Hey! So the first half of my End of Year will be tomorrow and I'm getting pretty excited. Third year in a row that I've been terrified of having to finish by the deadline but I'm almost done Also for a third year in a row there'll be a top 250
Monday 21st January - countdown of #100 to #51 with a pre-broadcast lasting around 30-40 minutes Tuesday 22nd January - countdown of #50 to #1 with a pre-broadcast lasting around 30-40 minutes
It'll start sometime around 7-8pm AEDST both nights
I'll come up with some EOY questions and if you want you can also do a pred of the top 10 or 20 or whatever
Question 1: How high will Freefall and Falling Into Me be? Question 2: How many songs with an Australian artist on them will be in my top 100? Question 3: Which artist or artists will have the most top 100 entries? Question 4: How many artists will have one or more entries in the top 100? Question 5: Will any artist have two songs make the top 20? Question 6: What non-#1 song will be the highest? And if you want to guess what position that song will be in feel free to Question 7: How many ARIA top 50 hits will make it into the top 100? If any do make it, which top 50 hits will they be? Question 8: How many ACI #1s will make the top 100? Question 9: #69 and #100 preds?
#1, top 5, top 10, top 20, top 50, top whatever predictions are also welcome ofc
Unfortunately this just missed out on my 2017 EOY, so it deserves a mention here. I love Joyride's charisma, rhymes and personality. I've always got amusement out of the title - I do have an aunty called Tracey. She doesn't make cookies though It's very wholesome that Joyride has an aunty Tracey, whose cookies have made sure musicians feel comfortable and happy when they visit Victoria in the words of Joyride himself. It's also produced by Hermitude which is another reason to love this.
JAIE's first hit on my chart and it's absolutely lovely. This one is a little different stylistically to "We Could Be", but there's still some similarities and they both hook me in. I do also think this charted at a good time for success because it was quite relatable in January last year.
This description as seen here about the song sums up how I feel well:
"See Me reflects not only Hirasedo's stunning vocal range but also her deeply personal, emotive songwriting. Matched with smoky, sensual and bass-driven production, the track gives a first taste of her experience and inspirations with a debut full release to follow."
This is pretty typical of Peking Duk, perhaps too much which is why I initially didn't care much. But after a while I really got into it. It's got some of those guitar licks, and production wise it's a proven Peking Duk formula that works for me. Must admit I am surprised how well it did on the ARIA chart, though.
#102 No Worries - Jean Tonique featuring Larry Houl
This is pretty cool. A funky track from a producer that has had success on my chart before, with top 5 hit "Guest" in 2015 being the biggest of those prior tracks. I think this track is pretty simple but it works. I like the vocalist and thinks he suits the music he's singing to. Good stuff.
An interesting song. I like this kind of electronic track though, as you can probably tell. Beautiful female vocals, some vocoder and calm vibes. Also, I really like the way HANDSOME describes the song below
"Save Some Love is a reminder to love yourself. We allow ourselves too often to give all of our energy, positivity and love out to other people, we often for get to leave a little for ourselves. This song has many different stories to it, many heroines that I have met in my life that have done and said things that have reminded me how important self-love and authenticity truly is."
Wafia sure loves those #19 peakers that get boosted up right before my EOY is done This is not as good as "Bodies" but is a very groovy effort. I just love what Wafia does here, it's a very catchy and memorable chorus and would absolutely be a big pop hit if there were justice in the world. I do like the sound of Wafia's voice as well and the tone that she uses.
I've really come to like this. There's something about the dark and mysterious sounding performance by bülow and the dark electronics that really sucks me in. I'd say it's appropriate given the title of "SAD AND BORED". Duckwrth makes a good contribution.
I like Tkay Maidza more than her EOY presence would suggest. She has only had M.O.B. (#167 2015) and Simulation (#238) make it in before. So "White Rose" has become her highest appearance in an EOY list. I'd possibly put M.O.B. in my top 100 of 2015 nowadays Anyway this was a really nice diversion from what I've come to expect from Tkay. More ballad like and it gives a chance to hear her beautiful singing voice.
This isn't something I initially would've expected to do so well but it has really clicked as of late. I think Georgia sounds great here, and I do like the choppy vocal sections too. Well produced to top it all off.
I've seen this featured in a number of EOYs and this is another where you'll see it It's currently at its #11 peak and is one of the newest songs (in terms of time since debuting on my chart) that is in the top 110 section of my EOY. I love her voice here and I do like the structure of the song. The structure feels a bit odd to me but it works well. Like many songs in my EOY, I also connect with the emotions in the lyrics.
