Top 50 Albums of 2014, Part Two: 40 – 31

He’s at it again! Part one is here ICYMI.

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40. Modern Baseball – You’re Gonna Miss It All
Spotify || Rdio || Bandcamp

There’s an endless stream of great lyrics that flow through Modern Baseball’s second album, but perhaps its most telling moments come through its asides, its mumbles and awkward fumbles. “Yeah… about that…” comes with awkward pauses on ‘Fine, Great,’ while the line “I could not muster the courage to say a single word” practically falls over itself in ‘Apartment.’ It’s an awkward and uncomfortable record, but in a way it has to be in order to convey the dissatisfaction and blank, distant gazes that come with such sighing honesty among its smart pop-punk and understated alt-rock. Whatever forever.

THREE TOP TRACKS: Two Good Things, Notes, Your Graduation.

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39. DZ Deathrays – Black Rat
Spotify || Rdio

With the wizardry of Gerling alum Burke Reid guiding them, Brisbane’s finest party-starters maintained the rage on their all-important second album. It’s worth pointing out that there was far more to the album than what was presented on surface value: While DZ kicked their boots into several slices of snarling garage rock, they also found themselves slowing to a crawl and exploring the possibilities of more than one guitar – let’s try a half-dozen. Why not? Black Rat is the sound of a band expanding their empire, refusing to be either restricted or defined by what’s previously been laid out.

THREE TOP TRACKS: Northern Lights, Reflective Skull, Gina Works at Hearts.

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38. Jane Tyrrell – Echoes in the Aviary
Spotify || Rdio

A supporting player that has had people begging for a lead, Jane Tyrrell is regarded as one of the finest vocalists to emerge out of Australia’s hip-hop community. Here, she takes those lessons learned and breathes fresh life into them. Assisted by a stellar team of producers and multi-instrumentalists, Tyrrell revels in deep, dark secrets; conveyed with the kind of sorrow that can only come from raw-nerve connections to every last lyric. At once breathily intimate and unreachably distant, Echoes is the sound of an artist taking flight for the very first – and certainly not the last – time.

THREE TOP TRACKS: The Rush, Echoes in the Aviary, Raven.

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37. Mere Women – Your Town
Spotify || Rdio || Bandcamp

The bloodline of Mere Women runs through DIY punk, indie rock, basement electronica and warehouse post-punk. It fits in everywhere and nowhere at the exact same time; such is the nature of its genre traversing and integral versatility. Truth be told, there’s very few bands that quite match what it is that Mere Women do, and that’s never been more the case than on Your Town. Each note feels cacophonous, cold to the touch and bristling with anxiety and defeat. It all falls into place, painstakingly detailing what happens when things between people disintegrate into nothing at all. Truly jawdropping.

THREE TOP TRACKS: Our Street, Golden, Home.

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36. Outright – Avalanche
Bandcamp

There is no band in Australian hardcore right now more important than Outright. There is no band in Australian hardcore right now that will sit you down, shut you up and give you the severe reality check that you need the way Outright will. No album in Australian music this year was able to encapsulate such fury and such authoritative defiance like Avalanche did – and in such a short amount of time. How much more evidence do you need in order to see Avalanche as a milestone for its scene and its genre? Do we have everybody’s attention now?

THREE TOP TRACKS: A City Silent, Troubled, With Your Blessing.

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35. Megan Washington – There There
Spotify || Rdio

What kind of year has it been for Megan Washington? It’s all out in the open now. Everything. She’s publicly confessed to having a stutter, told all about a failed relationship that even had a wedding on the cards… hell, she’s even performing under her full name now. The details are not spared on There There, and its seemingly-cathartic release benefits both her and those that have always perceived her to be an excellent and important songwriter. This is Washington’s single best collection of songs, and those that investigate its innermost secrets are the ones that will be rewarded greatest.

THREE TOP TRACKS: Limitless, Marry Me, My Heart is a Wheel.

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34. St. Vincent – St. Vincent
Spotify || Rdio

It doesn’t matter if it happened when she dropped her debut, when she teamed with David Byrne or even when she stole the show during SNL: You’ve fallen in love with Annie Clark. As St. Vincent, she has been responsible for some of the most arresting, envelope-pushing art-rock this side of the century. Not only was this reaffirmed on her self-titled LP, it showcased some of the finest examples of it. Whether she’s shredding with the flair of an 80s metal star or tiptoeing around delicate arrangements with the grace of a ballerina, the love affair remains in full swing.

