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.

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Part three up next Monday! 

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

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

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

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

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

DJY, December 2015

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100. Cosmic Psychos – Fuckwit City

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

99. Kissing Booth – Battlefield

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

98. You Beauty – Illywhacka

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

97. Frank Turner – The Next Storm

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

96. Young Fathers – Rain or Shine

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

95. Alabama Shakes – Don’t Wanna Fight

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

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

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

93. Hockey Dad – Can’t Have Them

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

92. Drake – Know Yourself

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

91. Beach Slang – Bad Art & Weirdo Ideas

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

90. Endless Heights – Teach You How to Leave

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

89. The Bennies – Party Machine

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

88. Pity Sex – What Might Soothe You?

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

87. Miguel – leaves

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

86. Darren Hanlon – The Chattanooga Shoot-Shoot

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

85. Micachu and the Shapes – Oh Baby

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

84. Best Coast – Heaven Sent

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

83. Bad//Dreems – Cuffed and Collared

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

82. Foals – What Went Down

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

81. The Hard Aches – Knots

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

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Part Two will be posted next Monday!

To download the podcast version of Part One, click 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.

WATCH:

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.

LISTEN:

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.

LISTEN:

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.

LISTEN:

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.

LISTEN:

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.

LISTEN:

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.

WATCH:

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
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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.

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INTERVIEW: theredsunband (AUS), October 2008

My second interview and the first one that ever got published. They decided to hold out on the Adam Green feature so that it would get timed correctly with Meredith. I wasn’t complaining – people were gonna read my stuff, man! Holy shit. Sarah Kelly and I are… well, not friends, but we’re certainly acquaintances. Having seen her through several guises over the years – most recently with the excellent Good Heavens – I’ve always had a great appreciation for her songwriting.

She remains one of the more underrated performers in this country, but you’d never have guessed that by the way I interviewed her. I was a really big fan of theredsunband, particularly their Peapod record. Throw on any jam from that record and I’m immediately in a good place. As an interviewee, she was a little reserved and softly-spoken, but that was fine. It reflected her overall nature – and besides, I wouldn’t have exactly warmed up to some dorky teenager mouthbreathing down the phone, either.

– DJY, July 2013

***

You’d be forgiven for not remembering Sydney alternative rock trio theredsunband in 2008. Even on the band’s own terms, it’s been quite a while since they gently rocked our worlds with 2005’s Peapod. They subsequently played around the nation with countless Aussie and international acts, including one support slot for the legendary Sonic Youth. The obvious question, thus, to put to Sarah Kelly (guitarist, vocalist and brains behind theredsunband) is why exactly it had taken so long for their return in the form of their new record, The Shiralee.

“We actually recorded the album two years after Peapod ,” she explains. “It took a little longer to release, because we weren’t really sure of how we were gonna do it.” What followed was a refreshing and classically DIY mission of releasing The Shiralee: pay for the entire recording out of pocket (thanks to a lengthy 32-stop van trek across the country in 2005 and a songwriting grant) and release it independently through their own new label. “It’s been a really good experience, I’ve liked the whole thing a lot,” Kelly happily comments. “You learn a lot of different things about stuff that goes on that you don’t really notice when you’re on a record label.”

Kelly’s inspiration in her songwriting for the sophomore release stemmed from the Shiralee itself. Translating to “burden” in an Aboriginal dialect that even Kelly herself is unaware of, the book is, according to Kelly, “basically about this man wondering around in the outback.” Further independent research on the matter revealed the book’s plot to be somewhat deeper than this, depicting a man’s relationship with his child and the stressful ways of the outback Australian life. Regardless, it appears that theredsunband’s sound has mused upon the Shiralee’s environment rather than its characters.

“It’s a very spacious record,” says Sarah, before adding, “We spent a lot of time on the road, and I kind of think you can hear that on this album.” A request for further elaboration on this statement ironically presents further ambiguity. “It’s hard to explain. I don’t think you can necessarily explain why certain imagery comes into your head when you hear songs.”

True enough – especially when talk turns to what Toby Martin, singer and guitarist of long-serving Sydneysiders Youth Group, thinks of the record. “He told me that when he listens to that record, he gets a sense of a really huge, open space in the desert with lots of tiny little people walking around,” Kelly explains with a laugh. “That’s such an awesome thing to say.”

Australia will have their chance to experience this desert-sized sound for the first time as theredsunband team up with Youth Group for what looks to be one of the bigger Australian tours of this year. A double header, the tour takes the bands to a myriad of interesting regional places in addition to the capital cities – several of which neither band has ever been to.

“Neither of us has played in Wagga Wagga, or Currumbin or Noosa,” says Kelly as she tries to think of the places which the tour will take her. “I’m really looking forward to those shows and going to those places. We’ve played in quite a few unusual spots over the years, and tours like this are a really good opportunity.”

The tour was conceived after both Kelly and Martin appeared on the hugely popular SBS pub trivia show RocKwiz. The two battled it out as the guests on opposing teams, to be united later in the night with a surprisingly brilliant version of the Jesus and Mary Chain’s Sometimes Always. Martin took Jim Reid’s part, while Kelly did her best Hope Sandoval. Afterwards, discussing the touring plans for both camp’s new records (The Shiralee and Youth Group’s fourth release, The Night Is Ours, respectively), it was decided that “it would be great fun to do a tour together.”

“We’ve known various members of Youth Group for a very long time,” recalls Sarah, briefly before our conversation turns sweetly anecdotal. “I think the first time we ever played together was in 2002,” she continues. “That was [sister and keyboardist] Lizzie’s first show with the band. She was only 16 back then! Luckily, she had a fake ID under the name of Roxanne.”

‘Roxanne’ has long since grown up and established herself as the backbone of theredsunband sound, with warmly-toned organ and simple yet effective percussion such as the tambourine. It may seem a cliche to ask, but one can’t help but be intrigued as to whether it is difficult having a younger sibling on board in the band.

“People ask that all the time,” Kelly offers casually. “It’s not difficult at all. She’s a very calm person, always very cool. If anyone ever chucks a tantrum, it’s gonna be me!”