#350-#346

#350. Skegss - Under the Thunder (#27, 2020)

28th of 2020

Sometimes these things write themselves. Not talking about my own part in it (though it does apply), more about the songwriting process. I like to look at things and try to unravel the mental process of how you get from one point to the other. You probably can't solve the whole thing, but maybe you can crack a small component. Something like 'thunder' rhymes with 'under', thunder is associated with lightning. Don't think too much about which one you see and which one you hear, you've got a catchy hook. Then 'lightning' rhymes with 'exciting' and you can genuinely see the gears turning to fill out the next line. It's a process I'm familiar with. If you've ever played the rap battle Jackbox game, you're stuck with a first line, then you have to think of a rhyme first and work backwards from it. Syllable control is an important skill, but sometimes you've got too many to work with, and that's how you end up with 'This world makes me wonder, yeah, it all seems so exciting'. Not the greatest poetry, but it gets you from Point A to Point B.

The one tidbit of information I have about this song is that it started as an AC/DC parody. Maybe not the one you're thinking of, because Benny was jokingly singing like Bon Scott at home, and Bon Scott never sung "Thunderstruck". This turned into a bit with his girlfriend, and he tried singing it in his own voice. This became "Under The Thunder" and allowed them to succeed on the basis of setting the initial bar incredibly low. If you're not at all impressed by Skegss, then this is going to do nothing to change that, especially as it's become one of their bigger hits.

It's a remarkably serviceable song. I think it gets by with one neat trick, its rollicking guitar riff that grounds the song in a playful way. The vocal melody also follows along with this, and you get this unique oscillating feel to it, slow, then fast. It's an endearing element that's taken it a long way for me, even if it really might be Skegss by the fewest necessary numbers otherwise.

#349. Peking Duk (feat Elliphant) - Stranger (#9, 2016)

39th of 2016

Back when there was an ARIA Award for Single of the Year, it had one important criterion, where the single had to have reached the ARIA top 100. If you look at the list of nominees, you'd be forgiven for thinking that top 50 is actually the requirement, as they so rarely included singles that peaked in the lower region. I can spy "No Aphrodisiac" by The Whitlams, "The Captain" by Kasey Chambers, and "How To Tame Lions" by Washington. Maybe it is harder to get that recognition, which is why they so rarely did it, but when I look at nominees like "Dark Storm" by The Jezabels, and "Heart It Races" by Architecture In Helsinki, you get the feeling that the top 50 exposure is important and they'd be overlooked otherwise. I guess it's funny to think about all the voters going through the list of eligible singles, filtering through a whole bunch of entries that would surely never appeal to them, and picking from a much smaller set of praiseworthy entries.

I wonder if this is why ARIA changed the award in 2012. The nominees are now selected in an objective manner of being the highest selling singles, and chosen in the subjective manner of a public vote. There was a growing sentiment that the ARIA Awards were getting heavily influenced by the triple j crowd and creating a hegemony where it was difficult for anyone else to be observed. Only incredibly successful pop artists had a chance of being nominated and it was increasingly unlikely that they'd win. The last year's nominees look like a logical extreme. Birds of Tokyo, Boy & Bear and The Jezabels taking up half of the nomination field with singles that barely cracked the top 50. No room for huge hits from Zoe Badwi, Jessica Mauboy, Havana Brown, The Potbelleez, Justice Crew etc. They just had too many people like me on that board zooming in on their brand. The only funny thing about the timing is that the last ever winner of the award was "Somebody That I Used To Know", perhaps the greatest no-brainer winner of the award in all history, Nasiah Wanganeen-Milera in Round 20, 2025 type stuff. If Gotye isn't winning that award, something broke.

It's been a truly fascinating award to follow in the years since then. In part for the nomination process, something that's gotten a little off the rails as Australian hit songs have gotten harder to come by. 2025's initial field of 10 nominees included just 4 songs that cracked the ARIA top 50, with two of those 4 being a very brief fling. As the streaming economy doles out success in more peculiar ways, it starts to even less resemble something that looks like the top of the field in popular music. Multiple entrants that are just rehashing international hits of the past, including Royel Otis recording a quick cover for an American radio station, while there's an inexplicable inclusion of the modern remake of "Somebody That I Used To Know". Mostly it's just inexplicable because it was released in February 2024, has '(2024)' in its own metadata, but by the way charts work, accrued more sufficient points in 2025. The winner ended up being The Kid LAROI with one of only two songs there that looked like genuine crossover hits (the other one was "Somedays" by Sonny Fodera, but hard to imagine he has the profile to get votes).

So voting can be weird because sometimes the public is given a strange task, but it's also weird because it's really not clear what this public really is. ARIA doesn't have a significant amount of reach to the broader public, so when they ask people to go onto their website and vote, you can't imagine you'll get much of a response. There are social media fan accounts with more reach than ARIA, which is why initially One Direction, and now Taylor Swift essentially is a guaranteed victor every year in the Best International Artist category. It's possible that depending on how the voting is set up, drive-by voters for that category actually have the greatest sway at times. In any case, it still ends up being a little weird. 5 Seconds of Summer won the award three out of the four times they were nominated, and that makes sense to me (they lost to Guy Sebastian once, another artist whose early career was predicated on getting people to go out of their way to vote for him). It's every other year where there isn't a vote magnet, those are the ones I get confused by. Often it just looks like they end up voting for whatever the biggest ARIA Chart or Hottest 100 hit was in the previous year. 2017's field was odd though. It was the first time since 2010 that there wasn't a #1 hit to pick from in the field, and not much jumps out of the page. "Stranger" by Peking Duk won that award. It's one of only two ARIA Awards the duo have ever won in their career (though Keli Holiday won one for Best Video last year) and it's never felt more like a write-off year. I don't begrudge it though. If not for another one of the nominees sneaking into the field, I probably would have voted it as well. Very much a 'by default' kind of vote, but we don't exactly weight our vote based on how strongly we feel about it.

Of course, I think the success of "Stranger" stands out a little more in hindsight. At the time it was just another cog in the standard machine, where Peking Duk have a huge hit every 12 months or so. It's looked upon less favourably because it wasn't quite as big as the ones before it, not meeting the previous KPIs. Now nearly a decade later, Peking Duk have never had a hit this big since ("Fire" (#377) might be catching up though). If Peking Duk getting smash hits was destined to be a brief fling, then it was the sheer might of "Stranger" being as good as it was that kept it afloat a little bit longer.

Elliphant is an important part of this equation. She's a Swedish singer who's been making music since around 2012. She does pretty well but has never really burst out of the gate even in her own country, so "Stranger" is actually the biggest song she's had her name attached to ("Too Original" by Major Lazer might be a close second, what a banger). If you haven't heard it, or haven't heard it in a while, "One More" featuring MØ is another worthwhile cut that's aged tremendously well. Just a prime example of getting a singer who doesn't have the star power on their own, but has an undeniable presence if given the opportunity. Peking Duk have that profile in Australia, they lend Elliphant the spotlight, and she absolutely nails it. Her quirky, warbling voice gives a new sense of character as Peking Duk pound us with another overblown drop.

I do think on the production side of things though, this is a good song. I'm not sure why they released the song heading into summer because all of the synth stabs sound extremely icy. Still, I do come back to it for the drop. It stands out a bit for Peking Duk because it's their first big single that tries something new with it, turning it into an ascending melody rather than just a blasting monotone siren. I've often thought that it has an unintentional 'This is what an elephant sounds like' bit to it. Really though, it's the sound of a duo that has the country eating out of their hand, as they solidify themselves as the reigning champions in this particular brand of electro-pop.

#348. Lizzo - About Damn Time (#7, 2022)

31st of 2022

I've always found myself a little bit frustrated about the way hit songs, or otherwise, are spoken about. It might just be a product of me overanalysing some things, but it just seems like a natural conclusion to reach. It's this idea that the songs that make it have an element of randomness to them, which makes it hard to give them special credit. Lately the GRAMMYs have gotten very afraid to nominate anything for Song or Record Of The Year without it being a huge chart hit, finally giving in to popular demand after decades of their own flavour. It's just that when I look at those lists of nominations, I see songs that feel lucky to be there, and it makes me question the credibility that it's really the best that's on offer. Or alternatively, that whoever missed the cut, did so not because they weren't good enough, but because they didn't have that chart clout. In the 2020s, this can mean artists are scoring nominations for TikTok trends, how odd.