THREE TOP TRACKS: Digital Witness, Bring Me Your Loves, Birth in Reverse.

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33. Tiny Ruins – Brightly Painted One
Spotify || Rdio

Hollie Fullbrook may be a particularly quiet artist, but there’s a certain je ne sais quoi about her that will stun you into silence. She’ll be recalling a specifically-detailed story from her childhood at one point, falling helplessly in love with a nearby worker at another. What ties it all together is both Fullbrook’s knack for stunning melodies and impeccable, tidy arrangements incorporating warm horns, pinches of strings and her exceptional rhythm section. Brightly Painted One deserves to be seen, heard and known.

THREE TOP TRACKS: She’ll Be Coming ‘Round, Me in the Museum, You in the Wintergardens, Ballad of the Hanging Parcel.

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32. Slipknot – .5: The Gray Chapter
Spotify || Rdio || YouTube

It was always going to be driving a hard bargain in order to make people care about Slipknot again. Six years have passed since their previous record, a tragic loss almost ended the band entirely and perhaps their best-known player exited the fold permanently. It’s either on account of this or in reaction to it, but The Gray Chapter is an album that overcomes every obstacle. It’s an album that makes the impossible possible, pounding its fists through the coffin and rising up to complete unfinished business. It’s the sound of a band who won’t go down without a fight.

THREE TOP TRACKS: Custer, Sarcastrophe, The Devil in I.

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31. J Mascis – Tied to a Star
Spotify || Rdio || YouTube

On paper, an acoustically-oriented record from one of the most prominent, inventive electric guitarists of the past 30 years would appear to be fruitless, confusing and counter-productive. One pities the fool, of course, who would ever think to doubt or question the motives of one Joseph Donald Mascis, Jr. Whatever style of music he lends his formidable songwriting abilities to, the Dinosaur Jr. mainstay is sure to make it a worthwhile endeavour. Star marks his strongest solo album, delving into Nick Drake-esque introspect and sweetly-soft falsetto. It betrays what you know him best for, making it all the more fascinating.

THREE TOP TRACKS: Every Morning, Me Again, Wide Awake.

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The Top 100 Songs of 2014, Part Two: 80 – 61

In case you missed out on part one, you can check out the previous 20 songs here. If not, then let’s get right back into it…

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80. Manchester Orchestra – Top Notch

Four albums in and Manchester Orchestra’s Andy Hull is still searching. Not just for himself, or some kind of greater truth; but for what can be found and what can be learned in the ways other people. He remains one of the poignant and powerful voices within contemporary indie rock, and this is cemented with the resolute, belligerent opener to April’s Cope. An occasionally-cacophonous affair, Hull remains centred at its core. “I know there’s no way to fix it” isn’t a line delivered with despair – it’s a line delivered with acceptance. The search continues.

79. sleepmakeswaves – Something Like Avalanches

The last twelve months have seen sleepmakeswaves translate their cult status among fans of local music into something far greater than any of them could have anticipated: top 40 chart positions, ARIA and Triple J award nominations and a reputation as our single greatest post-rock export. At the centre of this has been “Something Like Avalanches,” which lead us into their exceptional Love of Cartography while also serving as quite possibly their single finest moment. Its whisper-to-shout progressions, seemingly-endless array of left-hooks and bursts of energy tidily summarise why we’re dealing with one of Australia’s most important bands right now.

78. Run the Jewels feat. Zach de la Rocha – Close Your Eyes (And Count to Fuck)

A hip-hop behemoth, an effortlessly-cool underground king and one of the true rock revolutionaries of the 90s – what could possibly go wrong? On what was one of the year’s most badass numbers, Mike and Jaime bark with authoritative force over malfunctioning, bass-gurgling beats; dropping references to everything from Al Pacino to The Anarchist Cookbook. This all happens before leading in the former Rage Against the Machine frontman on a verse that is potentially his most vital since The Battle of Los Angeles a whole fifteen years ago. Old dogs, new tricks and a certified banger to show for it.

