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.

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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.

WATCH:

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:

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.