An interesting collaboration given Shura is just listed as a remixer. I think the original isn't as good, the chorus is fantastic but I think the rest is lacking. It could just be that I heard the remix first, but I think the speed up works surprisingly well. Considering Ria Mae's first hit on my chart was due to Great Good Fine OK's remix, maybe it isn't so much a surprise that a remixed song of hers could have success on my chart
Interesting in the way that it's not what I expected from the title and artist names. It relies a lot on particular lyrics, but does so in a way that draws me in and keeps me in. The beats here are fantastic and blend well with the vocal manipulation. Approriately dark sounding.
Without any Lorde hits in 2018 I thought my top 100 would only have maybe one or two NZ songs in it. Bene is one of those that has made it in with "Soaked". I was a little late on it but I really did appreciate it a lot after I did listen to it. This was also very weird to place so high but the more I listened to it during the End of Year process the more I realised it's worthy of being this high. Well done Bene
After a string of releases post- "Too Much To Dream" that didn't captivate me a lot, Allie X came back with two good tunes in 2018. This was the first of the 2018 ones I got into. It's very cute. All of the elements come together to make a good pop song.
This takes me back to "The Ransom" and the dynamics between Catey and the other person within a toxic relationship. Also makes me think of a situation two months ago where I got drunk because of the way someone was screwing over my emotions. And of course the toxic relationship my sister is in. If only it wasn't so prevalent but it does make for an interesting song at least
JAIE's brother is an acquaintance of mine, he recommended me her music and I really enjoyed it instantly. I didn't think so initially, but I think I prefer this to her #17 hit "u + i" on my chart at the beginning of 2018 JAIE is from Malaysia and doesn't live in Australia, but this sounds a lot like some random Aussie electronic track by a Triple J Unearthed artist That's not a bad thing, however. I do like how chill this is and JAIE's soulful voice is very pleasing to listen to.
I think someone said somewhere that the beat sounds a little like "Thinking About You" by Calvin Harris which is an interesting comparison. After hearing that I do see the similarities with Calvin Harris productions Anyway, I do really enjoy what is going on. It's a very straightforward and enjoyable dance pop track.
A solid follow up to "Heavy, California". With "Beat 54 (All Good Now) they have gotten it right yet again. Funky and soulful vibes that are very appealing. I'm pleased that this sounds fresh, as I was worried that after four years of waiting for new material that I'd be disappointed.
Oscar Key Sung's 2015 effort "Skip" is much more electro and slow. This goes for a more upbeat and pop sound that is very rewarding. His voice is fantastic and he really shows his off here. Production wise this is stellar too.
After some songs that peaked around the #30 area of my chart, Baynk hit it big by getting as high as #13. Sinead Harnett is best known to me as a Rudimental collaborater so it's no surprise that she has a soulful feel to her voice. It's no surprise that it goes with Baynk's production style. Here we have some synth and steel drums that really hook me in. Well done.
This debuted on my chart a year after "Ivory" did. Not at #1, but #4 is still a very good spot to debut at. At first I thought it would go further than #4 but the opposite happened. As you can see, I did get sick of it pretty quickly. I think the thing that brings it down is that production wise it's not as good as other favourites from Tez Cadey. It did hit me right in the feels at the time and its sadness has come back many times during the year.
It's a weird world where NÏKA scores two top 100 entries in my EOY while Broods' aus-charts popular song "Peach" never made my chart Anyway this is a lot of fun and very cute. The fast pace makes it feel like it's over too quickly, not so much helped by an actual short length. But still, I'm not going to complain too much if she's going to release dance pop as good as this.
I really wanted to get into "Chasin'" but it never managed to get to more than "it's good" territory for me. This on the other hand I kne would debut on my next chart after first hearing it on the ACI. Here Tim Nelson's voice is beautiful. Also what a great chorus and it's also very good production wise. I'm really happy I could really get into this one, easily my favourite.
For a prominent producer and DJ, Alison Wonderland does take on a lot of the vocal duties. "Okay" sees Alison's vocals become much less recognisable and muffled. It does provide something different though and I like the hectic nature it creates. I find it notable that her voice goes back to normal during the bridge where she shouts "can we be okay?" numerous times.
A lower peak than "Rivers" but I've decided within the last week that I like this one more. I think this is very well produced, and I like that it sounds different to "Seve" and "Ivory" in that regard. The wordplay is great also. Ends up being a lot of fun to listen to.
I feel like this is relatable to a lot of my women friends who love women It's almost always nice to hear LGBTI perspectives on love and sexuality, and that is on display here. I also find the dig at the straight friend funny The lyrics are fun, and I must admit I find the choices of women that she says she wants interesting.