77. Mere Women – Our Street

The idea of impermanence within the confines of a relationship isn’t something that’s often brought up in songwriting – we’re either at blossoming, tender beginnings or the hateful, bitter end. “Our Street” is a song that looks at that moment where you see the end in sight – the hook of “I’ve walked down this street so many times” is one of both familiarity and frustration through boredom. It’s backed by some of the best guitar sound on any record in 2014; as well as a minimal but noticeable shade of accessibility shining through the band’s art-rock exterior. Misery loves company.

76. The Decemberists – Make You Better

Colin Meloy’s days of drowning children, barrow boys and giant whales are behind him. That’s not to suggest that he’s lost any of his imagination in his hyper-literate songwriting, but more that he’s focused back in on reality. On his band’s first single in four years, he guides his acclaimed wordplay through a romance that seeks co-dependence and relit flames while maintaining an honesty about what it all means. It’s unpretentious in its delivery, and yet it still leaves an impact just as strong as any of their more melodramatic numbers. A great mind of modern music has rebooted.

75. The New Pornographers – Champions of Red Wine

Less than a year after dropping an exceptional solo LP, Neko Case was at it again; this time with the Canadian collective she made her name with all those years ago. Years have passed since the last Pornos offering, and yet it immediately falls back into place; albeit with slightly different surroundings. An earth-orbiting synthesizer leads the fray; which weaves in and out of a washed-out acoustic guitar, a sturdy kick-kick-snare backbeat and some truly beautiful vocal interplay between Case and A.C. Newman over a wordless Irish-folk-flavoured refrain. No time for losers – The New Pornographers are still the champions.

74. Modern Baseball – Two Good Things

Detached, disillusioned, dissatisfied, dissociative… this, people, is how youth of today are feeling. Modern Baseball did a better job than most (if not all) of reflecting this on You’re Gonna Miss It All, providing a song that’s both endlessly quotable (“Mathematically, that can’t be more than one end of a candle/Bottom of the night, can’t find my socks”) and meticulously crafted. As one of the more subdued moments of the album, it recalls The Weakerthans in structure, while also alluding to doo-wop (see the “da-da-da” rounds following the first verse) and late-2000s pop-punk. Here they are now – entertain them.

73. Aaron West and the Roaring Twenties – Divorce and the American South

Last year, Dan Campbell was asking himself “Did I fuck up?” on The Wonder Years’ “Passing Through a Screen Door.” Here, he flat-out confesses “I’m a fuck-up.” Well, sort of: He’s saying it as Aaron West, the titular character of his solo project. West pleads with his estranged wife on an answering machine, revealing more of his inner turmoil than he’d care to do in person. Little else touches Campbell’s solo performance, but they’re justified inclusions – pedal steel adds guiding lights to this sad country song; while a lone trumpet sounds out the finale with a trace of hope.

72. Hilltop Hoods – Cosby Sweater

Without getting into too much detail, it wasn’t a great year for Bill Cosby. His choice of clothing from the 80s, however, was doing just fine. Alluding to a famous photo of Biggie Smalls wearing the titular jumper, the Hoods returned to the limelight with one of their most fun singles yet from a thoroughly-consistent new album (a rarity if said album is your seventh). If the rollicking beat wasn’t enough, the energy and tongue-in-cheek cultural references (Oprah, Pat Benatar, chess legend Bobby Fischer) from MCs Suffa and Pressure ensured that it went over the line. And it’s all good.

71. Taylor Swift – Shake It Off

70. Death From Above 1979 – White is Red

A teenage romance ending in tragedy is as old as the hills – and even they’re sick of hearing “Last Kiss” over and over. It’s an intriguing concept, though, when it comes from a band normally inclined to skip the foreplay – their last album was called You’re a Woman, I’m a Machine, for shit’s sake. “White is Red” recalls love turned sour on a late-night runaway drive going anywhere. It’s sprinkled with clear influence of heartland-rock storytelling, yet delivered in a manner best paralleled with the band’s “Black History Month.” A colourful song that also revels in its darkness.

69. Future Islands – Doves

Releasing the doves has always been a grandiose gesture going well over the borderline of the flat-out ridiculous. This kind of theatricality is brought to mind by the title alone of this cut from Future Islands’ fourth studio album, so imagine what happens when it actually kicks in with its arena-sized snare flams and John Oates synth-chimes. It’s yet another example of the band potentially coming off as too out-there, too cheesy, too goofy… and then just nailing it entirely. A pop smash best served with that slithery dance move Samuel T. Herring does that recalls SNL‘s “sloppy swish” sketch.

