is from a South Korean boy band. No, not that one. Truthfully, it doesn’t matter which one he’s from. This is about Jackson Wang, solo star. By all rights, “100 Ways” should’ve been as explosive a hit single as… well, “Dynamite.” The state-of-the-art LOSTBOY beat, the Paul Simon flip of the chorus, the oozing charisma of Wang himself… goddamn, “100 Ways” has everything going for it. What gives, America? He’s even on 88Rising, and y’all LOVE them. Wang can do more as one man than most boys can do as a group of seven – including his own.

15. Urthboy – The Night Took You

They say that if it ain’t broke, don’t fix it. Urthboy knows this well, but consider that he’s spent the last 20-plus years being unbroken. If anyone’s earned the right to go in and smash shit up, it’s him. “The Night Took You” is the sound of one of the country’s all-time greatest MCs risking it all by not spitting a single bar. A weary, heartfelt melody takes its place, accompanied by plaintive piano and stirring strings. How then, does this recipe for potential disaster taste so rich and fulfilling? It’s simple, really: Urthboy rebuilt in his very own image.

14. Good Sad Happy Bad – Shades

Several circumstances lead to Micachu & The Shapes changing their name. Raisa Khan took over on lead vocals, for one; multi-instrumentalist CJ Caladerwood expanded the band to a quartet, for another. Ultimately, it came down to drawing a line in the sand. That was then, this is now. “Shades” feels like a new chapter, in that sense. It pulls many of the same shapes as the Shapes, but it’s cast through a new lense. Khan’s reserved, distinct delivery pairs well against the harsh synth and feedback-heavy sax. It’s the future, but it’s now. It’s here. Come, see the bright side.

13. The Beths – Out of Sight

“Out of Sight” doesn’t do anything particularly different for The Beths. It’s more resplendent, sun-kissed indie-pop that revels in its darker corners while never losing its brightness. This, of course, changes once you find yourself below its surface. In the thick of this song is a shattering piece of love-lorn poetry: “I’ll keep a flame burning inside,” offers vocalist Liz Stokes, “if you need to bum a light.” Her bandmates allow the song’s sentimentality to both simmer and burst into life – see Jon Pearce’s impeccable lead guitar and Tristan Deck’s racing snare-rim. It’s not particularly different, no. It’s better.

12. The 1975 – Me & You Together Song

“We went to Winter Wonderland,” reminisces 1975 frontman Matty Healy amidst his love-letter to 90s jangle-pop. “It was shit, but we were happy.” A potentially-revelatory thought: Could The 1975 themselves be the Winter Wonderland of the pop world? This is a band acutely aware of its shortcomings, prone to self-sabotage and over-indulgence among many other things. In the times when you need them the most, however, they glisten. They are everything you need. You – and they – are happy. You’ll let them make a two-hour triple album if it means three minutes of paradise like this. You and them together.

11. Fontaines D.C. – I Don’t Belong

“Dublin in the rain is mine,” boasted Grian Chatten at the beginning of his band’s acclaimed debut album a year prior. What a difference a year makes. He can see clearly now, the rain has gone. “I don’t want to belong to anyone,” he prophesises at the beginning of his band’s acclaimed second album. A new man, fronting a new band. Methodical, refined, steely in focus. Slow to build and bright to burn. Once standing on the shoulders of giants, now giants themselves. They roam this barren, empty land. “I Don’t Belong” is a new beginning and a turning tide.

10. 5 Seconds of Summer – No Shame

When did 5 Seconds of Summer go from being – to borrow a phrase – boys to men? There are several key points along the Sydney band’s trajectory: Making it in America, crashing under the weight of expectation with their sophomore slump, blazing a comeback trail with a global number-one smash. These are all worthy answers, and testament to 5SOS’ maturation and evolution. If you want the proper answer, however, it lies within the confines of “No Shame:” They’re finally so famous that they’ve written a song about being famous.

Not only have they done that, they’ve written one of the best songs of their career. It’s a move that can go drastically wrong – lest we forget the band’s heroes, Good Charlotte, absolutely whiffing it with their 2005 tantrum “I Just Wanna Live.” What makes “No Shame” stand out, then, is its revelry. “I only light up when cameras are flashing,” boasts vocalist Luke Hemmings, stomping down on his territory as Ashton Irwin smacks out a “Closer” disco groove. That’s not the first Nine Inch Nails reference 5SOS have made of late, either. Rather than rally against the starfuckers, however, 5SOS are leaning directly into their primitive, forceful nature. “Go on, replace me,” Hemmings taunts. “When you’re cravin’ somethin’ sweeter than the words I left in your mouth/Go on and spit me out.” He’s seen his band get dumped in the bin before, he’s not afraid of it happening again.

That’s the thing about “No Shame.” It’s got nothing to lose. It’s a dark, sneering pop song, driven by a washed out, “Come As You Are”-esque guitar line and the guttural squelch of bass-synth patched in with the industrial-tinged beat programming. Australia’s biggest boy-band export have burned their lovable-larrikin image to the ground. No more cutesy cock-rock, or acoustic gaslighting anthems, or even pushing and pulling away.

“When I was a child, I spoke as a child, I understood as a child, I thought as a child; but when I became a man, I put away childish things.”

– 11 Corinthians 3


5 Seconds of Summer are men now. Treat them as such.

9. Sports Team – Here’s the Thing

Is it still the revival? Are we in the revival of the garage rock revival? What of the post-punk revival? There’s a revival every minute, because there’s a lot of money in it. And here’s the kicker: The song that’s referencing is old enough to attend high school by now.

Needless to say, it’s anyone’s guess where Sports Team end up in this trajectory. Consider this: Arctic Monkeys got their start kicking out Strokes and Vines covers, the hyped bands of their teens. Sports Team, and bands of their ilk, almost definitely got their start on Arctic Monkeys covers. Maybe even Art Brut and Maxïmo Park too, actually – oft-forgotten names that may be more influential on the current generation of UK rock than anyone is willing to give credit for. Either way the baton has been passed, and a new breed of sardonic English artists are emerging to rattle whatever foundations are left.

Sports Team arrive on the scene as bitter upstarts. Even their name sounds ironic – like, ooh, go team! I love my sports because I’m a man! Then again, of course Sports Team are bitter. Look at the world they’ve inherited – it’s drastically different to the one that the Monkeys and Bloc Party and the like took up in. They’re being fed a constant stream of bullshit on an information superhighway – and there they are, plugged in and playing in the middle of the road, trying to not get totalled by an oncoming truck.

This is at the core of their lead single, statement piece and soon-to-be signature song. “Here’s the Thing” is a barrage of slogans and self-help mantras, rattled off with increasing frustration by frontman Alex Rice. “Jesus loves you!” he chirps. “The football’s coming home!” Of course, as the band will happily remind us at the end of every verse: “It’s all just lies, lies, lies, lies.” The band themselves aren’t exempt from the smell of their own bullshit, either. “Hey, ma! I wrote a song!,” Rice cheers at one point. “Now everything’s alright!” It’s not, of course. Who knows if it will be. Still, despite their snark and their piss-antery, there is a bubbling undercurrent of hope that a band like Sports Team exists in the first place. That’s just the thing, isn’t it.

8. Peach Tree Rascals – Things Won’t Go My Way

At the time of writing, Peach Tree Rascals don’t have a genre listed on their Wikipedia page. That might seem like an oversight more than anything – symptomatic of an incomplete article – but it’s honestly worth thinking about. We’re in an age where everything can be categorised. An entire t-shirt can be filled with the names of subgenres – and sometimes that’s just subgenres for one genre itself. How the fuck are a band like Peach Tree Rascals getting away with not having a genre? Simple, really: They’re living by example.

For those playing catch-up, the NoCal collective first took off over on TikTok circa 2019 with their single “Mariposa.” While the success story isn’t unique – it probably makes up nearly half of the no-name artists on the charts currently rubbing shoulders with established giants – the song itself certainly was. It’s a zoomer’s take on sunny-afternoon, carefree 60s pop, mixing jazzy chord strums with the whirr of AutoTune and a multitude of vocal perspectives. Think BROCKHAMPTON covering The Turtles, or maybe the other way around. It’s not uncategorisable entirely, but it’s genre-free both by choice and by nature.

While not nearly as successful – it holds some four million Spotify streams to “Mariposa”’s 150 – “Things Won’t Go My Way” arguably goes a greater distance in emphatically diversifying the Rascals’ sound. The churning indie-rock guitar progression clatters and clangs against a sturdy bassline, washed-out keys and pristine pop drums. The vocals, too, range from understated lower-octave to reverb-heavy calls out from the ether. There’s lots of elements and moving parts at work here, but it never stakes permanent residence in any immediate musical spectrum.

One could also view this as a larger issue of music attempting a one-size-fits-all mentality – a mater of homogeneity rather than originality. To dismiss Peach Tree Rascals in such a manner is to miss the point entirely. It’s not that they’re trying to be too rap for indie, too indie for rap, or anything in-between. It’s that they simply don’t want to be. They want to be themselves. That’s something not enough acts aspire to.