A Triple J discovery that is quite a banger. I actually heard this around 1am one early Sunday morning in October in fact. It's great. I get excited by the drops and I also like the vocals a lot. I think that's about all I can say haha.
Whether I enjoy it more than the lower charted "Sweet Melodies" it's a struggle to say at this point in time. I was pleasantly surprised at how much this clicked with me. I think it's a pretty typical upbeat trop-pop track in sound, though in quality I'd say it's better. Anyway it's very catchy and stays in my head long after listening to it and the trumpet in the drop section of the track.
His 2014 hits on my chart are good, but this tops both of those in quality. The fast paced nature of Shift K3Y's vocals and the accompanying production are definitely a throwback to "Touch". It gives me so much energy and the first time I listened to it I knew it would become popular in nightclubs all over the world. Simple formula but effective.
Now this is a great track from a fellow Tasmanian. I've charted Akouo before, but this is without a doubt my favourite from him. I like how it doesn't get boring at all throughout, always adding in a few switches to the production to keep things lively and interesting.
Jungle scored two top 10 hits on my chart in 2014. They went quiet for quite a while after that though. In 2018 they returned with "Happy Man" at first, which I charted but got sick of after a while. Luckily this track was very good and the quality I expect from them. Stylistically I don't think it's too different to their 2014 album, but I'm not saying that's a bad thing. It's a lot of fun.
After a big 2017, Touch Sensitive has not unsurprisingly had a quieter 2018. Still, his remix of Umii's "Dangerous" and this really clicked with me. I had no idea this was coming out, so it was a very pleasant surprise in this case. It retains a lot of what I loved about "Visions". It's a bit repetitive but makes me feel good and the general sentiment "don't need your money, you are all I need" is nice.
I feel like MØ doesn't stay too far away from my chart. This is my favourite track from her this year. MØ and Diplo are a fantastic pairing, as has been proven in the past. MØ sounds brilliant here and I love the upbeat vibe to this. Production wise, the piano stands out here.
I've grown tired of The Chainsmokers since "Don't Let Me Down" because I feel like a lot of their releases lack what I enjoyed so much about tracks like "Don't Let Me Down" and "Roses". I've enjoyed some of those releases since, but until "Side Effects" nothing made me that excited. "Side Effects" has become one of my favourites from them. Emily Warren is a frequent collaborater and I think she shines here yet again. I like the funkier sound to it and I find it very catchy also.
I remember hearing this at a bar two months ago and getting very excited because I wouldn't have expected to hear it in public That bar has a lot of good music that plays To compare this to "Take It From Me", it's in a similar style but I'd say at a slightly faster pace. I love what Satin Jackets does here yet again. Niya Wells' voice is great too.
This was another strong Amber Mark release. I like how some of the instruments here are ones that were prominent in "Heatwave", but have been used in a different but effective way. Amber Mark's voice is on point again and that's a quirky and catchy chorus.
Reminds me a bit of "Counting Sheep" at times which is possibly why it clicked for me so much? Ben's vocals have been electronically manipulated for much of the song, talks about with the robot vocals in particular coming out at the end of the chorus where the title drop is. Also mentions ticking and sleeping This song is not short though and isn't as good. But hey, SAFIA have done well here.
This was yet another great release from SOPHIE. I'm disappointed I was too late on "Ponyboy" for it to make my 2017 EOY, so I'm really pleased that this has made it in this year. An interesting look at the world of social media and what SOPHIE calls "faceshopping". Lots of cool sounds.
Instantly reminds me of "One More Time" with the instrumental. I love how that is consistent throughout. Vocally modified vocals make the Daft Punk comparison even more relevant. Sometimes I think it drags on a little too much, but otherwise it's a good listen.
This quickly became one of my favourites from her album. This has a lot of what I usually adore about Elohim. Her voice and her odd lyrics tie this together well. That drop is quite good too and I like the post-chorus section a lot.
This is really quite a fun listen. Nicole Millar has a knack for making good pop music and providing vocals for dance tunes. I think "Gimme A Break" would be my favourite of her solo stuff simply because of all of the energy present. Fun pop song.
L'Tric have always appeared on my chart every now and again. In 2018 they got their second most successful hit on my chart in "On My Way", alongside first time charters Robbie Rivera and Jordan Kaahn. This is a great track, very much in the style of "This Feeling" and that's a good thing.
Definitely goes on a bit too long but I enjoy it nonetheless. I also surprisingly enjoy it more than "Real Life". The key here is Nat Dunn's vocals and the way the production progresses throughout. Quite emotional lyrically too which is not something I notice a lot I must admit.