There's another funny angle to it, which is that these hits can get a higher level of scrutiny put on them once they're everywhere. Fair enough, I suppose, but it's interesting to see the way people react to them. It's this looming notion of the pop machine that's choosing which songs become hits. They don't earn it, they're just inevitable. It can cross my mind when I see artists fly in with songs that chart high instantly. A new Billie Eilish or Taylor Swift song would have to be doing something very unusual to not immediately burst out the gate, but that's the trust they've earned with their audiences. These are also the kinds of artists whose labels are going to work day and night to make the song stick, and hide any cracks in the armour from even the most ardent chart watchers. When we get to "About Damn Time", there's a very different picture to what we're used to.

Maybe it's the same for you, but when I see "About Damn Time", I see one of the biggest hits of 2022, a song that was made to cruise Lizzo's moment through from 2019 and into the new decade, and it did succeed. It became another Billboard #1 hit for her, and it even won that GRAMMY Award for Record of the Year. It was completely inescapable because of course it was. Just listen to that infectious disco groove, while Lizzo's back on her quotables again from the very first line. This is a hit song that was written by someone who knew they wrote a hit song.

Anyway did you know that "About Damn Time" was a massive flop when it was first released? This might not have been a complete surprise at the time, I can defend "Rumors" (#683) to an extent, but it's hard to deny that it fell short of Lizzo's previous performance, and that can be a huge waving flag to either music fans or the industry that your trajectory is washed and everyone can move on. When "About Damn Time" was released, it got to #50 in America thanks to decent opening sales and streams, but it looked like it was on a fast track out of there. Here's what its daily US Spotify numbers looked like for the first two weeks: 36-82-150-130-151-163-184-176-171-196-186-115-82-52-35. On Tuesday, a week and a half after the song was released, it finally got that shot in the arm with TikTok virality, and it was off to the races after that point. A bunch of people started dancing to the song's second verse, and Lizzo won a GRAMMY for it. Now, maybe the whole thing is an astroturf, it's something you tend to get suspicious of when the same artists keep winning this mysterious lottery every time and they're the biggest names in music. I just find that first week and a half to be so interesting, this idea that one of the biggest hits of the year was just left to its own devices and wasn't really catching on. It's the sort of thing that makes you critical of the whole process, or the idea that the biggest hits are special in any way. How many potential hits have missed out because they didn't get a second chance, or because the artist in question wasn't even big enough to get a first chance? It makes the whole notion of flops or non-entities just meaningless to me.

At least this one, I was willing to get behind. I think Lizzo is an interesting artist to market because in many ways, she's a bit too unusual to really fit in. Just her whole image flies in the face of what we're used to, and it's hard to work out what her actual market is as someone who could loosely be described as a pop rapper. Maybe "About Damn Time" is sanding down those edges a little bit, but I think the fun side of her personality shines through here. Mainly I've always loved that one of her more interesting background traits is that she's a flautist, and here she is topping the charts with a song that has an actual flute solo she plays in it. That's absolutely nailing the brief and giving the people what they want.

#347. Denzel Curry - RICKY (#45, 2019)

25th of 2019

For quite a while now, Australia has had difficulty latching onto rap music if it's not either a monster hit, or by one of the handful of big names we all keep an eye on. I think there are a lot of self-professed rap fans who know there's a lot out there, but might need word of mouth to decide what to sample in that avalanche of 'Oh yeah, I've heard good things about that one, their new project's probably pretty good'. Hottest 100 results have followed a similar suit. Every now and then, you'll get a seemingly random surprise, but for the most part, it's just the artists we've chosen to be invested in. Sometimes that collective expands a little beyond the obvious, and you'll get a huge showing for the otherwise niche BROCKHAMPTON, and then for a while we just went all in on Denzel Curry.

There might be a good reason for this, I'd go so far to say that a big part of it is looming in the future of this list, but here I am talking about an American rapper who struggles to make the Hip Hop Bubbling Under chart coming through with one of 3 entries he had in 2019. Maybe those first two could be explained by their attachment to more trusted properties, but what do we make of "RICKY", a Denzel Curry song whose gimmick is just that it doesn't really have a gimmick, the most peculiar one of all.

How did we get here anyway? Well, I am like many people in that I first heard of Denzel Curry through the song "Ultimate". It's a song that had difficulty clearly distinguishing itself outside of being a meme, which might have held back its full potential. I always think of it when I used to think about what music might be like when people my age start making it, with all our cultural touch stones in line. It's extremely young millennial coded, in that he mentions both Senzu Beans and Broly in unrelated bars, we're so predictable. It didn't really click for me until 2018 when he released "TA13OO" in 2018. I think I was more primed to listen to hip-hop at that point, and I started to appreciate what he was doing. "BLACK BALLOONS | 13LACK 13ALLOONZ" has a ridiculous title but it's just elite pop rap. He's still making DBZ references then, of course.

After this, I need to bury the lede, but obviously Denzel Curry got to be on a lot more radars in 2019. That can have some overflowing effects. No one was campaigning directly for "4ever" by The Veronicas to make the Hottest 100 Australian Songs countdown, but when you've got enough people voting for "Untouched", it's gonna have some splash back. Maybe though he just picked up enough new fans that were further impressed by what he was doing on his own, and they channelled it through "RICKY". I was more into "SPEEDBOAT" myself, but this one still works in a pinch.

"RICKY" is a tribute to Denzel Curry's father, much of the song is quoting advice he'd given out, which mostly boils down to being cautious around strangers and not to abandon those close to you. As a bonus we also get some of his mother's advice which is much more specific with talking about unprotected sex. The juxtaposition with the previous line is very amusing. The whole thing just never lets up though, so if nothing else, it's proof that he was able to compartmentalise his aggressive flow into something with some semblance of crossover power.

#346. Post Malone - Better Now (#33, 2018)

38th of 2018

One of the biggest dead heats I've ever seen following the charts was actually a competition between two songs from the same artist. In 2018 when Post Malone released "beerbongs & bentleys", he dominated the charts and looked pretty likely to go to #1, the question was what song would do it. The well-perched "Psycho" (#563) looked a good chance as it was operating with a big head start, but the underdog was "Better Now", not released as a single but becoming an instant hit. In the end, "Psycho" did cruise to #1, but it's the Spotify chart I find most fascinating. In Australia that week, "Psycho" managed 1,739,382 streams, while "Better Now" got 1,739,247. That's a difference of 135, or if you will, less than 0.01%. The kind of margin where it starts to matter how streams are counted when they take place across midnight between days.

You wouldn't get any of this heightened drama coming out of the actual ARIA Chart for that week though, because "Better Now" only debuted at #4. It's something I've thought to be very suspect ever since then but unable to actually prove it. When I see the actual numbers involved, it just looks to me that "Better Now" hasn't been fully counted, though I can't be sure of the degree, just that it's something that seemed to pop up a bit at the time.

If you follow charts, you probably know this, if you don't, it'll sound ridiculous without context. In many parts of the world, if you listen to music on a Thursday, it probably won't count to the charts. This is due to a slight delay in reporting streaming figures (largely from Spotify), and an eagerness from chart companies to put the charts out promptly. I think I can see the rationale behind it, because honestly if you just have 6 days of charts, it's hardly going to change a lot after that, so just a reasonable estimate can get the job done. How do they do this estimate? I genuinely don't know, but I'm convinced something was going wrong with it regarding new debuts back in 2018, they just always seemed to land lower than I expected, only to slightly course correct the week after. It makes it seem like they just got the previous Thursday's data, but I dunno. Maybe in the long run it didn't matter, because "Better Now" would eventually climb up to #2 where it belonged, and get stuck there for a very long time, but I do remember thinking it had the slightest chance to debut at #1 which just didn't pan out. Not that Post Malone is desperately wanting for more #1 hits, but this would be one of the better ones I think.

I want to talk more about the album when I get to the remaining song from it, but I had a lot of trust in Post Malone at this point in time. "Better Now" is a pretty good example of this. It uses all the tricks in his arsenal to craft something that's just incredibly catchy. There aren't many songs that have better managed to use trap production to make something so radio friendly. Part of why it succeeds is that it doesn't really just rest on one mode. Every time we transition from verse to chorus, bridge to chorus, chorus to second half of chorus, there's just a little tweak to it that makes it feel more urgent. One of those ways you can get away with just saying the same two words over and over again.

#355-#351

 #355. Tame Impala - Breathe Deeper (#33, 2020)

29th of 2020

I don't even know how I feel about Tame Impala anymore. I can catch any song from the first two albums and it's an instant dopamine rush. After that, it's all an increasing scale of frustration, where I'll have reservations about albums that I can hold back on because of the redeeming factors. For every odd decision, there will be moments where it clicks into place, and soaring highs for it, perhaps on the future docket even. As time sails on though, those highs have not been leaping quite as high out of the page. Finding highlights out of the new album is a struggle and it gives me this sinking feeling that Kevin Parker is actively wasting my time. A long Tame Impala song used to be a point of excitement, but now it seems like a threat. I just can't believe that "Breathe Deeper" is a longer song than "Apocalypse Dreams", nothing about that makes any sense.