7. Spanish Love Songs – Self-Destruction (As a Sensible Career Choice)

Just over a decade ago, pop-punk took a turn. Its stalwarts stayed true to the “my friends over you” and “girls are so confusing” school of songwriting, yes, but its contemporaries shifted into something harsher by touch and texture. This notion of “realist pop-punk” came primarily from young American men in their early to mid 20s, attempting to find their own place in the world and assuring those around them that they were not alone in their confusions and general anxiety. The Wonder Years, Transit, Fireworks, Real Friends – even the more belligerent acts like The Story So Far and a young Turnover eventually transitioned into this more emotive musical territory.

Bands like Spanish Love Songs were born in the wake of this, and have molded themselves in this image. Whether you see it as a gritty reboot of pop-punk, the fourth wave of emo or something new entirely, it’s grown increasingly hard to deny its presence. From The Hotelier and Modern Baseball to Sorority Noise and You Blew It!, this sound made waves and developed cult status through the 2010s – occasionally spilling over into mainstream crossover with the success of by-products like Julien Baker and Phoebe Bridgers.

We may have entered a new decade, but the grievances and turmoil faced by this generation of songwriters hasn’t magically gone away. “Need about 30 goddamn miracles,” spits Dylan Slocum – a nihilistic twist on the tried-and-true trope of needing a miracle. While previous generations couldn’t see the forest for the trees, he “can’t see the world is burning down/’Til we’re living underwater.” It’s a devastating lyric sheet – and entirely emblematic of what follows on third album Brave Faces Everyone. What, then, makes a song like this so rousing and endearing?

For one, it’s an immaculately-crafted piece of alternative rock. The crunch of its guitar tone bounces off the wallop of the drums, with Slocum’s histrionic howl centring itself within the fold. That piercing lead guitar in the chorus cuts straight through the treacle, adding an even sweeter release to the already-powerful hook of “It won’t be this bleak forever.” That’s not even touching the military precision of the chorus’ stop-start reinvention in the finale – as a unit, SLS really stick the landing on this one.

Perhaps its most endearing moment, however, comes in the twist of its closing moments. The whole song sees Slocum fighting against the hook – it’s always bookended with an addendum like “yeah, right” or “have you seen me lately?” For its final repetition, however, Slocum doesn’t talk back. He lets it sit. It’s a flicker of hope. It’s a resolute moment after three minutes of turmoil and tragedy.

In an interview with Billboard, Slocum reasoned that the entire purpose of a project like Spanish Love Songs was to make people feel less alone. “It’s bleak stuff, but I find some comfort in knowing that we’re all in it together,” he says. He’s right – it is bleak. But it won’t be this bleak forever. It can’t be. Not with bands like Spanish Love Songs in our lives.

6. Soccer Mommy – circle the drain

Dan Mangan prophesised that “the indie queens are waiting” at the end of the 2000s. Tell you something for nothing: He didn’t know the half of it. By the end of the following decade, there were more young women and girls with a prominent position in indie rock than arguably ever before. Liz Phair wouldn’t have even needed a Guyville to exile from. The aforementioned Julien Baker and Phoebe Bridgers were among the top proprietors, not to mention their boygenius bandmate Lucy Dacus. How about Hop Along, Big Thief, Snail Mail, Waxahatchee, Japanese Breakfast, Mitski, Diet Cig, illuminati hotties… exhausted yet?

If it wasn’t obvious, Sophia Allison – aka Soccer Mommy – was another notable part of this wave. She could have perhaps even been its crescent, if only she hadn’t been crashed on by the ever-rising tide. Make no mistake, though: Soccer Mommy is no also-ran project, and “circle the drain” is no also-ran song. In fact, this song is so breathtakingly good that it will make you reconsider her entirely. Whether you liked her initially or not, this song proves she was considerably better than you were ever willing to give her credit for.

“circle the drain” succeeds in a way that previous Soccer Mommy tracks were not able to for one clear-cut reason: It’s found a niche. Rather than trying to keep up any kind of indie-darling purist facade, the song instead openly and outwardly opts to be a pop-rock song. Allison has noted that Avril Lavigne’s second album, 2004’s Under My Skin, was the first album she ever bought. Lavigne’s influence plays a key role here – this sounds exactly like it could be a cut from either of her first two records. We’re all adults here, by the way – we can all acknowledge those records as being excellent now.

This isn’t a bratty “Sk8er Boi” moment, though it’s not exactly “Nobody’s Home” either. Think more “Mobile,” or “Things I’ll Never Say.” Pensive, forlorn pop with a dozen guitars jangling around inside of it and processed beats that just dash across the turn of the century. Here’s where the carving knife for Allison’s niche grows particularly sharp: The song may musically be indebted to a bygone era, but its lyricism details an acute millennial malaise that can only come with someone of her age at this exact moment in time.

Perhaps it was wrong to overlook Soccer Mommy when she first arrived on the scene. Then again, perhaps that very notion makes “circle the drain” all the more triumphant. It’s one of the year’s most unexpected delicacies – a left-of-centre dream-pop diary entry that potently merges the past, the present and the future. Round and round we go, once more.

5. Miel – Must Be Fine

Miel Breduow never had to explain that she wasn’t kidding.

Under regular circumstances, a person best known for doing comedy has to clarify what’s sincere and what isn’t. From Nanette to Wolfie’s Just Fine to… ahem… Dane Cook’s “Forward,” there are countless examples of comics moving into earnest territory. Bredouw isn’t all that different. She goofed around on Vine at its peak, ending up on countless compilations and keeping the dream of Keisza’s “Hideaway” alive. She moved over to podcasting and found a new cult following as she punched up countless jams, both with friends and on her own. She is, as Streisand would say, a funny girl.

When “Must Be Fine” came out, Miel never had to explain that she wasn’t kidding. Why?

The answer is twofold. The first is a reflection on the kind of person Bredouw is – or, at the very least, a reflection on the public persona fans and listeners have come to know through her work. Even when making ridiculous jokes or shriek-laughing at more of Chris Fleming‘s escapades, she comes across as entirely genuine. The kind of person who means what they say, who wouldn’t be laughing if they didn’t find it funny and the kind of person who sees honesty as the best policy.

More pertinent to the song itself, though, is that secondly there’s basically no other read you can give on “Must Be Fine.” It’s a cutting song – it’s sharp, and goes surprisingly deep for a two-and-a-half-minute song with two verses, two choruses and a bridge. A bridge that doesn’t lead anywhere, either – which is surprising on the first listen, but once you’re intimately familiar with your surrounds it clicks and begins to make sense. This isn’t a story with a definitive conclusion. There are no heroes and villains. It’s a time-lapse of a flower withering beneath a descending California sunset. It’s beauty and loss and tragedy within a sunburnt city landscape.

Hannah Gadsby, who performed the aforementioned Nanette, speaks of the effects of laughter in that show. “Laughter is very good for the human,” she said. “It really is, because when you laugh you release tension. When you hold tension in your human body, it’s not healthy. It’s not healthy psychologically or physically.”

Miel’s work has always released tension. It’s interesting, then, that her work that achieved this in the most accomplished of ways was not centred on laughter. And she never had to explain that she wasn’t kidding.

4. Sarah Jarosz – Johnny

“Why is it that we can feel so robbed when someone tells us a story we just heard isn’t true, and yet feel so satisfied at the end of a fictional novel?” This is a question posed by puppet-comedian Randy Feltface in his 2015 show Randy Writes a Novel, which comes at the end of perhaps the show’s finest moment of storytelling. (Referencing that quote if you haven’t seen the part in question is a bit of a spoiler, but so be it.) In songwriting, we’re so obsessed with the idea of what’s “real.” If it’s “real,” then it’s “authentic.” And if it’s “authentic,” then it’s inherently good. Or so we’re told.

“The tortured artist myth is rampant. People paint me as some kind of black witchcraft-practising devil from hell, that I have to be twisted and dark to do what I am doing. It’s a load of rubbish.” This is a quote from PJ Harvey, giving an interview to promote her 1998 album Is This Desire?. It’s an album, much like all of her work, that is steeped in character and fable-oriented lyricism. Does this make her work any less “real” or “authentic” because she didn’t literally drown her child like she sings on “Down By the Water”? Do we dare question men about this authenticity the same way we question women? Harvey’s one-time fling Nick Cave has been singing of murdering people for 30-plus years and has barely batted an eyelid in that time.

“Johnny’s on the back porch drinking red wine/He knows that it could be the very last time/He raises the glass up to his lips and wonders.” This is the opening line to “Johnny,” the lead single from Sarah Jarosz’ fifth studio album World on the Ground. Jarosz didn’t do a great deal of press for the album – for obvious reasons, of course – and so there isn’t a great deal of information as to whether the story told in the song is real.

The titular Johnny is staring down the barrel as he prepares to go in for open heart surgery – one fast move and he’s gone. It’s a moment filled with drama and suspense, and its unresolved nature only drives the intrigue even further. Did Johnny make it? Where is Johnny now? Is he even real to begin with?