Used effectively in Black Panther and has become a favourite of mine from both of their discographies. The production stood out to me quickly and I love both of their contributions, but in particular SZA's chorus. Very catchy and I'm glad it has done so well on the charts.
It's really interesting the places where I've heard vocals that sound like Kylie Minogue. Not the only song in this countdown to have that trait in fact. This track is really nice. It's hard to pinpoint any particular things I like about it. I can say that the product as a whole is very appealing.
I still think NÏKA has issues in differentiating herself from older sister Georgia, and I feel it's especially notable here where her vocals are very reminescent. But enough with negativity. I think this is a really sweet track. Her vocals suit the toned down production that Flight Facilities offer here and the lyrical content. I do like the change in production towards the end to include that flute like instrument.
As you might be able to tell, it has suffered a bit of a decline since its peak. But still, what a great track. Nite Jewel's vocals go great on this type of song. There's just something about the constant questioning in this song that was what got me hooked from the start.
Disco has definitely seen a decline on my chart. Which is understandable as it was 2014 when it started becoming so prevalent, and I'm no longer 17/18 This is one example of a song that has done well in 2018 however. It's fast paced, fun and Youngr's voice goes well with the disco beat.
I do love the way Stella repeats what has been said to her in the past because of her gender. This exposé of the bad attitudes all too prevalent within the industry is fantastic. It's done in a witty fashion, with plenty of sarcasm mixed in within the important criticism of this behaviour by men. Stella takes on this role well and is accompanied by the awesome production work of female duo Feels. Good beats to compliment a good message. It's a different type of track to say "The Opener" by Camp Cope but it's a good way of going about this issue.
This was not what I was expecting when I first heard that they'd all done a song together. There's something about the way KLP's vocals sound recognisable as her (to me anyway) while also feeling more anonymous than what she usually appears in that makes for an interesting change. Much like other songs from both What So Not and Skrillex, this is a banger.
For an EDM track, this is very soulful. Matoma has been around for a while but this is surprisingly his first entry into my chart. It has done very well considering. Josie Dunne goes well from speaking softer in the verses to increasingly getting louder in the pre-chorus. The chorus is a real moment and often brings a smile to my face. The passion is there and it makes me feel so good.
I love this as a total diva tune. Focusing the hook around the title, question mark included, makes it fun, singable and relatable. Kelli-Leigh's vocals are fantastic and I love the energy she brings here.
Three years after "Be Right There", Sleepy Tom has come back with his biggest hit since that #2 peaker. I like this a lot. It's really cute and such a young love themed song. The saxophone is a great addition and it does make me want to move.
French Horn Rebellion have a way of keeping me drawn in despite the risks of their brand of nu-disco getting old. I think of all of their songs this is the one that strongly sounds like Daft Punk. The emphasis on putting the vocoder on the vocals plays a part in that, but also the well crafted disco beats are a treat. The drop of sorts at the end of what could be called the chorus is a great addition that pays off well. Pretty good for a b-side to their track "Rooftops", this track sounds quite different to that one.
Takes me back to Claptone's 2015 material, but not so much that it sounds stale and worth chucking in the bin. I was definitely impressed here. Claptone is on point again and Ben Duffy adds a spark that helps this transcend being just another Claptone song. It has managed to become my second favourite Claptone song as a result.
Took a while to really click, which I regret. But hey, I did get into it eventually and I'm very pleased because it's such a cute song about love between two women in King Princess' case, while also being a general acknowledgment of queer love. I have a lot of admiration for the way King Princess sings so passionately about her own experiences. The way it's expressed here is very interesting indeed.
This is a bit different to Otto Orlandi's previous hit "Oddest Goddess" and I'm liking the change. Molly's vocals are amazing and I think overall this is a good electronic track with good beats. I also think it's fun the way it confuses me sometimes by repeating certain sections multiple times and also how it feels like it's about to end but then starts back up again. It can be really nice when songs disobey conventional song structure.
One of my favourite quirky pop songs of 2018. Starling's voice appropriately fits the beat, lyrics and the overall fun vibes I get. It also became another moment where I heard a song I love in a random place, this time it was in Hobart's H&M store in September
"Little Things is one of my favourites on the record, and I wrote this one also pretty quickly. I woke up one morning and the curtains in my bedroom, they were open slightly and there was this sliver of light that was shining on my face – and I got really angry. Like, really angry. And I just thought to myself, “what is wrong with you? Why are you so angry about this little inconsequential thing that you could fix?” And then I just started writing about how these little things really drag me down, and kind of questioning why – and beyond that, why when something really bad happens to me, I kind of take it like a soldier? I was sort of trying to figure all that out. I take the tiniest little things that should feel like a feather brush like a punch in the face, and I don’t know why, and it’s a real issue with me, and I don’t figure it out in the song! But at least I’m aware, and observing it."