I think possibly what made the project work early on is that there was a distinct evolution in the sound, but it's one that's been stagnating for a while now. In "The Slow Rush", I hear a lot of clues towards where "Deadbeat" ended up going, and I'm not even sure it's moved into a much worse place, just that there's no intrigue to be tapped from it. Maybe that's why I liked the earlier singles the most, and haven't really fallen over in love with any of the tracks from these last two albums. I have to make that specific version of the comment because technically there's still a future non-album track that will appear in one of the 354 positions above this one, maybe that's my saving grace to think that I'm not capable of enjoying another new Tame Impala song any more than this one. I don't like to rag on things too much, but when I see Tame Impala having international success as I write this, it's the song in the chart that's most desperately begging me with pleas of 'You must like this one, right?', and it's just such a wasted bid.

At least for the span of "Breathe Deeper", I can meet it at its level. It's an attempt to fuse the strange odyssey Tame Impala with the pop song structure Tame Impala. I'm not entirely sure it actually works (the last 75 seconds just hits you unexpectedly like a brick), but there are definitely components on both sides of the scale that I can find myself nodding along to.

#354. Big Shaq - Man's Not Hot (#51, 2017)

36th of 2017

I wish I could selfishly re-order this list for the means of telling a coherent story, because this feels like Part 3 of the long, rippling waves that resulted from Kanye West performing "All Day" at the BRIT Awards in 2015. Maybe I'll reheat it at a later date, but the short version of it is that Stormzy was on stage for that performance, prior to him being a hitmaker of any measure. He had surprise success later that year when he managed to send a freestyle single into the UK top 20, and before long, he'd be topping charts on the regular.

This all ran somewhat parallel to comedian Michael Dapaah, the man better known to many as Big Shaq. He and Stormzy go way back, which is why you can actually catch him in the video for "WickedSkengMan 4" hyping Stormzy up. It was all setting the stage for a new era of UK grime & drill to come out firing. The early success of Stormzy indicated there was a genuine audience for it, despite it having difficulty winning over more conservative tastemaker ideals.

Something funny happened in 2017 though. Michael Dapaah was on BBC Radio 1Xtra for Charlie Sloth's 'Fire in the Booth' segment. Generally it's a space that's housed many genuine MCs, many on their road to stardom (I'm now learning Nines had a hugely popular one back in 2013). Michael Dapaah was here for novelty purposes, presenting himself as his character Big Shaq. Big Shaq is an exaggerated version of a roadman. The whole interview and the freestyle contained within it went viral, and resulted in the freestyle being turned into a properly released song. As a 4 minute music video is easier to pass along than a 22 minute radio interview, the song went even more viral with hundreds of millions of views. Check the statistics, Americans who know nothing about UK drill will know this song. It's to drill, what "Gangnam Style" was to K-Pop at the time: a blatant novelty that appears genuine once the regional context is taken away. This had a peculiar effect. All of a sudden, it became a massive hit that completely surpassed everything adjacent to its genre. Stormzy made his first Hottest 100 appearance in 2017 but he was still easily surpassed by Big Shaq (he'd do better in subsequent years). The face of the scene became a comedian making jokes about how vital his jacket is regardless of the weather.

As it tends to be the case, the studio version lacks some of the spontaneity of the original freestyle. What it does manage to retain is some of the most memorably stupid jokes, which is what mattered the most in the long run. Just being the song with 'the ting goes' would be enough to set it for life, but we've also got '...quick maths' and 'your dad is 44'. Somehow never noticed him bragging that one of his friends has a pump action shotgun, and that his other friend has a frisbee, complete with a frisbee sound effect. There's something so satisfying about all the threatening aspects of his life mixed in with the more mundane elements, as if we're seeing all the facets of someone who really doesn't have a lot going for them. I don't think it's true, but I really want to believe that this song got the ball rolling for the phrase 'got the sauce'.

The problem with anything like this is that once something cracks its initial audience wide open, it's likely to end up in front of people missing the initial context and taking it all literally. In the case of "Man's Not Hot", I'll admit I had trouble discerning how much criticism came from the novelty nature of the song, or if it was just an extension of the form it was sending up (akin to disliking "Blazing Saddles" because of either its language or if you don't like westerns). It got frustrating though because it made the song one of the biggest beacons of disapproval.

This happens during the Hottest 100 for any novelty song. I might have done it myself in the past, a symptom of taking it all too seriously. Despite the many, many hours I've put into this project, I implore everyone to not take the Hottest 100 very seriously. The whole countdown exists as an antithesis of that way of thinking. When Lawrie Zion first conceived it, it was in reaction to the tired punditry on music history that rewarded a certain perspective on it. The idea that it would be more interesting to see what the public likes the most, rather than be told again that "Stairway to Heaven" is the greatest song ever written. Public opinion can do some very interesting things that counter what would be considered good taste, and it's inherently interesting for it. I will never get tired of the fact that the first time this countdown became an annual poll, the winning song was Denis Leary's crass spoken-word track "Asshole", beating out some soon to be legendary band that I'll probably have to force some words out of myself about in the future. That's the spirit of the Hottest 100 there, and it lives through every goofy novelty song that comes through. They're entries that are doomed to be dated very quickly, but they can be a vital barometer of the times, often more so than whatever safe songs are playing to proven trends. I guess I think about "Bevan the Musical" more than I think about "Heaven Coming Down" (maybe Pete could've used that one as well). "Man's Not Hot" has just made an undeniable mark on the world. As Big Shaq would say, 'you done know'.

#353. Flume - Slugger 1.4 [2014 Export.WAV] (#50, 2022)

32nd of 2022

2022 feels like a strange identity crisis year for the Flume brand. On the surface, it's a massive success. Topping that year's poll with one of what are effectively 4 entries for Flume. "Say Nothing" (#472) is doing a lot to hide the cracks, particularly with regard to the album he put out that year. Maybe asking for more is greedy, but I'm always struck by the fact that "Say Nothing" was the only song on that album to actually poll. The rest of Flume's entries came from a novelty (#387), mercenary work (#677), and...whatever this is. There is an answer to that but I'll delay it a little more.

I think more than anything, we're highlighting the difference between 2012 Flume and 2022 Flume. Somewhere along the way, he scored massive success by leaning into the game (whether intentionally or not), but he didn't let that take over his creative decisions. Maybe he'd still release the occasional single that fed into something similar on the surface, but on the skeletal structure, we're looking at a very different collection of work. It's all those intense glitchy sounds you hear, you'd never mistake Flume circa "Palaces" for any other point in time.

It's created a situation where you've got two kinds of Flume listeners, the ones from before, and the ones from way before. Neither are really being served to the fullest with the new music, and what better way to show this than have a new Flume song that's really an old Flume song. "Slugger 1.4" was released for the 10th anniversary version of his debut album "Flume". Technically it's a little later than that, but it certainly sounds like that era of Flume. It's even got a slight bit of guest vocals from a singer you'd probably associate with that era, but it's a slightly later entry that's stopping me from saying her name.

It is an amusing circumstance when nostalgia tries to create new memories. You're probably banking more on nostalgia than you're willing to believe. It's like how there's that deleted scene from Season 8 of The Simpsons, which should be solid gold because we're in the right era, but it's just a bit weird and doesn't fit. I wouldn't really put "Slugger 1.4" in that same boat though. If anything it almost proves its own point. It might not be teeming with memorable hooks in the same way as "Holdin On" or "On Top", but it does transport you back to a time that you haven't visited in a while. It has me thinking that I like his new old stuff better than his old new stuff.

#352. Skepta - Shutdown (#68, 2015)

42nd of 2015

So anyway as I was saying, back in 2015, Kanye West performed "All Day" at the BRIT Awards. It's pretty memorable, to the point that it has more views than the normal version of the song. It's got multiple flamethrowers so you know they're cooking with gas. At first I start wondering if one of the flamethrowers isn't working, until it finally gets a turn, but then at the end of the song they seem to have run out. I want to learn more about the flamethrowers. The performance also has more cuts to Taylor Swift in the audience than the average Chiefs game. Anyway, at the end of the performance, Kanye West shouts out Skepta specifically, who is probably on the stage but in a large crowd I don't think the camera operator knows where to look. He's the one who was responsible for the large ensemble, and is another artist that has decided to speak about it on record. I too, cannot wait until I land on another Stormzy song and tell this story again from a slightly different perspective. I love the version of "Rashomon" that exists in my head.