Which then circles us back to these original points made by both Feltface and Harvey. Who cares if Johnny is real? “Johnny” is no less authentic because of it. It’s a striking, harmonious and emotive slice of Americana. Its lines trace around a bright octave mandolin, Levon Helm-esque drumming and rustic close harmonies that tie well into Jarosz’s bluegrass background. It’s certainly poppier than her earliest alt-country work, but that too doesn’t make it any less authentic. Any less real. From the second its tape-loop drone guides you in to the second its strummed mandolin lick guides you out, everything in “Johnny” is as real as it gets.

3. Hayley Williams – Simmer

Paramore is a band.
Hayley Williams is a musician.
Hayley Williams is in the band Paramore.
“Simmer” is a song.
“Simmer” is not a Paramore song.
“Simmer” is a song by Hayley Williams.

This may seem like a collection of more moot points than a Rick Springfield song, and rightly so. Still, you would genuinely be shocked at how many people took issue differentiating when “Simmer” arrived in the first few weeks of 2020. If this is a Hayley Williams song, does that mean Paramore no longer exist? There are other members of Paramore involved – does this mean Paramore has become Hayley Williams? Hayley Williams is the only member of Paramore that has an unbroken line on Paramore’s Wikipedia timeline from start to end – surely this means she’s some sort of fascist dictator?

Again, you don’t get this kind of malarkey with male-fronted bands. For whatever reason, though, drama and discourse follow Williams around like a bad smell. It’s enough to send you mad – and, in a way, that’s a lot of what “Simmer” is about. It’s about the acknowledgement, the processing and the temperament of one’s deepest, darkest and most seething hatred. Williams has been outwardly pissed off before – hell, her first few albums with Paramore were quite literally fuelled by teenage angst. It’s never felt as subversive and as outright threatening as it does on “Simmer,” though.

Why, exactly? Consider both the context and the delivery. The context is no longer a firebrand pop-punk upstart, it’s an embattled 30-something divorcee who has grown up in public and been to hell and back twice over. The delivery is no longer a roof-raising, glass-shattering yelp – a defiant voice aiming to be heard in a dude-heavy scene. No, Williams is done with that shit. If you want to hear what she has to say, you’re going to have to lean in a little closer. When you do, in the throes of the second verse, she quite literally ideates violence. To paraphrase Tegan & Sara, you feel the knife going in.

Heightening the context is the musical environment of “Simmer.” 15 years is a long time, and you feel all 15 of them when you draw the line from All We Know is Falling to “Simmer.” A smoky blend of trip-hop, indie and 21st-century pop lays out a trail of twists, turns and inevitable spirals. It’s a leap into the great unknown, and as Williams herself may have said 15 years prior you can feel the pressure.

How does one protect themselves, knowing danger awaits?
Williams knows. “Wrap yourself in petals for armor,” she says. Don’t mistake kindness for weakness. Your anger is a gift. A riot inside the mind is no lesser of a riot.

“Simmer” is a song.
It may be the best song Hayley Williams has ever sung.

2. EGOISM – Here’s the Thing

Breaking the fourth wall here slightly: Two different songs with the exact same title being in the same countdown has only ever happened once before. This was in 2018, when both Post Malone and Amy Shark released songs called “Psycho.” The pair both came at the titular phrase from unexpected places on surprisingly downbeat songs, unified by little more than a subversive take on a slightly-taboo word.

What, then, of “Here’s the Thing” and “Here’s the Thing”? Both come from upstart bands in their 20s, yes, but the similarities end conclusively there. Sports Team enlist the phrase like a weapon – a condescending, mansplaining place-setter, barked from the perspective of an elder statesmen with a chip on their shoulder. EGOISM, however, enlist the phrase as a jumping-off point. It’s the beginning of a difficult conversation. It’s the beginning of the end. The end of a beginning.

How could this phrase manage to hold such a different connotation in this context? Such weight? Truth be told, it’s part and parcel of EGOISM’s modus operandi. The band may traverse the realm of dream pop – often sonically light and airy by design – but their lyrical and thematic structure delve the inner depths as only the truest of confessionals can. It’s not for nothing that the duo of Olive Rush and Scout Eastment named their band after a school of philosophy defined as “concerned with the role of the self, or ego, as the motivation and goal of one’s own action.” EGOISM are at the centre of their own universe – and when they’re falling apart, it can only reflect in their music.

“Here’s the Thing,” with this taken into consideration, easily stands as the band’s most emotionally affecting song. Rush, who takes a stellar lead turn, spoke openly about the vulnerable place from which it came upon its release. They described it as being “about feeling like your heart is getting smashed into a million pieces.” It doesn’t get much more explicit in intent than that. This sentiment is subsequently reflected by the song’s palette, among the most tasteful the duo have ever composed. Striking math-rock chords ring out in tandem with sombre piano, while a ticking-clock snare rim ultimately gives way to a clattering loop that recalls that of Ben Lee’s similarly-pervious “Cigarettes Will Kill You.”

It’s the kind of thing one can find themselves simply entranced in, time and time again. It’s within these repeat listens one also finds themselves hearing things just that little bit different. The song’s seemingly-endless repeats of the same question – “Should you love somebody new?” – start to give way. Because of the quick succession of syllables, sometimes you can just mishear the “new” as simply an elongated part of the previous word – thus, forming an entirely new question of “Should you love somebody?”

It’s there that “Here’s the Thing” goes from wondering as to whether it’s worth starting again to wondering whether it’s worth it at all if this is where it will inevitably lead to. It’s a dark turn – and just think, that’s assembled entirely from something that’s not there. Imagine how much more there is to what’s actually present.

Eastment described “Here’s the Thing” as the best song Rush has ever written. She’s right, but not just from a songwriting perspective – from an egoism perspective. Months before “Here’s the Thing,” EGOISM had released “You You.” The Eastment-lead track covers very similar emotional ground: rising from the rubble left in the wake of a tattered relationship, knowing there is still love there but it cannot continue in the same way that it has. Eastment even acknowledges in the song’s Bandcamp notes that “Olive was going through something really similar at the time.” The mirror image is literally reflected between the two songs when Eastment takes lead on the bridge of “Here’s the Thing” – in the very same point of the song that Rush takes over from her on “You You,” no less.

I won’t mess with anyone else but
I won’t mess with anyone else but
I won’t mess with anyone else but you, you

You, you

The pair’s inextricable link and their unshakable bond is what keeps EGOISM alive. It’s what gets the two of them through their darkest moments. “Here’s the Thing” is the crack where the light gets in. A problem shared is a problem halved.

1. The Avalanches feat. Rivers Cuomo and Pink Siifu – Running Red Lights

In order to tell this story, you have to know where three different sets of people were in the year 2000 and where they were in 2020. Yes, this is a story that’s over 20 years old; let it be told.

The three sets are plunderphonics collective The Avalanches, Weezer frontman Rivers Cuomo and singer-songwriter David Berman. With respect to Pink Siifu, his story doesn’t necessarily intertwine here. He appears here as more of a vessel than anything, but more on that later.

In 2000, The Avalanches released their debut studio album Since I Left You. It would turn them into one of the most internationally-acclaimed groups of next 12 months, scoring a boatload of ARIAs and selling out an explosive world tour in support of it. Their sample-heavy mix of pop, hip-hop, dance, funk, electronica, indie, rock and whatever other genres traversed their obscure record collection was a unique prospect. So much so, that The Avalanches’ idiosyncrasy raised a myriad of questions pertaining to how exactly they intended to follow such a seismic debut.

In 2000, Rivers Cuomo revived Weezer after a period of dormancy. He had spent the bulk of the late 90s – and, subsequently, the end of his 20s – in a spiral of depression. He, too, was plagued with the pressure of following up a hugely-influential debut album – and although Pinkerton was certainly not without its fans, it too found itself at the mercy of many a divided critic. With the band back in action and playing shows again, this was Cuomo’s impetus to start again – to finally achieve the greatness he’d been searching for.

In 2000, David Berman was between albums at the helm of the Silver Jews – the band with which he had made his name as a cult figure on the American indie rock circuit. His distinctive voice and unflinchingly-honest approach to lyrics and songwriting found a loving home on cult indie label Drag City, while the Jews’ initial lineup served as the launchpad for a separate juggernaut entirely in Pavement. Much like Cuomo, Berman would soon also find himself at odds with the black dog – a recurring motif throughout both his musical and personal life.

In 2020, The Avalanches were in the present tense again. Having finally followed up Since I Left You in 2016 with the technicolor experimentation of Wildflower, the group’s surviving duo – Robbie Chater and Tony Di Blasi – wanted to ensure that another new record would not take nearly as long. They began to assemble what would become their third album, We Will Always Love You – a tribute to those no longer with us, and a further exploration of what the group could sound like now that they were no longer defined entirely by a singular work.

