Tag: post-punk

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20. Bleachers – I Wanna Get Better

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

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

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

18. The Smith Street Band – Surrender

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

17. Slipknot – The Devil in I

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

16. Pianos Become the Teeth – Repine

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

15. Ben Howard – I Forget Where We Were

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

14. Babaganouj – Bluff

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

13. Georgia Maq – Footscray Station

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

12. Young Fathers – Get Up

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

11. The Kite String Tangle – Arcadia

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

10. Ben Howard – End of the Affair

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

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

9. Yoke – Burden

My yoke is easy and my burden is light.

– Matthew 11:28

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

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

8. The New Pornographers – Brill Bruisers

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

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

7. Oslow – Blue on Blue

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

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

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

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

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

5. TV on the Radio – Happy Idiot

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

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

4. tUnE-yArDs – Water Fountain

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

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

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

3. Hockey Dad – I Need a Woman

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

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

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

2. Sleaford Mods – Tied Up in Nottz

It’s more than that.

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

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

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

This? This is what you need to hear.

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

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

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

1. Future Islands – Seasons (Waiting on You)

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

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

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

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

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

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

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

This was dancing in the face of fear.

Dancing to the end.

Dancing like no-one was watching.

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

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

Tracks by Australian artists: 38.

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

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

Multiple entries:

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

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

Thanks so much.