"Shutdown" features a brief skit that references this, with what sounds like a British woman being interviewed on TV to say that she's not fond of the performance. It sounds genuine enough that I thought it might have been an actual vox populi, but it seems to have just been created for the song. I suppose it's hard to convey a bunch of angry tweets which is where the commentary mostly sat. If it didn't already live on through another 2015 song (I know I don't have to censor it, shut up), it's immortalising the moment by being part of one of the biggest grime songs of all time, from what might have been an unlikely source once upon a time.

I don't know if everyone knows about this, but Skepta's rap career goes back much further than "Shutdown". He had his first UK chart hit as far back as early 2009, with a cheesy sample of "Sunglasses At Night". He followed it up with a cheesy sample of "Born Slippy .NUXX", later on he'd do a cheesy sample of "Gonna Make You Sweat (Everybody Dance Now)", you get the idea. You'd never think from this that he'd be a pioneer for a huge genre of the 2010s. I'm of course talking about dubstep. You'll get a lot of people pointing to the success of "I Need Air" by Magnetic Man, and "Katy On A Mission" by Katy B, but Skepta got in before both of them when "Rescue Me" became his first top 20 hit. In general though, Skepta made pop rap. He's still showing the same intensity that he'd make into his brand later on, but then some Nelly & Flo Rida raps also go hard, no one's expecting them to step out of their lane.

He wasn't gone for long, but Skepta came back in 2014 and completely reinvented himself on "That's Not Me", a song he released with his brother JME. Maybe on the surface, it's just another gimmick, but you can instantly hear an evolved version of Skepta on this track. It no longer feels like he's just dropping mindless hype lyrics, and feels like he's got something to prove. True, he used to be a bit different, but that's not him.

"Shutdown" comes along a year later and it's a bit of a victory lap (but not "Victory Lap", that's way later). You might have thought, reading that previous paragraph, that you've heard "That's Not Me" before. Maybe you have, or maybe you're thinking of all the times Skepta says the title again in "Shutdown", it's like he's evolved a second layer of the punchline. It might not be quite as inventive the second time around, but it sure is fortunate that the song goes so hard. You won't believe just how tempting it was to try and end every sentence of this entry with 'and it's shutdown', but there are limits to how many rocks you drop in the stream of consciousness before it becomes a dam.

Also I should probably mention that Drake is sampled at the start of this song, being embarrassing with his use of patois as he's known to do. On its own, it's pretty funny, but in this context, it's rolling out the red carpet for his first proper Hottest 100 appearance. He did appear as a guest artist on a posse cut in 2013, we just have to gradually lower the number of rappers who need to be alongside him for him to appear. If you can choose to ignore 2025, then the number would end up going back up again in the future.

#351. Miike Snow - Genghis Khan (#15, 2016)

40th of 2016

I'm making myself write this down so I don't forget it. Kublai Khan is the grandson of Genghis Khan, not the other way around. It's spiked me so many times in the past. My rule of thumb when trying to organise history correctly is that the further back in time you go, the more notable you need to be, in order to be remembered, and vice versa. When in doubt, I use this rule, which along with common sense, generally works, but has its shortcomings. How did I know it was grandson and not son? That's just the beauty of memory, sometimes we flawlessly remember half of the password, enough to earn modest credit, not enough to convert that Daily Double or get the coordinates from the French 75.

Miike Snow is three guys. I don't know if that's a revelation but if you're mostly used to just hearing the name, it feels like an understandable mistake to make. They're a rare band where every member has some claim to fame. Andrew Wyatt pops up from time to time on other people's songs, as well as writing some pretty notable ones as well (that song about the explosive device with a pin must get him some pretty nice royalties). Then you've got Bloodshy & Avant as the other two members, they've got a huge catalogue of hits but it tends to be best to just mention that they produced "Toxic" by Britney Spears, making them pretty untouchable. Bloodshy also doubles as a hitmaker on his own, now the sole member of Galantis. Even if this cuddly jackalope band is rarely in your periphery, you're probably hearing their music all the time.

It makes it easier to see how they won the hitmaker lottery at the time. Without all of this, you'd have no reason to think that "Animal" was a sign of future greatness. I did buy into the hype myself though, inexplicably, their album track/bonus track (depending on where you live) "Billie Holiday" is just one of my favourite songs ever. I'll keep saying it for anyone who'd listen. A song that's sinister and intense with some neat production ideas that revealed a lot more to the project than I might have otherwise thought. It's all part of a through line with 2011's "Devil's Work" and 2012's "Paddling Out", songs that feed off each other's ideas.

I'm not sure "Genghis Khan" follows suit. It was a difficult sell for me initially. Seeing a band constantly on the fringe go from that to suddenly scoring a top 50 hit will have you asking questions. For me, it was things in the nature of 'What are these weird sounds he's making between the verses and lines?' or 'Why would anyone compare themselves to Genghis Khan?'. He sounds like a very controlling person. At least he left out the bit about the eyes of the children of another man.

Over the years, I've warmed up to it a bit. There's a novel appreciation I've found with just how many conversations I've ended up in that end up quoting or referencing this song, not even by me most of the time. It might not have the grand scale and ambition of some other Miike Snow songs, but it's a punchy little treat, and it seems to be how most people saw it, given that this surprise crossover hit did very little in the way of converting to album sales. They actually performed considerably worse than the one before it.

#360-#356

#360. Drake & 21 Savage - Rich Flex (#44, 2022)

33rd of 2022

For the last 10 years, every Drake album cycle has become utterly tiresome. It's just a whole lot of discourse controlled by people who expected the album to be bad, listened to it anyway, and are mad at everyone but themselves for wasting their own time. In addition, there's those who didn't even take that step and are just jumping on the easy target because no one's going to stop them. You just need to know one gimmick to keep up the conversation and that's all that matters. Drake sampled Right Said Fred, Drake sampled Daft Punk, he hit rock bottom so long ago and yet he's still digging down, somehow. Fool me once, shame on you, I'm not sure what the count is up to at this point.

I'll say this about anyone, but I'm far more interested to see the word from those who are willing to give it a fair chance, not just priming to take shots. Drake isn't just being fuelled from curiosity listens, there must be a lot of people who are keen to hear what he's putting down, and so there must be something of value to be gleamed from it. Maybe a new Drake album could just be good, or otherwise you're telling me that he was absolutely in the zone for some part of his career until he got out and never returned. It sure is convenient that no one who obviously sucks ever just makes good music.

I'm only thinking about this here because I do remember a brief moment of hope when "Her Loss" came out. I generally liked it at the time, and thought I was seeing a lot of positive feedback at first. It's an obvious formula, Drake getting back with 21 Savage, a teaming that always delivers. There might be something to be said about how this relates to Drake's previous 2022 album, but I think I'll save that for another day. For now it's just a solid, fun album of the two trading bars and having fun doing so.

This didn't last of course and the narrative quickly returned to it being another dud album with numerous shortcomings. However, it did provide Drake one of his biggest hits of late with the opening track "Rich Flex". It's a song that in the context of a new album (even though it's track 1) sounds exciting and can singlehandedly paper over some edges. 21 Savage has been making ad libs for his whole career, but somehow it's all been overwritten by '21, can you do something for me?' which has permanently entered my lexicon. Before long, we'll have funny things for all the numbers and we'll have to come up with a new system just to clean the slate.

I won't pretend I can't see the cynicism behind it. It's hard to avoid that this is just Drake getting the most obvious of hits by sticking with what works. There's a very popular song that Drake technically contributes to from a few years back that relies on the shock value of beat switches that effectively turn it into multiple songs. There's another song from 2022 that may as well just be the same thing, a Drake song that turns into a 21 Savage song halfway through. Drake is begging to get another charismatic rapper to compliment him and make sure we aren't stuck with him for a full song.

On the whole, it's a song I get behind still. It's fun to listen to, though not as fun to feel like I'm playing devil's advocate for not throwing it in the bin. Drake's career lives and dies by the hooks and this thing is stacked with them. Normally it's 21 Savage that brings the intensity, but somehow it's the piano that really sets it into place, Drake sounds so terrifying even when he's saying something like 'sticks and stones'.

#359. Fatboy Slim & Riva Starr (feat Beardyman) - Eat Sleep Rave Repeat (#51, 2013)

47th of 2013

There's a strange memory I have from when I was a kid. No, it's not the "Rockafeller Skank" standup comedy bit. I remember reading a book about baby names, and it having a small section at the front about names that wouldn't be appropriate. The only name I can remember seeing is Fatboy Slim, just a genuinely implausible name given the contradictory terms going on. At that point, Fatboy Slim was just an abstract concept. A name given to 'I'm #1 So Why Try Harder' kid, or just the source of many strange songs I was vaguely aware of.