In 2020, Rivers Cuomo was back at work again with Weezer. Truthfully, the band never really got off the wagon once that 2000 revival happened. The band scored big with hits like “Island in the Sun” and “Beverly Hills,” but their constant attempts at appealing to the same age demographic as they had a decade – and, eventually, two decades – prior saw their reputation end up in general disarray. Much like Paul Simon before him, Rivers Cuomo needed a photo opportunity and a shot at redemption. Thanks to Chater and Di Blasi, he was about to get one.

In 2020, David Berman was gone. He’d gone off to play the great gig in the sky a year prior, after ultimately losing his lifelong battle at the age of 52. As a collaborator on Wildflower, Berman was pulled out of reclusion by The Avalanches to contribute to a track on the album. He also later consented to having his work interpolated into a new song the band was working on – a gesture that, although he may not have fully realised at the time, was a parting gift and an eerie foreshadowing of what would come on We Will Always Love You.

There’s history in the walls of “Running Red Lights.” There’s ghosts in the walls, too. There are spirits in the night sky, looking down upon you as the city lights up. There’s over 20 years of stories in “Running Red Lights.” Stories of triumph, tragedy, love, loss, life, death and the human condition. What may be the most defining trait of the song, however, is its universality. The truth is, you can come to this song not knowing a single thing about any of its participants and get just as much out of it as someone who knows all of the above and then some.

The reason for this is that “Running Red Lights” is a momentous song – literally, of a moment. What that moment is, however, remains up to you. It can be a defiant rooftop primal scream, claiming the city for your taking. It can be a love-lorn, desperate plea to an estranged loved one. It can be your candle at the vigil memorial for someone you miss. It can be a sunlit drive, a rainy day or an autumnal stroll. Whatever it is to you, it’s yours. No-one can take that from you. No song in 2020 quite held such power in its runtime – and, indeed, long after the track subsides. It’s a crowning achievement for all involved, whether they’re around to see its fruits bared or not.

We are all we have.

We will always love you.

***

Listen to the complete DJY100 via Spotify below:

Thank you for reading. See you next time.

The Top 100 Songs of 2020, Part Four: 40 – 21

Welcome to the top 40! The cream is really rising to the top here. Remember, catching up on the list thus far is as easy as one, two, three! With that out of the way, let’s do it to it.

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40. Ashley McBryde – Never Will

Consider the title track as a statement piece. One could certainly do this across both of Ashley McBryde’s major-label LPs – and, by proxy, link “Never Will” as a spiritual successor to the modern Opry classic “Girl Goin’ Nowhere.” Much like “Girl,” McBryde once again goes toe-to-toe with those who doubted her. Rather than not believing she’d make it, however, this time they’re saying the good times won’t last. It’s louder and more defiant this time around, backed with rousing electric guitars and a mantra that could reflect McBryde’s entire career: “I didn’t/I don’t/I never will.” Country’s realest, freshest voice.

39. Caligula’s Horse – Autumn

Rise Radiant, the fifth studio album from Caligula’s Horse, is replete with bombast and layered instrumentation, itself zigging when you expect a zag and vice versa. There’s something to be said, then, for a song like “Autumn.” Rather than immediately throwing listeners to the wolves, it gently fades in on a lone acoustic guitar and the subdued, tender vocals of frontman Jim Grey. The prog-rock grandiosity eventuates, yes – there’s a bass solo that leads into a guitar solo – but “Autumn” succeeds primarily as a daring venture for a band that could easily but unfairly be dismissed as by-the-numbers.

38. Baby Beef – Sticking Around

A Layman’s introduction to Baby Beef: Imagine Matt Berninger fronting the Pet Shop Boys. Both the same baritone and quizzical lyrical nature follow, matched with synths and programming that are pure, unabashed kitsch. Still, that’s just a starting point. As a song like “Sticking Around” proves, there’s more to the Beef than meets the eye. All three vocalists create standout moments for themselves, while the spaghetti-western guitar adds an unexpected twang to the otherwise glacial synth-pop. There’s no-one currently on the Australian circuit quite like them – and songs like this, fitting to its title, attest to their staying power.

37. Polaris – Vagabond

Although they didn’t get much of a chance to celebrate it, Polaris ascended to the top of the foodchain in Australian heavy music in 2020. The Death of Me not only cleared the bar set by their impressive 2017 debut The Mortal Coil, it set a new benchmark for their contemporaries entirely. We listen now to the album’s centrepiece, wholly exemplary of this fresh standard. If you’re not coming to the dance with riffs that bounce as hard, drums that slam as aggressively and hooks that feel as all-encompassing as “Vagabond,” ask yourself: What the hell are you doing here?

36. ONEFOUR – Welcome to Prison

Of course, one can’t document the rise of Western Sydney’s ONEFOUR without also addressing the ever-present elephant in the room. A Rooty Hill incident landed key members of the group in jail, leaving only two on the outside to keep the name alive. To their credit, ONEFOUR have done a fantastic job of this – not least of all for keeping shit very, very real in their lyrical content. “Welcome to Prison,” as its name suggests, hits even harder than something like “In the Beginning” purely for how much heart, honesty and introspection lies within it. They remain Sydney’s realest.

35. Ty Dolla $ign feat. Kanye West, FKA twigs and Skrillex – Ego Death

Was there a greater example of ego death in 2020 than Ty Dolla $ign releasing a song named after it from an album titled Featuring Ty Dolla $ign? Ty always plays John C. Reilly to countless artists’ Will Ferrell. “Ego Death,” then, might be his Walk Hard. It’s still flanked by others’ star power (including Kanye’s best verse in years), but also serves as a showcase of an underrated leading man. This also wasn’t a hit, but give it time and it has every chance of attaining cult-classic status. Rightfully so, too. It’s the soundtrack to a thousand boogie nights.

34. 5 Seconds of Summer – Wildflower

Is there anything more fun than cosplaying decades you weren’t around for? 5SOS – who were all born in the mid-90s – finally get to indulge on a full-blown 80s moment on “Wildflower.” It honestly makes you wonder why they hadn’t gone for it sooner. Those synth stabs! That squeaky-clean guitar! The wallop of the gated snare! Take a dash of solo Phil Collins, add a splash of solo Peter Gabriel, and you’ve got the genesis of “Wildflower.” Maybe a pinch of Talking Heads, too – ’tis the season, after all. As comforting as a pair of giant shoulder pads.

33. Waxahatchee – Fire

It’s always been easy to feel what Katie Crutchfield is singing. She’s always possessed a raw, soulful voice within the indie-rock spectrum that has housed moments of vital vulnerability across her five albums as Waxahatchee. What “Fire” does is make you see what she’s singing. “West Memphis is on fire/In the light of day.” You can see the horizon, the smoke, the terror and the beauty in a moment like that. A bittersweet countryside journey, laden with impeccable harmony and bold structure. “Fire” encapsulates one of the most compelling pieces of songwriting yet in a career defined entirely by them.

32. Something for Kate – Supercomputer

At a time when many of their contemporaries have resigned themselves to the nostalgia circuit and Days On The Green, Something for Kate deserve to be commended for existing in the present tense alone. Even if their new stuff wasn’t up to scratch, at least they were still making it. That’s what makes songs like “Supercomputer” all the more defiant and baffling: Something for Kate are still making some of the best music they’ve ever written. Paul Dempsey’s ongoing sci-fi dalliance continues in a blaze of orbiting synths, pounding toms, rousing na-na-nas and a fiery guitar outro. No nostalgia necessary.

31. Nothing Really – Yuck

“Do you think I’m yuck?” Vic Austin voice cracks into a higher register as she asks the song’s titular question. “I adore you,” it adds. Perhaps a separate point, but perhaps the two are wholly intertwined. Like Roger Sanchez’s tragic “Another Chance” video, Austin and her Nothing Really cohorts begin the song with a full, giant heart that is eventually shriveled and shrunken by the cruel nature of the outside world. It’s vital, purposeful indie rock – the kind one loses themselves in for days on end, hooked on a feeling. There’s never an answer given, but silence speaks volumes.

30. Genesis Owusu – Whip Cracker

Much like “This is America” before it, much of “Whip Cracker”’s power lies within its visual accompaniment. Kofi Owusu-Ansah stares directly down the camera barrel, shot in black-and-white as he unflinchingly calls out his targets. By the time the video bursts into colour, blood is dripping from his mouth. It’s one of the year’s most perfect videos for what ended up being one of its hardest-hitting songs. Owusu’s acidic bile is egged on by thudding drums, which turn on a dime into a dance-punk apocalypse around the song’s halfway point. It’s complex by nature; unrelenting in execution. Whip it good.

29. Run the Jewels feat. Pharrell Williams and Zack de la Rocha – JU$T

When the tracklist for RTJ4 preempted its release, one particular odd-couple feature pairing raised eyebrows – and, believe it or not, it wasn‘t Josh Homme and Mavis Staples. Of course, Run the Jewels had history with Zack de la Rocha – but what of Pharrell, whose happy (pun intended) disposition felt immediately at odds with the harsh reality of RTJ? As it turns out, this fab four complement one another perfectly. It’s all there: Williams’ syncopated hook, El-P’s rubbery beat clatter and prolix wordplay, Mike’s effortless verse, de la Rocha’s scene-stealing finale. “JU$T” is a legend convention meets social revolution.