68. Royal Blood – Little Monster

The backlash for rock’s next big thing arrived just as quickly as the cover stories and Dave Grohl soundbites proclaiming them to be saviours of the genre. Wherever you ended up on the spectrum, it was hard to ignore a track like “Little Monster” – if for no other reason that it was a loud motherfuckin’ song. A hybrid of QOTSA at their most stoner-metal meeting Muse at their ballsiest, the track simultaneously kicks up dust and kicks out the jams. “You say you got nothing/So come out and get some,” offers bassist/vocalist Mike Kerr. Don’t mind if we do.

67. Slipknot – Custer

Dun-dun-da, dun-dun-da, dun-dun-da-da-da. It might look like a slap-dash use of onomatopoeia, but it served as a dog whistle to metal fans returning to the world of Iowa’s premier nu-metal survivors. Genre politics aside, the fact that the band is still standing at all after all they have been through is a miracle unto itself. To deliver a song like this, however – an all-guns-blazing sensory assault that makes a song like “People = Shit” sound like Jack Johnson – surely cements them as a band that have paid their dues in full and one that deserves far more credit.

66. Collarbones – Turning

It’s always important to note the creativity in each single from Collarbones: What can initially seem like something that’s going to collapse into itself steadily and surely turns itself into a pop-and-locking wonderland. It’s as if they’ve rearranged puzzle pieces where they were clearly not originally intended to go and created a different picture entirely. In this instance, it’s a choppy, jolting slice of electro-pop that’s as much rnb come-ons as it is Macbook-hunched techno. “You make me feel like someone new,” sings out Marcus Whale – and it’s enough to get you excited for who they may be next.

65. Jenny Lewis – Just One of the Guys

We’re past the casual sex and the pained relationships of Jenny Lewis’ days in Rilo Kiley. As she approaches 40, she finds herself considering her own position in relation to her friends, her public perception and the supposed ticking clock following her around. Of course, we all know that Lewis is far more than “just another lady without a baby,” as she puts it; but it’s hearing her come to that conclusion on her own accord that makes this dreamy pop number all the more worthwhile. Now, about that tour with Kristen Stewart and Anne Hathaway as her backing band…

64. Weezer – Back to the Shack

The first words out of Rivers Cuomo’s mouth on Weezer’s first single in four years are “Sorry, guys.” No shit. Who’d have thought the man responsible for Make Believe and Raditude would be rushing to make amends with the die-hards? Perhaps it was their extensive touring of The Blue Album that made him reconsider what makes a great Weezer song, but the mojo is very much swinging in this two-chord rocker. “Maybe I should play the lead guitar,” he considers, “and Pat should play the drums.” They do just that, and we’re rocking out like it’s ’94 all over again.

63. Oslow – Cliffy

Cliff Young – aka Cliffy – was an Australian power-walker who won a marathon with a simple but clearly-effective shuffling method. Whether this was an influence on the third single from Oslow’s exceptional second EP is anyone’s guess, but a) It’s fun to speculate; and b) It’s reflected in the band’s focus on the groove and the spaces that go between each note as opposed to filling every gap. Oslow are clearly winning the race when it comes to the field of forward-thinking indie-rock emerging from Australia, so you’d best catch up – at your own pace, of course.

62. TV on the Radio – Careful You

One of the more understated romantics in alternative music singing in French? That’s how you do it. TV on the Radio have rarely shied away from romance in the past, ranging from the yearning (“Will Do”) to the R-rated (“Wear You Out”). It’s a little more subdued here, with Tunde Adebimpe sending his heart-on-sleeve lyricism into the ether with cooing keys, buzzing bass and some truly old-school drum machine loops. This is how TV on the Radio enters their forties – not with a whimper, nor with a bang, but with a kiss. Stop the world and melt with them.

61. La Dispute – For Mayor in Splitsville

Each room in the house that was conceptually centred around the band’s third album – titled, er, Rooms of the House – allowed vocalist Jordan Dreyer to explore memories, lost lives and a seemingly-forgotten past that’s slowly pieced together. At this point, he’s come across a particularly-ruined space, triggering memories of his childhood, as well as both the proverbial and literal tonne of bricks that came crashing down in the demise of his adult life. It’s clear that when he screams “I guess, in the end, we just move furniture around,” he’s not just talking a couch and a chair.

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