I don't really know what it's like for people older than me. I remember listening to an old American Top 40 recording (possibly hosted by Casey Kasem), where he introduced the new artist Fatboy Slim, talking about all the different projects he's had in the past. Beats International, Mighty Dub Katz, things like that. Maybe at the time, it felt like it was just another brief fling, except he got tremendously popular with that name and hasn't looked back. He continued to be pretty famous, but stopped generating new hit songs by around 2001 (or a little later in the UK perspective). Maybe my memories aren't always up to scratch, but on the other hand I recently managed to find an obscure video game I hadn't touched in a quarter of a century that I started to doubt even existed.

Something strange happened a decade later. He released a new song and it generated more interest than he'd had in ages thanks to its memorable mantra: "Eat, Sleep, Rave Repeat". In the world of the charts, it didn't really make much of an impression because on the whole, it wasn't really built for the world of the charts. It's a long, strange and rambling song that mostly just accomplishes the act of being remembered, but isn't really the kind of song that people look to download, more likely text in to triple j and say 'what is this shit?'. It was building up curiosity though; you can see its Google Trends graph trending dramatically up for 5 consecutive months. The peak comes in November 2013 with the official release of a remix, by a person who can only be considered the closest match for Fatboy Slim in the 21st century for his ability to draw in attention to otherwise less acknowledged artists just by stamping his name on it. I am of course talking about...that tall Scottish man I can't talk about.

His remix turned "Eat Sleep Rave Repeat" into the hit that it was always holding itself off of being. It's a fascinating remix that sounds modern but also doesn't, reminding me of those two big beat guys, the other '90s curiosity I can't mention yet. It's a mindless banger, and it took the song to #3 on the UK Charts, higher than any other Fatboy Slim song in the 21st century. It didn't really do it in Australia, and the song only got to #96, impressive by any stretch still. After triple j's Hottest 100 subjected a million odd listeners to the whole 5 and a half minute glory of it though, it achieved a second wind quite unusual for a song that didn't quite crack the top half of the list, and it belatedly became a top 50 hit in 2014. It's a funny top 50 entry too because it's based on a relatively even split of sales between the two versions, that weren't close to making it on their own. Maybe enough people accidentally bought the wrong one and had to buy another, and that was the difference maker. Even as I ponder the Hottest 100 placing, I can't be sure how many people willingly voted for the original version.

It sounds like I'm ragging on the original song a lot, but I'm not. I'm just ruminating, possibly to the hum of your fridge. It's a song that took a while for me to really get accustomed to because it's so unusual. A song not content to rest on a single mantra, but also goes out of its way to create an elaborate story to go along with it. It's the ramblings of a man who understands the concept of metaphors but refuses to allow internal consistency with them. The song only makes sense to me if I pretend it's a dream, because this thing happens, and then that thing happens, and maybe to the person saying it, the plot points are enthralling, but that's about it. With that in mind though, it's got no shortage of absolute banger lines. I have no idea if the line 'Sorry, dude, I thought you were an o-o-o-o-o-o-object' relates to the previous lyrics at all but in all contexts it's gold.

This is almost completely unrelated to the song, but Silly String gets mentioned early on. It's weird to think of a time before Silly String was invented, but it was only actually patented in 1972. It's something I've committed to memory because it manages to appear in a Season 1 episode of Columbo that first aired in January 1972. The soon-to-be murderer is a spoiled business heir who mucks around in the office and one part of that is spraying Silly String, something so new that it didn't even have a name and must have been so foreign to everyone around him. You're not allowed to mention this episode without mentioning Roddy McDowall's crotch, so consider that done. I guess there's a lyric for that, one line earlier in the song too. I have a new head canon that Dr. Cornelius from the original Planet of the Apes went on to become a DJ, and all he kept saying was...

#358. Aitch & AJ Tracey - Rain (#94, 2020)

30th of 2020

The UK media seems to have problems with the prevalence of their local rap scene. It's a bit like how we have it in Australia except it's much more likely to make a big enough splash that it's harder to ignore. Australian hip-hop never tops the Singles chart, but it's been pretty common for a long time in the UK. Even outside of rap, local artists have been struggling to compete with American imports for a few years now, often only getting to the top when there's US approval. As I write this, future Hottest 100 winner Olivia Dean is currently sitting pretty much at the top of the chart if not for ACR, a second wind that coincides with her rise into the US top 10.

It's the kind of thing that should probably be celebrated and hyped up whenever the small victories occur. This does happen, but not so much when it comes to rap music. In 2023 there was a monster #1 hit that spent 10 weeks at #1, and it was by UK artists, what a boon. Except that song was "Sprinter" by Dave & Central Cee, with any success feeling like an inevitable product of their collective popularity and not something of note. The word I get across several ponds is that it very much did not get the celebratory treatment that say a Dua Lipa hit would get.

I think the less fun issue that comes up with this is that it's hard to escape the feeling that a lot of folks find popular rap artists as pretty interchangeable and hard to get interested in, except there are exceptions. When Russ Millions & Tion Wayne released the remix of "Body" that had 7 more artists featured on it, can you guess whose verse gets mentioned and replayed the most? Okay maybe you don't even remember who's on it, but it's not surprising to see that it's ArrDee, the one white kid on the track. Maybe it's a mix of novelty and jokes, but if you jump forward in time, he's the one who got the biggest platform from it and kept scoring hits. Not the first time this has happened. A couple of years earlier, Young T & Bugsey had a big breakout hit with "Strike A Pose", but again, they weren't the ones being talked about. A young Aitch was making himself known for his distinctive quality of being white, and he'd go on to have 8 more top 10 hits, while Young & Bugsey never had another one. They only get some reprieve because their later single "Don't Rush" became a fluke TikTok hit and one of the most unmistakably British rap songs to hit the Hot 100. Just weeks after "Strike A Pose" was released, Dave's "Thiago Silva" went viral because he got a white kid from the audience to rap it with him at Glastonbury. Audiences can't help but keep repeating the Eminem story over and over again. 

When I think about "Rain", I just can't help but see it as the product of leaning into the crowd of UK rap for people who don't really listen to UK rap (even if it's Dave or Cench). AJ Tracey was just fresh from scoring his biggest solo hit "Ladbroke Grove", a song whose garage influences make it incapable of offending anyone for being too crass or confronting. A sufficient hit to give him a song that stands out for not really being a rap song. Cries of 'Why can't he make more songs like this one?' ensue.

"Rain" doesn't really sound like this, but it appeals to the same concept in a different way. Enter Tay Keith. He instantly became an unmistakable presence in the American rap scene with his menacing production aiming to live up to his immortal producer tag. He never got bigger than where he started in 2018, but he's made enough enduring songs that he's not being forgotten any time soon. So "Rain" is UK rap for people who like US rap, and it's one of only a small handful of songs here that aren't by Dave or Stormzy. I can't really prove my credentials on UK rap here, but if "Rain" is what we're getting, I'll take it on face value.

While I prefer not to think about what the title lyric actually means, I think both AJ Tracey & Aitch are on point here. An effort worthy of the beat Tay Keith provides for it. I hope Aitch doesn't do anything too troublesome in his life otherwise the guy from Steps will have to deal with negative associations on both his stage name and real name, and that's just one for sorrow, a tragedy you might say. But hush child, from the joy to the pain, it'll all wash away in the rain.

#357. Hilltop Hoods - Leave Me Lonely (#24, 2018)

39th of 2018

Just an hour before I started writing this, I missed an entry on a Sporcle quiz that amounted to recognising the artist behind "Have Love, Will Travel". It's Richard Berry, though it's an easy mistake to make as his recording is far from the most famous one. You'd probably better know it via The Sonics (The Sonics!) or The Black Keys. Up until 2019, I thought it just was a song by The Black Keys, and I have to report because apparently you can just put down anything in Spotify credits, that back then Dan Auerbach & the drummer from The Black Keys were credited as writers in the meta-data. It's been fixed now, but it's an early incarnation of them not giving credit to less famous artists.

"Leave Me Lonely" might have marked the end of an era. For many years at that point, you could always count on Hilltop Hoods for a top 10 hit from every album campaign. It wasn't necessarily just a matter of coasting with easy debuts (barring "Higher" (#860) I suppose). We're looking at a certifiable hit that proved itself by climbing up and sticking the landing. "Leave Me Lonely" was not one of those songs, and it peaked at #11. By all means it could have done it. I listen to the song and I hear a hit, but it just couldn't go the distance. If there's any proof of an arbitrary Australian tax on the charts, then seeing a well-oiled system miss its performance markers is the surest example. It's actually a funny chart run because the song dropped out of the top 50 from #27, due in part to Billie Eilish's album arriving that week, but the song never recovered afterwards, so it just looks like an unfinished story.