28. Tame Impala – Lost in Yesterday

One of the more interesting musical elements at play on the last two Tame Impala records has been the lessened emphasis on guitar. What happens when you remove such a key element from what is, for all intents and purposes, a rock band? You get in the groove. “Lost in Yesterday,” tellingly, sports the best Impala bassline since “The Less I Know the Better.” A bustling drum shuffle – equal parts “The Way You Make Me Feel” and “The Moment” – muscles in, while an aviary of synth squalls colour in atop of the rhythm. Reinvention never felt so revolutionary.

27. Miiesha – Twisting Words

The title of Miiesha’s debut Nyaaringu stems from her native Pitjantjatjara. It translates to “what happened,” and the Queensland singer is true to it across inter-generational storytelling and heartfelt odes to her past, present and future. “Twisting Words” shows us what happened when Miiesha was underestimated, overlooked and spoken over. Spoiler alert: It made her mad as hell, and she’s not gonna take it anymore. She’s flanked by a pristine neo-soul arrangement, which builds from a warm bed of keyboards to a righteous guitar solo. It feels real, and it feels right. Believe the hype: Miiesha is the total package.

26. Gordi – Extraordinary Life

Three years removed from jaw-dropping debut Reservoir, Gordi found herself adapting and evolving. Not only was she musically recalibrating following her first album’s kitchen-sink maximalism, she was simultaneously experiencing loss in tandem with new love. With this, consider “Extraordinary Life” the centrepiece of Our Two Skins. It’s a resolute piece of folktronica that doesn’t shy away from matters of the heart. In fact, it thrives upon them. It comes from a place of open sentiment and quiet desperation, with the kind of emotion that lingers long after the final chord rings out. It’s vintage Gordi, but simultaneously brand-new. It’s extraordinary.

25. Pearl Jam – Dance of the Clairvoyants

So much got forgotten from the first quarter of 2020, their existence alone may shock you. Case in point: You forgot Pearl Jam put out a record, didn’t you. You also forgot that the lead single was a massive gamble – a new-wave, post-punk hybrid; hardly recognisable when put next to “Alive” or “Jeremy.” Here’s the best-kept secret of all: “Dance of the Clairvoyants” is the best Pearl Jam single since at least “The Fixer,” maybe even “Do the Evolution.” It’s a strutting, positively Byrne-ian musical revelation. A Pearl Jam song like this only comes around once in a lifetime.

24. Miel – I’ll Be Holding

The cover of Miel’s debut album Tourist Season sees her leaning back, eyes closed and mouth agape. It’s part daydream, part free-fall. Such a tableau feels pertinent to the sensations caused by its second single, “I’ll Be Holding.” It’s a rush of wind to the face as the city flies by in a flash, internalising a complex situation in the medium of retro-tinged dream-folk. It’s a moment to get lost in, throwing your body into an arm-flailing tube-man trance. “I’ll Be Holding” is the sound of dancing like no-one’s watching, and lord knows that kind of release was needed here.

23. The Chicks – Julianna Calm Down

For 20-plus years, the Chicks had the loudest voices in the room and knew how to use them. They called out from wide open spaces, killed Earl and refused to make nice. They took it to 11 and never turned down… until now. “Julianna Calm Down” brings the trio into close quarters with their nearest and dearest. They get real for a moment, showing a side they’ve never quite shown before. It’s the kind of tenderness that can only come from three loving mothers, passed on with the kind of wisdom that can only come with knowing each other mile-long.

22. Tigers Jaw – Warn Me

When Tigers Jaw shared their first new music of 2020, it was with a caveat: This won’t be on the album. There was one coming (still is), but you wouldn’t find “Warn Me” on it. This is a good thing, in hindsight – insofar as that you can appreciate “Warn Me” strictly on standalone merits. There’s plenty of those, too: Teddy Roberts’ double-kick thrash injects new life behind the kit, while Ben Walsh’s double-whammy of a wordless pre-chorus and a howled hook is testament to his songwriting skills. When they put their minds to it, Tigers Jaw are practically peerless.

21. Something for Kate – Waste Our Breath

Paul Dempsey claims that “Waste Our Breath” is about “trying to find an empty space.” He’s right, of course – it’s his song, after all – but perhaps the best thing about Something for Kate is that they’ve always left things open for interpretation. Whatever you hear is right too. The song’s “checkpoint on the shortest day of the year” could mean everything and nothing. “This show”? What show? Your call. It’s futile and fascinating, powered by Dempsey’s towering presence and the resilience of his long-serving rhythm section. Fill this empty space however you see fit. It’s yours now, people.

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Have a listen to all 80(!) of the songs on the list so far, in order, via Spotify below:

Check back soon for the final installment! 2020’s almost done, thank the lord.

The Top 100 Songs of 2020, Part Three: 60 – 41

Time to cross over into the top half of the list, just as the sun sets on The Bad Year. You’re almost in the rearview mirror, you prick!

For those catching up, fear not. Part One and Part Two are standing by.

Alright, let’s rock.

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60. Amy Shark – Everybody Rise

Amy Shark has never been the best at first impressions. Commercial success aside, she lead off her Night Thinker EP and Love Monster LP with their two weakest tracks (“Adore” and “I Said Hi,” respectively). For the upcoming Cry Forever, though, Shark has promptly stuck her best foot forward. “Everybody Rise” is career-best catharsis, prompted by Goodnight Nurse alum Joel Little assembling the catchiest synth orchestra this side of “I Write Sins.” It’s doomsday pop with a crack in everything, taking the intricately introspective and pushing it to the masses. It’s no longer just hers anymore, you see. It’s everybody’s.

59. Tame Impala – Breathe Deeper

“If you’re thinking I can’t hold my own/Believe me, I can.” So begins one of the key tracks to Tame Impala’s fourth album; a line that became increasingly defiant in nature throughout 2020. Tame ended up as one of the year’s most inexplicably-reviled acts – perhaps not assisted by “The Less I Know The Better” ascending to the top of triple j’s decade-end Hottest 100. Maybe it’s tall poppy… or, in this instance, high poppy. Whatever it is, songs like the synth-wielding roller-disco of “Breathe Deeper” proved that Parker could indeed hold his own. He still has lots to prove.

58. IDLES – Grounds

Speaking of previously-beloved bands: Boy, do people fucking hate IDLES now, huh. Not even millennial tastemaker Anthony Fantano could sway The DiscourseTM from trashing the band, which kept going almost to the point of being a meme. Admittedly, September’s Ultra Mono wasn’t as striking as the one-two combo of its predecessors. However, it still had an ace up its sleeve in the form of “Grounds.” Jon Beavis’ “Fix Up Look Sharp” beat and a booming Kenny Beats production assist allowed for the band to defiantly swagger down the street. Don’t get it twisted: these are still men on a mission.

57. Sweater Curse – Close

The great hope of Brisbane indie pulled together an exceptional A-list to work on “Close.” Former next-big-thing Alex Lahey co-wrote with the band, while Ball Park Music‘s Sam Cromack produced. Needless to say, the lead single from their Push/Pull EP was one that felt like a proper arrival. The trio endeavour to take things to the next level and promptly succeed. Through glistening guitars, pounding drums and one of their most striking choruses to date, Sweater Curse edge closer and closer to being their city’s top export. It’s no longer a case of “if,” but “when.” The Curse ain’t broken.

56. The Beths – I’m Not Getting Excited

Much like their first album, Jump Rope Gazers opens with a rush of nervous energy. Such is its frenetic nature, however, “I’m Not Getting Excited” makes its predecessor “Great No One” sound like “Kumbaya.” It’s a spiral of word-vomit and urgent guitars, pushed along by the driving backbeat of new-kid drummer Tristan Deck. How do you sum up two years of non-stop touring into two minutes and 42 seconds? The Beths have found a way. Of course they have. This is how you open up an album, people – with both a bang and a whimper. Get listening. Get excited.

55. Protomartyr – Michigan Hammers

Not many songs throughout 2020 sounded more or less exactly like their title. Protomartyr’s exceptional single “Michigan Hammers” is the standout example of songs that did. It pounds away incessantly, keeping 16th notes running on the drums and cymbals throughout. Its guitars are knife-edge, while a horn section tempers an acidic bile rather than any sort of jazz-bar smooth. Joe Casey, up front on vocals, barks out the scarce but succinct lyrics with his quintessential sense of authority. This is working class music from a working class American state. It’s motorik from the Motor City. It’s Michigan fucking Hammers, dammit.