- Allie X describing the song
I love the attitude here and it's part of why this has become my favourite song of hers since her two 2016 top 10 hits. The voice, the tempo changes, the "I PUT MY HEAD ON MY SHOULDERS TRY TO BE SOMEONE, YEAH" towards the end, the catchy chorus etc. all add up to make a brilliant song.
Thanks to everyone who listened in, chatted or just followed the thread tonight as my countdown was happening. Really appreciate it and had a lot of fun. See you all tomorrow around the same time for the top 50!
I love how MNEK makes this so universal, but also has a clear connection to the lyrics in the way of being black and gay and being the target of discrimination and hate because of it. The fast paced nature and MNEK's beautiful voice tops off what is a brilliant track and one of my favourites from him. Good inclusion of Becky Hill as well
This track showcased even more of KLP's abilities. I do love the dark vibe to this and the way KLP's voice blends in with the beats for a lot of it. Her whispery voice makes a change from many of my KLP favourites but it has worked out well. I really enjoyed hearing KLP play it live and it only cemented my strong liking. Has become one of my favourites in her discography.
The type of pop that connects with me very well. I like how dark it sounds, both lyrically, vocally and production wise. There's something about that description of doing something that feels and is considered wrong, yet also feels so right, good and enjoyable along with all the other elements that makes this such an appealing pop song.
MNEK is such a fascinating musician. I love his voice and the way he crafts his music. Here his voice is fantastic. The lyrics are a bunch of fun, rather cute and relatable. The whispering chorus reinforces the anxiety of navigating love and relationships by contrasting his voice in the rest of the song. That's a great beat too.
Will Sparks did very well on my chart in 2013 and 2014 but didn't have any entries between February 2015 and August 2017. I like that this is somewhat different to what he'd usually do in 2013 and 2014. It's a pumping EDM track and Bianca does the job on vocals well.
Cool chill disco vibes. I charted a song of theirs in 2015 but it didn't make it into the top 50. This has easily my favourite from Satin Jackets. Similarly to "Primordial" earlier, the female vocals on top of some calm disco beats really sells this track.
Production wise this reminds me of Breakbot's "Still Waters". This one has vocals though, which is a nice touch. I think they suit what's going in the background, as they're not overpowering and are quite cruisy. It has become my favourite Cosmo's Midnight track.
This feels very reminiscent of the likes of "Seve" and other chill house tracks from 2013-2015. Tep No is a name I had heard of but had never charted until 2018. I always thought I had though. "Who We Are" became a song that really clicked with me. Tep No's production efforts are suitably combined with the laid back vocals and lyrics.
After 2017's "Make Your Move", Ronika came back to feature on another top 5 hit. This is more disco than "Make Your Move" which is probably why it clicked with me much like "Make Your Move" did. Prior to this Lindstrøm only had one entry on my chart, back in 2015 when disco was more prevalent in my chart. This is fun, funky and Ronika sounds great yet again.
I've actually only charted Owl Eyes twice, although I do enjoy every song I've heard from her. Her other entry with Flight Facilities in "Heart Attack" made it to #13 and this has gone even further. Firstly I'd just like to state about the content of this song that I've fucking been there. Whenever I think deeply while listening to this, it all comes back and makes me want to thank Owl Eyes for putting into song experiences that are a lot like mine. It does also help that it's a song with production that is really nice and up my alley, while Brooke's voice is absolutely beautiful.
I'm a little surprised that I've enjoyed this as much as I do. But it really snuck up on me and after a while it became a top 10 hit on my chart. Mitski's voice is fantastic and I love the way she builds it up slowly, until you get to the explosive I'M A GEYSER FEEL IT BUBBLING FROM BELOW. Sometimes I still wish it went on for longer because it does feel like it ends so abruptly but I've gotten used to it.
The first song from Christine that I've really gotten into. I think it was Clinton who compared it to Shura and that comparison totally makes sense. This is particularly noticeable with the production. Christine's voice is a little different to Shura but that's not necessarily a bad thing. Very memorable for me. Both chorus and verses are fantastic.
Another interesting and banging release from SOPHIE. When it comes to awesome loudness, I liken it to "Ponyboy". I'm not sure which song I prefer, but the main thing is that this is awesome. I kinda like how it explores the Barbie trope while giving it a unique spin. It really makes you think.