I said something similar about "Exit Sign" (#612), where this is Hilltop Hoods going hard into the era of dad rap. What better example can you get than being a bunch of 40-ish year old guys who just want to be left alone, because everyone around them is annoying, and they're not able to perform up to task for the occasion. That's only in the external sense though because this is one of their most fired up performances period. Suffa is up and about right away but Pressure's verse completely steals the show. Once he's fully revved up the engine, we're treated to a syllabic delight. Rarely is there this much urgency in a career that's gone on so long, it's as if they've found a new spark.

#356. alt-J - Hunger of the Pine (#26, 2014)

39th of 2014

Something I've always found interesting is the gulf in discourse for some of the highest selling albums going around. Whenever I look at lists and collections of the best-selling albums of any time frame, I'm always struck by the constant inclusion of so many albums that I've just never thought about. Maybe they're by a notable artist, maybe they've got some notable hits, but the album itself evokes nothing. A lot of the time they're by huge pop stars. In 2001, Jennifer Lopez simultaneously had the biggest album and the biggest film in America. That album, "J.Lo" sold 4 million copies over there. I've never really heard much talk about it, and wouldn't assume anyone's heard it. Maybe the album isn't much to write home about, but it's still got a pretty top heavy track list that should let it coast, the same way a lot of people talk about that one rock album from 2004.

This doesn't feel as common nowadays because the gap between the engagement (buying then, streaming now) of the albums and people on the internet talking about it is a lot closer. You're gonna get live reactions while people are listening to the albums. If you're listening for that purpose, then on some level, discourse is actually generating chart positions and getting rid of those exceptions that dodge it. Now it'd be wrong to ignore that some albums can literally chart from people listening to the singles, but if nothing else, we've got a pretty accurate picture of what's being heard in full. The big artists of now, like Taylor Swift, Sabrina Carpenter, Morgan Wallen, they're all talked about in some capacity. It's harder to find someone who slips under the radar. Maybe that Canadian dancer turned pop star, racking up very successful albums that most pundits probably have never even considered listening to.

I do think that this is just an example of an imbalance in where I'm hearing these views from. I highlight the success to say that there obviously is an audience for these albums, they're just in other spaces. I love the version of poptimism that gives a fair chance to every side of the spectrum, because I love hearing from people who love something I've overlooked.

The 2013 version of Jennifer Lopez might have been Miley Cyrus. Mostly on the back of two very big hits, she had a slight version of one of these albums with "Bangerz". Obviously very successful, and talked about to extent that she couldn't help but control the conversation. I just don't think most of it was coming from people who actually listened to the album. I've been listening to it the whole time I've been writing this and let me tell you, it's very different to the album I imagined in my head. It's her party and she can do what she wants, but it's not really making party music. There is a lot more country music influence then you'd think, and a very odd "Stand By Me" interpolation with a rapper who will appear on this list in the future. I'd have never wanted to touch it at the time, and maybe it's wrong that it took alt-J's tick of approval and this opportunity to get me to dig in.

Maybe thinking back to 2014 is the most interesting way to view the perspective. I'm looking at old comment threads about "Hunger of the Pine"'s release, and it's a big talking point that alt-J decided to sample Miley Cyrus's song "4X4". A lot of people were generally okay with it, but you can sense a permeating feeling of 'How dare the pop world intersect with my indie?'. Miley Cyrus overexposure was in its punchline phase and you could see it elsewhere that she was the #1 enemy for a lot of music fans in 2013/2014. With those pop & indie worlds feeling apart at that point, you might even think that alt-J did it ironically, as a joke.

The more fun answer to it all is that it was a mark of mutual respect. Miley Cyrus had been using alt-J's song "Fitzpleasure" as a background sound during her tour, and was totally okay with them using her voice as a sample in their own song. Apparently they'd just been listening to a remix of "4X4", but I like to believe that they were interested in the whole project. With the occasional exceptions, musicians tend to be more open minded about music from different genres because they tend to respect the craft. Easy to forget that a lot of the outrage comes from either people who are old and out of touch, or young and prone to over-react. It's up to me to say 12 years later that the Miley Cyrus album is enjoyable. I think there is room in my heart for both "Bangerz" and "This Is All Yours".

Even outside of all this, "Hunger of the Pine" is a peculiar lead single choice. You get the feeling that many were waiting for a big statement out the gate to follow up their big debut album, but instead you're treated to a very slow build up, one that takes about 40 seconds before the instrumental is anything other than a slow beeping sound. Oh you wanted drums? Just wait 90 seconds. Still, it's one I was always drawn into. Something this apparently cerebral can go either way, but this hits a sweet spot that proves to be calming. Nothing feels out of place, even the sample, and it feels well curated to do everything it needs to do in that time.

#365-#361

#365. Boy & Bear - Harlequin Dream (#55, 2013)

49th of 2013

There's a modestly important prequel to the Sarah Blasko post I did a while back, which is that it wasn't my first time seeing her. About a year earlier, she was touring as a support act for Boy & Bear, as they were going through a 10th anniversary tour of their second album "Harlequin Dream". It was a good package deal. I probably wouldn't have gone out of my way to see them otherwise. Sarah didn't have a band and only played about 5 (mostly on the new side) songs so if nothing else, it was a teaser that made it all the more necessary to cough up when the better opportunity presented itself. If I remember nothing else from that part of the show, it's that a woman directly in front of me heckled for the "Flame Trees" cover to make it to the setlist. For all I know, this was never the plan. Setlist FM is never quite as comprehensive as I'd like it to be, but the few shows that were documented didn't have it, there might be some truth to the idea that one person really had all that influence.

I did enjoy the Boy & Bear part of the show too, in spite of the very rude person behind me who obliviously bumped me dozens of times. Since they were touring the album, they started the show by mostly (put a pin in this one for another day) playing the album in order. It meant playing a lot of songs they hadn't played in a very long time, but it also meant the title track had to come into the picture very early. If you're familiar with this song and its reputation, you'll hear it and immediately start thinking forward a few minutes, who's going to play the sax solo?!

It's a slight regret that I didn't trust them enough to see it coming. I do have a brief video I recorded at the time of the saxophonist, but it doesn't truly capture the exciting spirit of it, when a man you haven't seen before just walks onto the stage as if he's always been there and delivers the crowning moment. Going back to 2013, this was the legacy of "Harlequin Dream" (the song), the pleasant Boy & Bear song with this unbelievable moment of hype tucked away at the end. I'm not convinced I'd be talking about the song at all if not for it. Afterwards during the show, they admitted that the saxophone was like a magic trick they prefer to pull out later in the set, but they didn't have much of a choice this time around. You might not think it, but Boy & Bear are a very funny banter band.

That's not to say that I didn't always enjoy the song for the rest of its pieces in the first place. It was always one of the meatier cuts from the album for its excellent control of mood and tempo. It's finding the right level of intensity with its stuttering guitar that gets the absolute best out of Dave's falsetto delivery. The pre-chorus to chorus transition might just be my favourite thing on the whole album. It's just a shame, I suppose, that I'd already done this ranking list by the time I got to this experience because it has me wanting to bump it up a little higher.

#364. Amyl and The Sniffers - Hertz (#28, 2021)

31st of 2021

I like to be on a steady pace of being far too prepared with these posts. It's nice to be able to fall back on the chance to take a couple weeks off and not lose any apparent pace (I'm pretty happy to say I haven't missed a single scheduled post day since I've started), but it can have its draw backs as well. Every day is a new set of events that could possibly be relevant talking points for me. Like how you're seeing this post after the 2025 Hottest 100 has come and gone, but I'm writing this back in November without any of that juicy context. I think I got lucky this time. I've been pacing ahead of schedule, but have still been lucky enough to arrive just after the biggest week of Amyl and The Sniffers discourse ever seen. I'll open the curtain fully and say that it's November 19th, 2025. The band have just had a massive free show in Melbourne cancelled by police, getting further press when they used the opportunity to shout out a whole bunch of smaller venues and garner further respect. Also just tonight they practically swept the ARIA Awards, winning every industry voted award they were nominated for, including Album Of The Year. They've also become a rare Australian artist of late to chart anywhere as Fred again.. recently sampled and credited them. It's a lot more to acknowledge when about a week ago I was prepared to just write about how the song "Hertz" has been very recently beaten into the ground by a car commercial.

How did we get here? By usual standards, it's a pretty short story. They got together in 2016, found their present line up in 2017, and released their debut album in 2019. That debut album was released on the label of a certain internationally famous Australian band, but effectively was independent. It reached #22 in its first week which is a positive sign that they were making waves. The two subsequent albums debuted at #2, both behind notable North American rappers (I can say one of them is Drake). This clearly is not a passing fad anymore, Amyl and The Sniffers might just be the future of Australian rock. Considering the increasing positions globally, you might even be able to take the Australian qualifier out of that.