54. Headie One feat. AJ Tracey, Stormzy and ONEFOUR – Ain’t It Different [Remix]

Wanna feel old? There are people of legal drinking age that weren’t born when CrazyTown first flipped the Chili Peppers’ “Pretty Little Ditty.” Hell, Headie himself was all of seven. Did this childhood memory prompt the sample flip from the ever-reliable Fred Again..? Inconclusive, but credit to everyone involved for inventively reworking it alongside a chipmunked Lady Saw. Further compliments, too, to the hip-hop elite in the mix with One and Fred here. Not only do AJ Tracey and Stormzy lend ample muscle, but Sydney’s ONEFOUR prove they can hang with the giants of the industry. Different, but good different.

53. Georgia June – Baby Blue

Synaesthesia, in the most Layman of terms, is defined as “coloured hearing” – that is, translating sensations between senses, and essentially seeing sounds in the process. Even if you’re one of the many that aren’t synaesthetic, “Baby Blue” will appear to you in this very shade. Its 80s-soundtrack synths and reverb-tinged drums recall an age of innocence; its hues brush broad strokes across the refined guitar lines. The vocals glue the whole affair together, mournful yet simultaneously resplendent in nature. “The sky was painted just for you,” goes the chorus. You can picture it already. Your hearing is permanently coloured.

52. Georgia June – Don’t Leave Me Hanging Out to Dry

Bob Dylan boasted of containing multitudes in amidst the chaos of 2020. Sydney pop-rockers Georgia June probably have an idea where he’s coming from – although their eponymous vocalist might see herself more as a rainy day woman than a master of war. On their second single of the year, the quintet picked up the pace with a sneering rock shuffle. It’s paired impeccably with a kiss-off vocal, a rumbling rhythm section and an increasingly-rare but always-welcome bonus: A guitar solo mimicking the melody. Chef’s kiss for that one. Listen to “Don’t Leave Me” and you, too, shall be released.

51. Run the Jewels feat. Greg Nice & DJ Premier – Ooh La La

There was a meme doing the rounds this year captioned “Make music that makes people do this face,” accompanied by a photo of a kid with his eyes and mouth scrunched up. You know the look – mostly because you definitely pulled it the second the kick and snare dropped in on “Ooh La La.” El-P’s jaunty piano chopping against an incessant, irresistible Greg Nice sample had more heads nodding than Will Smith and Paul McCartney combined. If El and Mike swaggering atop this molotov cocktail wasn’t enough, wait until DJ Premier gets in on the cut. Ç’est très bon.

50. Violent Soho – Lying on the Floor

No-one’s accusing Violent Soho of doing co-writes with Nostradamus or anything. That said: Releasing a song with the hook “Lying on the floor/Is all I wanna do” a month prior to global lockdowns, from an album titled Everything is A-OK? They had to know something was up. All gags aside, we should be thankful that the album made its way out into the world when it did. Tracks such as “Lying on the Floor” certainly, to borrow a phrase from The Kids, hit different. Doesn’t hurt that it’s more sharp, precise post-grunge from arguably the best Australian band doing it, either.

49. The Beths – Dying to Believe

The lead single from The Beths’ top-shelf second album is equally capable of rolling with the punches as it is landing a few of its own. It opens with Thin Lizzy-aping guitarmonies, rolls into urgent snare-rim clicks, departs into early Strokes jangle before blowing up its own spot with a pure, unadulterated power-pop chorus. Yet another masterclass in structure, songwriting and performance by one of the best working rock bands in the world, let alone their native New Zealand. Not enough for ya? How about Rose Matafeo doing a train announcement? All aboard, motherfuckers. The Beths are here to stay.

48. Tigers Jaw – Cat’s Cradle

Tigers Jaw had to rebuild after three-fifths of their line-up departed in the mid-2010s. When backed into this corner, however, they came out of it with their best album in 2017’s spin. What fate, then, awaits their first album as a newly-expanded four-piece? If “Cat’s Cradle” is anything to go by, we ain’t seen nothing yet. Brianna Collins proves yet again she’s the band’s not-so-secret weapon. Her steely synths cut through the brisk power chords, while the vocals make for one of the band’s most irresistible melodies to date. The throughline from Harry Chapin to the emo revival is complete.

47. Ashley McBryde – Martha Divine

It’s odd to think of a murder ballad as “subversive,” but just about every little thing Ashley McBryde does could be considered as such. The second single from her major-label sophomore Never Will sees her taking down the most unlikely of enemies: Her dad’s new girlfriend, presumably following the death of the protagonist’s mother. Actually, “protagonist” might be too strong a word. “Anti-hero”? You don’t know who to root for, but the song’s rambunctious country-rock shuffle makes sure you’re there for every last shovel bludgeoning. “I’ll say the Devil made me do it,” she reasons. Hell yeah you will, Ashley.

46. Fontaines DC – A Hero’s Death

You know how when “Lust For Life” starts with that clatter of drums and you know shit’s about to kick off? That exact feeling hits when the title track of A Hero’s Death begins. As both the first taste of the album and the first song the band released post-Dogrel, it was imperative that the Dubliners got everything right. As luck would have it, Fontaines’ momentum kept the ball in play – and, furthermore, progressed on their established sound through adaption and evolution. It’s darker, meaner and tougher, but still resolving to maintain its fighting spirit. Life ain’t always empty.

45. Phoebe Bridgers – Kyoto

What kind of year did Phoebe Bridgers have? Career-wise, she went from being an indie darling to a personality trait. The SoCal singer-songwriter has become to alt kids what The Office is to Tinder normies. Credit where it’s due, though: Better Oblivion Community Center’s employee of the month has been putting in the work. “Kyoto” revels in both majesty and misery – who else could make a line like “I’m gonna kill you” sound so goddamn triumphant? Her prolix lyricism employs hammer-swing subtlety amidst fuzzed-out power chords and a Neutral Milk style trumpet line. It all works. It’s Phoebe, bitch.

44. Floodlights – Matter of Time

Written amidst national protests raising awareness of the Australian government’s ongoing climate inaction, there’s a simple sincerity to Floodlights’ lead-off to their debut studio album. It’s not proporting to be bigger, smarter or more powerful than it is. It’s humble, working-class rock from inner-Melbourne suburbia – think Scott & Charlene’s Wedding in their honeymoon period. It’s striking, catchy and quietly resolute by design. When all four band members hone in on the chorus of “It’s all just a matter of time for you,” you’re on their side. You’re heading to the protest on the same tramline. You believe in them.

43. Bob Vylan – We Live Here

Bob Vylan may have kicked off 2020 as a complete unknown, but this rolling stone made a point of gatecrashing the UK scene with a menacing, cutthroat EP and a take-no-prisoners approach. This is the story of the hurricane: a black English millennial spitting bile at the racist infrastructure held up by Boris and his white supremacist clowns. Self-hatred has been instilled in Vylan since he was a child, and “We Live Here” is the menacing, piercing sounds of him refusing to let it win. This is the sound of the Union Jack burning while smashing a guitar into it.

42. Touché Amoré – I’ll Be Your Host

Grief became a huge part of the Touché Amoré canon circa 2016, when their Stage Four LP left no stone unturned concerning the passing of a loved one. A side-effect of this came with touring the record, where frontman Jeremy Bolm became a stand-in outlet for other’s trauma. When he screams that he “didn’t ask to lead this party” here, it’s coming from a place of exhaustion and inner conflict. “I’ll Be Your Host” is the centrepiece of October’s Lament, both for its unbridled emotion and its searing musical intensity. It’s a meta-narrative on the band, and an endearing testament.

41. Code Orange – Underneath

Born of an expansive yet insular hardcore scene, Code Orange always shot for something bigger. Something that would cause friction, both within their bubble and outside it. Provocative, yes, but also prevalent. “Underneath,” which arrived less than two weeks into 2020, felt every bit the mission statement for the band’s defiant reinvention. Tinged with an industrial backbeat, packed with an alt-metal chorus, swerving into mathcore chaos for chaos’ sake. No-one sounded quite like this for the 50 remaining weeks of the year – not like they could come close, anyway. These are not the kids of yesterday. They’re the future.

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And there you have it! To listen to all 60 songs thus far, crank the Spotify playlist below:

Part four comin’ atcha sooner than you think!

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.

Top 50 Albums of 2014, Part Four: 20 – 11

Quick catch up over this-a-way: Part one, then two, then three.

Let’s finish this!

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20. Perfect Pussy – Say Yes to Love
Spotify || Rdio


Cut the crap. That’s all Perfect Pussy want. Say Yes to Love cuts deep, fast and often. As far as the grand scheme of guitar-oriented music was concerned, it felt as if it was one of the more dangerous releases to make itself known within the calendar year – it fumed, it radiated and it sent the levels into a constant bubble of blood red. Beneath its thorny exterior, a further layer was revealed – Meredith Graves shrieks and screams out mantras, rhetoric and personal essays that added to her already-stellar reputation as one of contemporary music’s more important voices. It’s love.

THREE TOP TRACKS: Interference Fits, Driver, VII.