This is the first 3LAU song to really click with me. I think it's a good electronic track that has loud production but not too loud. Nevve's vocals are well suited to the song and are reminiscent of famous crossover dance hits with female vocals from the past.
Janelle Monáe is someone who I haven't listened to enough tbh. This was hyped a lot upon release and for good reason. Janelle does really well here. I love her voice, and I love the whispering in the chorus too. It feels so empowering, uplifting and absolutely crammed with energy and hooks. I also keep taking amusement out of mishearing the lyric as "it's like I'm powerful with a little bit of tinder"
Surprisingly after all of this time, this has probably become my favourite Kimbra song. She really went there with this track. This is yet another song in my top 100 EOY that has such a huge pop chorus, and won't be the last in fact. Little touches in the production and standout verses and the bridge all contribute to making this track fantastic too.
I actually prefer this to "Sicklaced" now This is such a great pop song though. I think my favourite part of the song would be the pre-chorus, in fact definitely more rewarding than the chorus. It's all good though.
Another good release from POOLCLVB after a 5 week #1 in "Freefall". Chill, while Reva's vocals are a bit more soulful than blissful but still work a treat. I'm really keen to see what POOLCLVB does next, and I'm a little disappointed I didn't go to that set he played in a Hobart nightclub last year because I'm sure I would've enjoyed it a lot
I did like "Someone Who'll Get It", but this was the first Highasakite song I really loved. The repeated "none of those games, love" has always stuck out to me, and the chorus is very explosive and memorable. 'Elastic State Of Mind' is also a fascinating title.
I like how this just goes out there and she states exactly how she feels. I think it's a rather common idea she has to work with but Miya Folick really makes this a worthwhile listen by adding in some quirks. Her voice and the production keep things interesting and some of the lyrical choices hook me further in.
I haven't found anywhere that says this was released for the world cup. Must admit I'm shocked. Because this definitely sounds like a song released for a sporting event. Particularly with the whistle and the anthemic "Everybody needs a kiss. Everybody, kiss somebody". It's so much fun and fantastic to walk to I must admit. Another great release from Sofi Tukker and it was also nice to see Benny Benassi back and score a hit on my chart. I didn't expect this to perform so similarly to "Best Friend" on my chart, though.
Instant hit on my chart. This is a lot of fun. Jody Watley's voice is brilliant and I think is well suited to French Horn Rebellion's music style. The horns really make this track so fun and add a lot of character. It also differentiates this from quite a few other French Horn Rebellion tracks.
The concept of the lyrics in the song is weird. But I liked this song. A lot. It's kinda funny how this 2014 sounding song, particularly with the two artists involved, became a top 5 hit on my chart in 2018. I like Kiesza's voice here, it's an interesting change to her usually showing off her vocal pipes. Perhaps the 2014 nostalgia really clicked here.
This is a fantastic ballad. It's interesting to compare this to "Heatwave", her hit that was #18 in last years's top 100. Amber Mark's voice is amazing and sounds great in this type of track. Love the harmonising towards the end. Also a song that my nearest Woolworths has played a few times, surprisingly
Post Precious are another artist who had a hit on my chart in 2017 and then went on to get an even bigger hit in 2018. I liked "Lose Myself" from the moment I first heard it, and it has endured well ever since that moment. I really dig this kind of pop music. Alex Winston's voice is beautiful and suits the emotional feeling of the song.
This is a banger. I've liked What So Not's music before, but this was the first time he got a big hit on my chart. BUOY is fantastic. Beats are great. That drop is very satisfying. Quite a massive tune.
This is interesting. After "They Need Us", along comes this track from Feels. I do love Feels' production efforts. The bouncy synths are really cool and why I've been hooked to this and "They Need Us". ZĀN's voice is absolutely beautiful also. It's very fun when he sings fastly in the second verse. It's interesting reading about ZĀN's background and his motivation for making the music he does - to document his experience as a queer Pakistani (or queeristani as he calls himself) migrant in Australia and give a shoutout to other migrant Australians in a fun and creative way.
There's something I really love about the lyric "If I'm gonna dig my grave I'll be digging it with my boots on". There's an attitude and a resistance to being forced into something Leony doesn't want to do that is effectively on display here. It's also catchy as hell. Reminiscent of 2000s bubblegum pop imo.
Absolutely her most pop release so far. It was a lovely surprise when it came out. It's very catchy and KLP's voice is beautiful. Grabbing Milwaukee Banks who scored a top 5 hit on my chart not long before this debuted was a good choice. I think it could do without that drop though as it doesn't suit the song imo.