Most popular music fits pretty directly into one of two extremes. You've got music that so aggressively makes you pay attention to it, and music that does the opposite, blending into a desired trend to get picked up by proxy. The latter has certainly seen a boon in the age of streaming, and it's probably the most obvious change in the nature of popular music. The former still has potential, however. When it's competing with more and more of the latter, it'll be prone to stand out more than ever before. Amyl and The Sniffers fit squarely into the former group and they know it.

The first thing you'll probably think when you hear them, is just how much Amy Taylor's voice stands out. Maybe not the first in this wave of overly Australian vocalists, but in an up-tempo punk rock environment, it's reaching out to far different worlds. Probably some gender politics come into play, because we're not usually used to seeing women be so proudly vulgar, as some future artwork will make abundantly clear. They're gonna rub a lot of people the wrong way, but it's securing the lifelong fans that's the most important thing here.

I am not one of those people but I have generally been enjoying the music along the way. "Hertz" is the only one here because the next couple of entries don't come along until 2024. It was quite surprising to hear it at the time. One of those 'they've really made it' moments for a band that could easily have trucked along without that recognition. It's not just a curious gimmick of the moment though, this is a song that has really stuck around. When triple j did a countdown for the best Australian songs of all time, this was the highest ranking song of the 2020s thus far. You can chalk it up a bit to the state of popular Australian music lately and how much of it is previously popular artists coasting, but someone had to rep the current decade and that's the power of standing out. I don't know if it's necessarily my favourite option, but it's a snappy song that goes in and out in about two and a half minutes, so it's a nice little entry point.

#363. Sofi Tukker - Drinkee (#60, 2016)

41st of 2016

I need to share this because it's tangentially relevant, but mostly because I think it's funny to send a time capsule to myself two months from now. Recently I have been absolutely assaulted by "The Girl From Ipanema". It's been in multiple movies I've seen, it's come up in a trivia context, I can't seem to get away from it. If you don't know it (I won't judge), it's a monstrously popular 1960s song from Brazil. It won Record of the Year at the 1965 GRAMMY Awards as well. It's originally entirely in Portuguese, although I think the more famous worldwide version has lyrics mostly (but not entirely) in English. There aren't many songs that have gotten famous all around the world in Portuguese. I suppose I can think of the winning song in the 2017 Eurovision Song Contest (though it's not one that's stuck with me), or failing that, we also have "Drinkee".

This feels like cheating, however. To say "Drinkee" was popular worldwide is stretching the definition pretty thin. It has achieved notoriety in Brazil, Italy and Australia, and that's about it. A very scattershot representation that makes it to three continents and crosses multiple language barriers. I wish I could rationalise a reason for how this happened, but I cannot. They were lucky to get some airtime over here and we were more than happy to lap up this song that's absolutely incomprehensible. They try to spot us one word in the title, but they're cheating a little bit, as it's spelt 'drinque' in Portuguese. It does mean 'drink' so you're probably okay there, but maybe you too have been fooled into thinking that the opening line is 'come dance with me', not even remotely close I'm afraid.

I do find the language barrier to be a little superficial at times. I feel like it posits a greater portion of music fans are deeply focused on entire lyrical screeds and not just gelling with the general vibe of it all. Maybe a simple platitude to latch onto is all that matters, otherwise some serious questions need to occasionally be asked with regards to what becomes popular sometimes. I can only guess that it's those occasional sequences that sound like English words that allow Sofi Tukker to get away with it. It's like getting to the end of that R.E.M. song's verses when you hear the distinct title drop poking its head out.

Otherwise I think "Drinkee" stands out as a song that just doesn't sound like much else around it. It's not just a song that has Portuguese lyrics, it's a song that has about 4 lines of them that are just repeated endlessly (it's about 12 times) and it's the song's second job to just mess around with that fact and keep us entertained for 5 minutes. The guitar does a very good job with this, coming in super slow as if to combat the pace of the singing. I don't know what genre you'd really put this under, it's supposed to be dance, but it feels like a strange allocation. The most appropriate moment is when the beat goes away in the middle to build up to what is effectively a drop later on. Maybe it's the most obvious trick to string you along, but I won't pretend it doesn't work for me every time. Give me more incomprehensible hit songs. They don't even need to be from Sofi Tukker, though I suppose that will happen.

#362. Remi - Sangria (#85, 2013)

48th of 2013

When the GRAMMY nominations come out, I tend to have a look to find out which Australian artists have made it in. There's a very strong America tendency to it all which can expose itself the most when it comes to any international country. You could be just as relevant in the bigger picture, but when none of your fans are on the voting committee, it's moot. Still, Australia tends to do reasonably well, usually good for a few names every year. They really like nominating RÜFÜS DU SOL in the Dance categories, I suppose it's an area we do well in (although it should be noted that their international recognition wasn't 'unlocked' until the 2020 awards). I also tend to probably need someone else to run through the list instead of me because I can miss some names here and there. Names like Hiatus Kaiyote.

The 2014 awards were a pretty lean one for Australia. You had a solitary album nomination for Tame Impala, and an R&B nomination for Hiatus Kaiyote, which was actually a collaboration with a pretty notable US rapper. I know the band quite well now, but it's not often that I get introduced to someone from my own part of the world via the GRAMMY Awards. Maybe that's not entirely true though, because they were getting name dropped all year on triple j in 2013 at the end of "Sangria".

This is a strange way to segue into all of this, but it's genuinely the first thing I think about with this song. So many shout outs on this one. Many are just directly involved with the song, but then there are names I do know, where I'm just thinking, 'yeah, Michelle Grace Hunder is a great photographer but it feels out of nowhere'. Nice bit of connecting lore with it all I suppose.

I am potentially here to drop a bomb shell because I'm not sure how known this fact is: Remi was a band. It is an individual moniker of the rapper, but they've always been a whole thing. We don't stop shouting out J Smith. I guess easy to fall into the trap when he's always referring to himself with singular pronouns, but there isn't a way around that. Don't worry, I didn't realise for years either. I always saw...them as plucky underdogs, getting a lot of praise through the traditional triple j Unearthed cycle, but not really having the necessary pop appeal to cross over in the era of 360 and Chance Waters. A good sign though that there was more to get out of Australian hip-hop at the time.

I did think they had catchy songs of course, just not with that next level of polish. "Saggin" is loads of fun, but sounds like it came out nearly a decade before it actually did. "Sangria" catches up to a slightly more modern era, if you can overlook it leaning on the well-worn path of Australian hip-hop using woodwind samples. It's very much in the world of loose, fun SoundCloud tracks, just that it's one that caught a little more wind than you'd expect. I was a little shocked to see it actually land on the list. I wasn't sure how I felt about it at the time, think I just heard it so often that it became part of the radio tapestry and I couldn't hear it as a song anymore.

This song has aged tremendously since then. Even within the bounds of something that isn't touched up to hit the mainstream, it's just full of those nifty little hooks that keep me engaged. One of the best introductions going around with how immediately it takes you into its world, with a chorus that feels incredibly Allday coded. Remi Kolawole is able to keep up the pace the whole way, but I do have to shout out Sensible J & Dutch because there's a lot of heavy lifting just in the instrumental. Remi never really had a big breakout after the fact but I'm so glad we've got this one here. One of those moments where the triple j voters do an excellent job of time capsuling the year that was with something that might otherwise just slip through and be forgotten over time. I mean I can't say I've thought about "Seconds" by Ghost Loft in over 10 years.

#361. RÜFÜS DU SOL - Alive (#19, 2021)

30th of 2021

You say their name and then they appear. Otherwise I am going to spend this opening section dealing with the most important thing about "Alive". It's something that I'm jumping the gun on by writing right now, but will feel woefully out of date by the time the post goes live. The title lyric in this song sounds a little like he's saying 'Feliz Navidad'. Now that we've made it here, we can wrap things up I think.

If I am pushed for more words, I want to point out that this is a culmination of something I've said in several RÜFÜS DU SOL blurbs previously. RÜFÜS DU SOL have slowly built themselves up as a massive festival headliner around the world, even in countries where they have no visible charting profile. That comes with a lot of pressure because once you're that big, you're gonna get people tagging along in audiences that aren't familiar with your music. Maybe their minimal, chill electronica works perfectly in a pair of headphones, but if you're playing big stages and arenas, you need something to fit that. It feels like a conscious decision on their 4th album to play into this, and "Alive" encapsulates it perfectly. Big sweeping sounds, big sweeping platitudes, big sounding songs.