WATCH:

19. TV on the Radio – Seeds
Spotify ||Rdio

“This time, I’ve got seeds on ground.” TV on the Radio sewed new life roughly three years removed from throwing dirt on the late, great Gerard Smith. Seeds allowed them to explore a more straightforward, streamlined approach to songwriting; allowing for their open-book honesty to shine through new love, old friends and healing wounds. It also allowed the band to let itself exist as an entity far greater than the sum of its parts – a chance to completely realise what they have created, what they have so wisely kept alive. Seeds is life after death – it’s not easy, but achievable.

THREE TOP TRACKS: Lazzeray, Careful You, Happy Idiot.

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18. Willis Earl Beal – Experiments in Time

Sometimes, it’s suggested that an artist has “done a 180” as a hyperbolic expression to indicate a change in style. It’s rarely the case that the saying is justified in its use, however. This, along with several other contributing factors, is what makes Experiments in Time such a unique experience. Beal, formerly of the lo-fi blues and proto-folk category, turned his attention to music that is ambient, delicate and cautiously quiet. So radical is the departure, one may even be found double-checking that it is indeed the same man. A completely-unexpected sensation and a welcomed reinvention.

THREE TOP TRACKS: Slow Bus, Waste It Away, Same Auld Tears.

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17. The New Pornographers – Brill Bruisers
Spotify || Rdio

They may wander off for years at a time, but the Pornos are never really gone. You couldn’t kill those mothercanuckers with all of the weapons in Liam Neeson’s arsenal. Theirs is an undying spirit, which resurfaces on arguably be their best LP since Twin Cinema. The bombast of the title track, the defiant stride of “Marching Orders” and the Superchunk wig-out of “War on the East Coast” are just the tip of the proverbial iceberg. Perhaps the best thing about Brill Bruisers is that everyone will walk away with their own highlight – and there’s absolutely no wrong answers here.

THREE TOP TRACKS: Champions of Red Wine, Brill Bruisers, Marching Orders.

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16. Harmony – Carpetbombing
Spotify || Rdio || Bandcamp

Australian children’s entertainer Don Spencer once sang that “The greater part of every state is off the beaten track.” It’s certainly not what he meant, but this much is true of Carpetbombing – while most local releases concerned themselves with the inner workings of city streets or behind the closed doors of suburbia, Harmony’s second LP was covered in the grit, blood and petrol of outhouses, country yards and battered shacks. It’s a grim, confronting and occasionally terrifying record. It’s more Australian than most albums have a right to be. Carpetbombing is the sounds of then and the sounds of now.

THREE TOP TRACKS: Big Ivan, Do Me a Favour, Carpetbomb.

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15. Against Me! – Transgender Dysphoria Blues
Spotify || Rdio

Against Me! began in the bedroom of a teenager named Tom Gabel. It began again on the global stage, lead with aplomb by a thirty-something named Laura Jane Grace. The never-say-die punk spirit that was aflame with its origins continued to flicker defiantly, albeit guiding the path of significantly different subject matter – street-walking, identity crises and parenthood, to name a few. Transgender is the truth, the whole truth and nothing but the truth. It’s what they – and we – needed more than anything. This, friends, is the first day of the rest of Against Me!’s life. God bless its transsexual heart.

THREE TOP TRACKS: True Trans Soul Rebel, Two Coffins, Transender Dysphoria Blues.

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14. You Beauty – Jersey Flegg
Spotify || Rdio

It doesn’t matter if you win or lose – it’s how you play the game. This has been drilled into the heads of countless children, and it sticks for a reason – it reflects on more than just its immediate point of reference. Case in point: Few played a better game in the year passed than You Beauty, the supergroup-of-sorts that brought to life a nameless NRL star of a bygone era. It didn’t even matter if you didn’t know your Joey Johns from your Freddie Fitler – the storytelling was just that enticing. Jersey Flegg was a shoe-in for best and fairest.

THREE TOP TRACKS: Now Her Skirt, Rabbits, Ann-Maree.

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13. Cloud Nothings – Here and Nowhere Else
Spotify || Rdio

There were a lot of notable lines scattered throughout the eight tracks that made up Cloud Nothings’ third studio album, but perhaps the most telling comes in its closing number: “I’m not telling you all that I’m going through.” It’s rung true throughout the collected works of the Dylan Baldi vehicle; perhaps never moreso here – revealing a sliver of introspect and innermost struggle, but always pulling back before a complete reveal unfurls. Nowhere Else also takes the band further into the sprawling, incessant drive of noisy alt-rock, making it a true crowning achievement with the promise of continued future greatness.

THREE TOP TRACKS: I’m Not Part of Me, Now Here In, Pattern Walks.

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12. Young Fathers – Dead
Spotify || Rdio || Soundcloud

Regardless of what you perceived to be its benefits or its drawbacks, the referendum to decide on its independence is generally perceived to be the biggest thing to emerge from Scotland within 2014… at least, it would have been for those that didn’t hear or discover Young Fathers. The collective’s debut LP was one conceived under cover of darkness, revelling in pitch blackness while also taking the initiative to lead the procession toward distant lights. This is hip-hop that wants to be a part of the revolution – and when it comes, those not with them will be first to go.

THREE TOP TRACKS: Am I Not Your Boy, Get Up, Low.

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11. Moon Hooch – This is Cave Music
Soundcloud

The title of Moon Hooch’s second LP stems from what they refer to their music as from a categorical standpoint. You’ll certainly be thankful they did the groundwork for you, as what they do cannot exactly fit directly into any given spectrum. It’s a niche carved on the outside of alternative music – if such a thing is even possible – that digs deep. The trio implement thunderous horns and pitting them in a duel atop ricocheting drum patterns; locking the gates until a victor emerges. This is love. This is war. This is jazz. This is rock. This is cave music.

THREE TOP TRACKS: Bari 3, No. 6, Contra Dubstep.

LISTEN:

Top 50 Albums of 2014, Part Three: 30 – 21

Crossing over the halfway point! Livin’ on some sort of prayer. Parts one and two are to be read/caught up on here and here.

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30. sleepmakeswaves – Love of Cartography
Spotify || Rdio || Bandcamp

The sooner that Australia wakes up and smells the vibrancy of its extensive post-rock community at hand, the bloody better. Sydney’s sleepmakeswaves have become the vanguard act of it in short time, less pushing the envelope and more reading the letter it contained from atop a mountain. With the airtight production guidance of rock expert Nick DiDia, Cartography became a full realisation of everything that the band could be; exploring new depths as well as searing highs – often within the same song. This is the sound of actions speaking far, far louder than words ever could. Consider the game changed.

THREE TOP TRACKS: Great Northern, Something Like Avalanches, Perfect Detonator.

LISTEN:

29. Fucked Up – Glass Boys
Spotify || Rdio

They may be the least hardcore and the least punk band in hardcore punk, but by some bizarre law of double negatives it’s made Toronto sextet Fucked Up far more hardcore and far more punk than a significant amount of their peers. Each of their albums feels momentous, grand in both scope and execution. Glass Boys proves to be no exception, in spite of a leaner runtime – in fact, it allows you to focus further in on the remarkable crafting that goes into each track. An alternate version of the LP with half-speed drums proves to be strangely-alluring additional listening.

THREE TOP TRACKS: Led by Hand, Glass Boys, Sun Glass.

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28. Manchester Orchestra – Cope
Spotify || Rdio || YouTube

Manchester Orchestra have the heart of a lion and their collective eyes on a grander universal bigger picture. It’s now taken them through four albums of life, death, acceptance, honesty, sin and confession; and though one’s take on which is the superior of them may vary from listener to listener, it’s nigh-on impossible to leave a Manchester Orchestra record empty-handed. Although often shrouded in deep-cut metaphor and surrealist lyrical imagery, Cope has its own means of cutting directly to an emotional core at its most crucial points. It’s yet another excellent release from a band that works in mysterious ways.

THREE TOP TRACKS: Girl Harbor, Top Notch, Cope.

WATCH:

27. Run the Jewels – Run the Jewels 2
Spotify || Rdio || Download

We’re not in side-project territory anymore, Toto. The once-unlikely pairing of Killer Mike and El-P, now onto their third release together, has begun to make more sense in the greater spectrum of hip-hop perhaps more than practically anything else this decade. Such a bold statement can be backed by noting the remarkable impact of their second album. Swarming, visceral beats, simultaneous lyrical assaults and a completely-unexpected cameo from a fiery Zach de la Rocha all assisted in allowing Run the Jewels to forcefully smash through the underground and lead riots through the city streets. All hell can’t stop them now.


THREE TOP TRACKS: Early, Oh My Darling Don’t Cry, Close Your Eyes (And Count to Fuck).

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26. Future Islands – Singles
Spotify || Rdio

Some longer-term fans of dramatically-flaired electro-pop explorers Future Islands may feel somewhat disgruntled that it’s taken until their fourth studio album for a wider audience to be paying them the attention that they so rightly deserve. Think of it, instead, as a blessing in disguise: With the world now watching, we see the trio at the very best of their collective abilities; presenting a refined and distinctive take on their genre that revels in its kitsch and unfashionability so much that it comes full circle, leading to the arguably being the coolest damn record of the year. Who’d have thought?