Songs that have the noise of kids in the background do make my chart a fair bit I feel It's not as good as the two big singles but there's a lot to like. I like how echoy this is and it would've been amazing to hear it live, but I went to see her before this was released so I didn't have that experience. Well produced and I really enjoy the main hook of "They will always tell you "Yes", but I'll tell you "No". Forever, forever".
Quite a bit different to Touch Sensitive's "Lay Down" I must admit But I do like it. It's a very good pop song that could easily become a pop hit if it was given the right promotion. Detailing the feelings of desire and regret in going back to an ex over and over again, Alice does really well in crafting such a catchy and appealing tune. Also an interesting fact: A girl called Alice Gray was in my home group in high school
The kind of song you crave when you're thinking sorrowfully on a relationship gone by. Lots of memories and lots of sadness that more memories couldn't be made. Sometimes I think of past relationships and it can be sad to think of what could've been. Especially when your current dating life is a failure. This is a brilliant song regardless of how exactly I feel at any one time though. The vocals are so lovely and suit the soft electronic production and deep thinking lyrics. It has become my clear favourite from Kllo.
Another song detailing the dive into something that will cause you trouble and pain at some point, yet the dive into that swimming pool still happens. It's difficult to get yourself out of that mess and I feel like the repetition of "swimming pool" helps reinforce that feeling. Lykke Li is someone who I haven't paid enough attention to in the past. This certainly captured my attention. It'll be a while before I don't think of this song whenever I see or hear the words 'swimming pool'.
Now this is a lot of fun! It has such a great sound, and I love the vocals here. Fun lyrics, and more than anything on this album it comes across as a total party jam. Really catchy chorus and just an all round tune. The yawn at the end is a good touch.
There's a shortened version, but I didn't notice that until after I'd gotten used to the club mix. I prefer listening to this club mix. Anyway, KLP does well here. Her voice goes great with the electronic beats and feels beautiful as the song drifts on and on. It feels very relatable with the way it goes on about searching for love never being enough.
3 x 11 = 33 maybe that's part of the reason I like it so much This is a funky effort. I do love the music and how ALPHAMAMA's bouncy vocals make this really stand out. ALPHAMAMA's reasoning for this song, it being a call out of the ageism in the music industry, helps it stand out as not just a fun song but also an important one.
I love this way this calls out the enforcement of traditional notions of masculinity and femininity onto people. I guess it's appropriate that SOPHIE produced this for that reason, and also for the reason that the loud production is totally banging and makes me so happy. Some fun pronunciations courtesy of their British accents makes the song sound even more eccentric.
Debuted on the very first chart of 2018 and it quickly became my favourite from CupcakKe. Maybe CupcakKe deserves to be 2018's queen of the gays, with this being one of numerous shoutouts to her queer fans. CupcakKe's charisma and personality is on display here yet again and I really enjoy how she makes this song so fun. Goes above and beyond what many straight allies do. Very appreciative of CupcakKe's presence in this world.
This is definitely a change up from what I'd usually expect of a song that speaks of war. These kind of lyrics to a rather quiet chill electronic track feels odd. The drop slotted in there confuses even more. There's something about Dragonette's vocals that are reminiscent of Kylie Minogue and that drop does work really well for me and those are the main interests when listening to this. Very unlucky to be #11, it was a tough call. Still, amazing track.
I didn't expect it when I first listened to it, but this has become my favourite from Ayah since "Dusk Funk" back in 2014. Ayah is absolutely on fire here. It's so good to hear such a crazy drum n bass drop as well as they are rare on my chart in recent years. This track is further proof of how well Ayah and drum n bass turns out. It's also really catchy.
A fun track. Absolutely what I expect from Gavin Turek and that's a good thing. In a similar style to "My Delight", which was my 2017 End Of Year #1 after all. This was an instant hit for me. It's just a positive and upbeat disco track with Gavin's beautiful voice yet again drawing me in. A bit of vocoder in there as well doesn't do any harm.
A song about the hectics of life, and how worrying about it can make things worse! I can definitely relate. There's a SAFIA feel at times to this, particularly with the lead singer's falsetto. This really surprised me as nothing else that I'd heard from them beforehand sounded like this.
With origins in Djibouti, Shay Lia is not just another pop r&b singer. Her voice here is lovely and it really stands out when it comes to the "ooh ooh ooh ooh ooh yeah" parts. Kaytranada's touch is very much welcomed here to compliment that. I also love how it's been written about the Syrian refugee crisis. It's great to see people who care about such issues express their feelings through art. Well done.