THREE TOP TRACKS: Doves, Seasons (Waiting on You), Sun in the Morning.

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25. James Vincent McMorrow – Post Tropical
Spotify || Rdio || YouTube

For a timid Irish lad, James Vincent McMorrow certainly proved to have balls of steel when he made his launch forth into the great unknown at the start of the year. His second album was described by many as a 180 of sorts, doing away entirely with the folksy instrumentation of its predecessor. Perhaps a more fitting angle, however, would have been a 270. Post Tropical incorporated hindsight in regards to McMorrow’s raw-nerve emotional songwriting and his delicately-placed falsetto, but it also gave view to a brave new world. Who knows who he may yet become? It’s all blissfully uncertain.

THREE TOP TRACKS: All Points, Outside, Digging, Cavalier.

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24. Luca Brasi – By a Thread
Spotify || Rdio || Bandcamp

Two-fifths of Luca Brasi left the fold not a year before the release of their second studio album, a blow which may well have spelled the end for a lesser band. The Tasmanian natives were quick to mend, however – it wasn’t long before their triple-guitar interplay was woven into a tighter twin assault; while replacing the towering Saxon Hall on drums with the impeccably-bicepped Danny Flood was like switching out an unstoppable force for an immovable object. The craftsmanship of the songs, too, proved to be their greatest collective achievement to date. They – and we – live to fight another day.

THREE TOP TRACKS: Western Junction, Borders and Statelines, Here’s Looking at You, Kid Rock.

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23. Kishi Bashi – Lighght
Spotify || Rdio || Bandcamp

Kaoru Ishibashi finds himself in the realm of indie-pop with the violin as his weapon of choice over keyboards or guitar. This left-of-centre take on the genre allows for KB’s amazing technicolour dream-music to roam as freely as it pleases. On Ishibashi’s second LP under the moniker, he layers both his instrument and his voice to the point of assembling a chamber orchestra and a choir respectively. By means of beautifully striking contrast, there are also moments of quiet that reel in focus to the man behind it all. Much like its cover, Lighght is a stunning work of art.

THREE TOP TRACKS: Q & A, Philosophize in It! Chemicalize with It!, Carry On Phenomenon.

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22. Ted Danson with Wolves – WWTDWWD?
Bandcamp

From their culture-jamming band name to their sax-wielding take on DIY math rock, there’s nary a band runnin’ ‘round these parts that’s quite like Sydney’s Ted Danson with Wolves. It may well not have been their intentions when they initially formed out in humble old Tamworth several moons ago, but it’s where they’ve ended up on their outstanding debut effort. Its hyper-literate lyrics delve into the seriously strange and the strangely serious on a tandem basis, shrieked above a mesmerising cacophony of bass rumble, drum splatter and guitar squiggle. The outsiders found a way in, at long last. WWTDWWD? This.

THREE TOP TRACKS: Tim Has a Really Good Idea (Again!), Bohemian (I Don’t) Like You, In the Throes of Golf Woes: “It Was a Coarse Course, of Course.”

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21. The Smith Street Band – Throw Me in the River
Spotify || Rdio || Bandcamp

Wil Wagner has said several times that there have been moments where he’s considered quitting music entirely. Throw Me in the River makes one ever so grateful he made the right call and kept his band alive. Were it to be summed up in three words? Let’s try “location, location, location.” Its songs take place all over the globe, from late nights in Calgary to a boiling day at Meredith Music Festival; not to mention its recording taking place in the small town of Forrest. No matter where you’re from, River shows that it’s where you’re at that’s most important.

THREE TOP TRACKS: Calgary Girls, Surrender, Throw Me in the River.

LISTEN:

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

201420

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

100 – 81
80 – 61
60 – 41
40 – 21

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

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20. Bleachers – I Wanna Get Better

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

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

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

18. The Smith Street Band – Surrender

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

17. Slipknot – The Devil in I

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

16. Pianos Become the Teeth – Repine

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

15. Ben Howard – I Forget Where We Were

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

14. Babaganouj – Bluff

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

13. Georgia Maq – Footscray Station

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

12. Young Fathers – Get Up

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

11. The Kite String Tangle – Arcadia

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

10. Ben Howard – End of the Affair

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

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

9. Yoke – Burden

My yoke is easy and my burden is light.

– Matthew 11:28

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

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

8. The New Pornographers – Brill Bruisers

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

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

7. Oslow – Blue on Blue

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

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

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

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

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

5. TV on the Radio – Happy Idiot

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

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

4. tUnE-yArDs – Water Fountain

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

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

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

3. Hockey Dad – I Need a Woman

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

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

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

2. Sleaford Mods – Tied Up in Nottz

It’s more than that.

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

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

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

This? This is what you need to hear.

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

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

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

1. Future Islands – Seasons (Waiting on You)

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

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

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

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

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

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

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

This was dancing in the face of fear.

Dancing to the end.

Dancing like no-one was watching.

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

***

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

Tracks by Australian artists: 38.

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

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

Multiple entries:

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

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

Thanks so much.

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

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

***

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

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

39. St. Vincent – Digital Witness

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

38. The Kite String Tangle – Words

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

37. Jane Tyrrell – The Rush

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

36. Ken Stringfellow – Kids Don’t Follow

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

35. Babaganouj – Too Late for Love

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

34. Kelis – Breakfast

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

33. Ben Howard – Conrad

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

32. Luca Brasi – Borders and Statelines

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

31. Swans – Oxygen

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

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

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

29. Bertie Blackman – Run for Your Life

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

28. Kiesza – Hideaway

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

27. Coldplay – Magic

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

26. Tkay Maidza – U-Huh

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

25. Yoke – Jabiluka

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

24. DZ Deathrays – Reflective Skull

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

23. Sia – Chandelier

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

22. The Gaslight Anthem – Get Hurt

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

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

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

***

20 – 1

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!

***

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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INTERVIEW: Jae Laffer (AUS), September 2013


This was the first feature that I wrote for the BRAG, and there’s many happy returns where that came from. So far, I’ve done dozens of features for them; including seven cover stories that I’m really happy with. Obviously, we’ll get to them before you know it. Let’s get back to this, as I had a chat with the perfectly charming frontman of The Panics. Seriously underrated band if you ask me – even if, for many, they live and die by that song. This was in promotion of his perfectly charming solo album. Painless interview. Good one to start with for a place I’m still very proud and happy to be writing for.

– DJY, December 2014

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2013 not only marks the release of Jae Laffer’s debut solo album, it also marks a milestone of ten years since the release of A House on a Street in a Town I’m From, the debut album from Laffer’s day job, The Panics. Jae exudes a sense of pride at what the band achieved – particularly at such an early age.

“It reminds me of that time in your life when you’re waking up out of being a dreamer in high school,” he says. “I listen to that album and I hear myself crazily imitating all of my heroes. It’s so exciting, though – and when it starts catching on, it’s the most invigorating feeling. There’s a great energy, and that’s the great thing about the kind of music you make when you’re in your teens – it’s naïve, but it’s not afraid of anything.”

The Panics have been on an extended break following the release of their 2011 album Rain on the Humming Wire. In that time, Laffer has been hard at work on When the Iron Glows Red – an earnest slice of folk-rock full of warm harmonies, strident acoustic guitar and a new-found sense of purpose. Laffer felt that Iron was an album that he had to make.

“I just wanted to test the waters,” he explains. “I’ve gotten to the stage where the band and I want to change up what we do and start afresh. We’re still very close, but I also wanted to keep up creativity on all fronts.”

“I felt it was a good time to do this album,” he continues. “After the last Panics album took a little longer than we wanted, it certainly had its particular stresses here and there. All I really wanted to do before starting on any new Panics stuff was just to show myself that I could create an atmosphere, write a whole bunch of songs really quickly and record them. For many years of compromising, it just felt great to be freely creative for creativity’s sake and take control of a record – produce it, play most of the stuff on it. It just felt good, and it worked.”

Laffer points to two iconic figures – John Lennon and Bruce Springsteen – as being greatly influential on the sound of Iron. “I think a lot of what I was listening to was reflecting being thirty years old and having new kinds of pressures in life,” he says. “It’s that struggle of trying to keep our dreams alive and not compromising too much, not letting things stop you from being your true self. So I found myself really relating to the worker’s ballads of Springsteen and Lennon crazily talking so abruptly about his relationship. I might not be up there with those guys, but it’s just that kind of feeling that resonated with me.”

The album will be launched with a national tour, starting in mid-October in Melbourne and winding up with a Sydney date in early November. Laffer will be joined by a four-piece backing band, and promises a mix of new solo material and some Panics favourites. Don’t worry about backlash should you request ‘Don’t Fight It,’ either – against all odds, Jae is at peace with The Panics’ biggest single.

“It’s just a cool song,” he says calmly. “As far as having a track that sums you up to people, then I feel ‘Don’t Fight It’ puts our reputation in good hands. It’s got a certain something to it… I’ll always be proud of it.”