Well I guess I do prefer this to "Happy Place" now I think this one is a bit more conventional but that's not necessarily a bad thing. This track is banging. I love Alison's assertiveness here and I think the church metaphor was an interesting way to go about the song's topic. It's also really amusing to me now as I did actually (briefly) date someone who was a Christian after this song's release. He would always cancel on me and not spend much time with me and that's why we broke up
How crazy and fucking brilliant is this? In almost six minutes we get an epic track detailing through the insecurities, the build up of tension, the want to be confident, the want to initiate, the want to be loved, the rush when you finally do and say what you want to do, the fears of it all going wrong. The inclusion of lyrics such as "I pave the backstreet with the mist of my brain", "I cross the gap between the platform and train", "You left a dent in my home screen" and "it’s just the necessary price you pay. If you listen to your instincts" really display how committed they are to the theme of the song. Also wow that production, it's a journey of its own and I love how it breaks out into some saxophone near the end.
This song and CupcakKe's "Crayons" debuted on my chart on the first week of 2018. I remember jinx saying something along the lines of this being his favourite song of 2018 so far around that time. Anyway I remember saying it was my second favourite, with "Crayons" being my favourite. How the tables have turned!
From my first listen I loved how bouncy and fun the vocal performance is, and it only got better from there. There's also the production which hits hard and provides a unique listening experience - with added touches such as the cash register making it all so brilliant. I wasn't familiar with them before this point but as you can see with both this and "Night Time" they've really made a mark on my chart during 2018.
I had to see it in a review to notice it, but wow this does sound like Madonna in parts. In particular the chorus reminds me of Like A Virgin era Madonna. Holiday Sidewinder's vocals are beautiful and I like the fun and funky feel to the song. As you can tell, I really came to love this song a lot over the past few months. Perfect summer song.
This song is absolutely chill and relaxing. Doolie's voice matches the music perfectly. I love these chill beats with a touch of guitar licks thrown in there to sweeten the deal. Does help me to let it go when I'm feeling stressed.
Fuck. Slay me Elohim. What a tune! The funky beat, the shouting in the vocals, the sax or whatever it is after the chorus/bridge. All so good and makes this the perfect pop song imo. I didn't half love it, that's for sure <3
Just want to say thanks to everyone who listened to my broadcast, and to anyone just following along in the thread also. It was yet another great year for my EOY and I really appreciate everyone's interest
I'm so sorry I missed this Zacco. I tried I really did. I'm especially sorry because there are some serious gems in this list. Elohim, Suoerorganism, Janelle Monae,Mansionair, CupcakKe, Lykke Li, Chris Malinchak, French Horn Rebellion, Miya Folick, Highasakite, MNEK, Allie X, Matoma, Kendrick, Nicole Miller, SAFIA, The Chainsmokers, Cub Sport, MØ
*SPOILERS* Some of these artists will feature in my 100... but not all of course... my God it was a solid Top 100!
I am very sorry I couldn't be there for your chart Zacco, Spotify is very difficult to work with when its not a live broadcast
Half Love ended up being #1! Very nice track Also good to see Alison Wonderland in the Top 10, the rest I am not as familiar with
I am very surprised Hope For Tomorrow did not make it into the Top 10, I had thought it would even make the Top 5! As far as other songs in the Top 50, its good to see Boots, Lose Myself, Mother, Everybody Needs A Kiss (my favourite in your chart), Make Me Feel, and Doesn't Matter Last edited:
Question 1: Freefall and Falling Into Me were #2 and #5 respectively Question 2: 32 songs with one or more Australian artists on them Question 3: KLP with 4 Question 4: 19 artists. KLP had 4 entries and Alison Wonderland had three. The following artists had two entries: Allie X, Amber Mark, Elohim, Feels, French Horn Rebellion, Jungle, Let's Eat Grandma, MNEK, NÏKA, Otto Orlandi, POOLCLVB, Satin Jackets, Shay Lia, SOPHIE, Superorganism, Tez Cadey and What So Not. Question 5: Alison Wonderland (Church at #6 and No at #20), Let's Eat Grandma (Falling Into Me at #5 and Hot Pink at #13) and Superorganism (Everybody Wants To Be Famous at #4 and Night Time at #16) all had two entries make the top 20. KLP came close with Lost at #15 and Carried Away just missing the top 20 at #21 Question 6: It was Cherish by Shay Lia at #7 Question 7: 1950 and All The Stars were the only two to make it. Fire just missed out, being #101. Question 8: The following ACI #1s made it: Everybody Wants To Be Famous (#4), Faaling Into Me (#5), deep end (#17), Stuck In Orbit (#24), Doesn't matter (#38), Geyser (#39), On Me (#40) and Soaked (#99). I can also reveal a further six ACI #1s made it into the #101-#250 section
Thanks to harley for participating and to 392 for doing a pred