I've not experienced "Alive" in that kind of setting, but even through headphones, it just sounds immense. Another song that shows its lengthy runtime as a potential threat, but doesn't really wallow around in needless stalling or an unearned coda. Maybe I am just a little more partial to some of their more radio ready tunes, but when I want a big monster of a song, this is a good one to go to.

#370-#366

#370. Courtney Barnett - Elevator Operator (#75, 2015)

43rd of 2015

It's been a long time so I don't know what it's like to hear this song for the first time. It's one of those songs where once you know where it's going, it completely warps your perception of it going forward. Trying to put myself back in that first impression, it feels like a shaggy dog story. You don't reach the chorus until more than halfway through, and it comes out of nowhere, turning it into something much darker.

I don't think there are many popular songs that are quite as facetious as this one, just a carefree, upbeat song about someone potentially jumping off a building. It's the sort of thing that makes me wonder if she just got away with this one, having such a dark song just end up in high rotation on the radio. To an extent, it makes for a bigger impression than something like "Stan" by Eminem, because that one at least builds up to its climax, whereas this goes from a carefree day to 'don't jump' in an instant.

There's some unresolved ambiguity to all of this though. The suddenness is what alerted me to the fact. There's nothing leading up to the chorus that suggests 20 year old Oliver Paul is at all pursuing these dark thoughts. He denies it himself (and if we want to cheat, Courtney Barnett said that she wrote this song based on a story from a friend), and there's an alternative interpretation that it's the old woman who's actually about to do it. I think it's a 'fun' way to look at it that flips the script, but it's also nothing you can totally gleam from the text anyway.

All in all though, it's songs like these that reinforce the kind of detail-oriented storytelling that Courtney Barnett is so good at. Every second line is including a gratuitous piece of specific world-building that feels considered. This isn't just a reference dump of a song, but one from a narrator that's deeply fascinated by the details. I could write a line about someone in a hurry dropping food as they go, but within just the first handful of lines, we've already started laughing at a 20 year old who thinks they're old, eats a premium kind of bread, and shaves off the difference by using the 96 tram in Melbourne without paying a fare. There's just an amusing throughline to all of it though, where you've got a story about two very different people from completely different generations, and yet here they are on the same journey and also sharing some superficial similarities (the boy is worried about going bald, the lady uses Botox and is deeply jealous of the boy's skin). It's something I think a lot about because we always get these generational divides due to different upbringings, priorities and life experiences, but deep down, there are these certain qualities, good and bad, that we can't help but continue to inherit down successive generations. Much more worthwhile to focus on these elements, rather than start a war on minor squabbles. You can learn a lot of things from people who are both much older, and much younger than yourself.

#369, Peach PRC - God Is A Freak (#16, 2022)

34th of 2022

It's very easy to be cynical of a song like this. Peach deals in the world of TikTok where the number one priority is finding something memorable that resonates and gets people to hit the Follow button. This is a platform that rewards aggressive marketing, so you'll often find artists having to make multiple videos with their own songs as a soundtrack. If you're lucky, you'll have inspired a viral trend that gets people to continue doing it for you, but even if you're not, you're still ramming it down everyone's throats and creating the illusion of acceptance, like thinking a song is a massive hit just because you kept hearing it on the radio (or maybe it was a TV commercial, but it doesn't matter).

When I think of songs being designed to go viral, songs like "God Is A Freak" are what comes to mind first. This is a song with exactly one joke that we all thought about when we were very young. If God is everywhere, does that mean he's watching me take a shower? If that's the sort of thing he's interested in, why would we want to spend eternity in the afterlife with him? It's something that's so /r/atheism coded, you can just smell that smug energy from someone who thinks they've nailed those preachy religious types (while God is watching). Just the most tedious people to be around.

On those grounds, there's nothing new to be gained from "God Is A Freak" and I should hate all that it embodies. I think I was pretty cynical of it as well, a lazy attempt at being shocking and provocative that has no purpose beyond that. It's not how I landed with it though, I think in part because the humourous slant in the writing scans as too ridiculous to take seriously, and secondly because as a pop song beyond that, it's checking all the boxes. The funniest thing of all, and I don't think it's meant to be a joke, is the way the pre-chorus structures itself like a Zedd song. Just sub out this song's guitar for a ticking clock and you've created "The Middle" or "Stay". I generally liked those songs though, so that template is probably doing the work for me when I find the release of tension in "God Is A Freak" to be so effective. Maybe I'm the one with f**ked up priorities, but I love an unintentional parody that feeds off the best elements of its 'source'. I know in my heart of hearts that Claire Rosinkranz is a genuine musician, but there's no way I would enjoy "don't miss me" as much as I do if it didn't sound like she was a novelty persona created to wage mockery on future Hottest 100 entrant Clairo's song "Amoeba", truly one of the most unexplainable coincidences in music history.

#368. TV on the Radio - Happy Idiot (#49, 2014)

40th of 2014

If you weren't there for the moment, it can be difficult to make sense of it all, you're probably just gonna hear a second-hand account. On the other hand, there's a slightly weirder scenario, the one where you're partially there for it, but you've never felt like you have the full story. That's me when it comes to TV on the Radio. Are they just a critic baiting acclaimed band, or a run of the mill band that happen to have some hits? I've never really been able to figure it out, and they've largely disappeared from the conversation ever since they stopped putting albums out. I just don't know if there are that many TV on the Radio diehards, or rather, if there should be that many.

I enter in the middle of the story. "Wolf Like Me" lands on the Hottest 100 CD for 2006. It's the only thing I know about this band and I don't really enjoy it. Too much aimless shouting, it feels unstructured. It's something I wouldn't really think about but I keep hearing rave feelings about it, and it pops up as an oddity in additional Hottest 100 polls. At some point in the middle, it clicks. I don't recall if Guitar Hero was what did it, just that it's absolutely my favourite song to play in that whole series. The only song that feels like a workout as it tests your ability to never stop strumming both ways.

In any case, it means I entered that hype cycle with at least a little bit of information. I knew "Wolf Like Me", I would assume that the album it came from was considered good, and so that rationalises the hype that was going around for their next album "Dear Science". It mostly washes over me as one of those albums I believe to be highly regarded, just in a conversation I wasn't part of. It's something I accept and don't hold any spite against. I did know a bunch of songs on that album that ranged from pretty good to great ("Halfway Home"). Nowadays it's possibly likely you just know the album because it houses "DLZ", which has gained a lot more recognition ever since it appeared in "Breaking Bad". A good way to set yourself up for the future, but I still don't feel like TV on the Radio have managed to stick the landing in the same way a band like Mazzy Star has thrived off the notoriety of just having that one killer song in their discography, or Interpol from that one album.

And yet, here I am talking about them, absolutely stretching the possibilities. Plenty of artists have had long gaps between appearances in the Hottest 100, one band I'll get to eventually sprouted out a huge career detached from triple j before randomly popping back in there. TV on the Radio never had that experience. They just had their starring moment and the usual diminishing returns afterward. Maybe nowadays after the definitively non-hitmaking rollout of their 2011 album, that'd be the moment they become confined to Double J, and just being a band checked out by diehard fans, and also those occasional music listeners who feel determined to listen to every notable album that ever comes out. Maybe that still is what happened, but on the smaller scale they had "Happy Idiot".

It's just one of those quirky moments that we're usually not privy to. If it were by some other band, or it came out years earlier, I wouldn't have questioned it. But to fly in the face of momentum and decide to have another moment is something that makes me want to scrutinise the song itself more. It'd have to be something pretty darn amazing to justify this. It's not really, but it's fairly serviceable and catchy in a way that they hadn't pulled off in a while. Maybe there's a lingering thought that the use of the word 'idiot' in the title is itself a winning strategy. Maybe there's nothing unusual, and this is just reinforcing the possibility that TV on the Radio are just a pretty good band, with generally pretty good results. We spend so long looking at the extremes in both directions that we forget to acknowledge this important building block.

#367. The Wombats - Cheetah Tongue (#69, 2018)

40th of 2018

Thus we reach the end of what has been the most respectable of runs in this tally. 10 songs by The Wombats, nothing in the top 100, nothing in the bottom 100. I'm not sure if there is any irony to celebrate here, but it's a fun place to be in. I could never get mad at The Wombats, whether for the deluge of the British music scene that they're a likely figurehead, or for the music they actually made. They fit the perfect middle ground of being popular enough that you've heard of them, but not popular enough that you have strong feelings about them. 'Remember The Wombats? lmao', good source of retweets in the right place. I could cite their enduring popularity that stands them well above most of their peers, but there's no pleasing the crowd of vibes.

I don't expect "Cheetah Tongue" is the most exciting place to wrap things up. I've mentioned along the way that there are numerous songs by The Wombats that I have a bit more space in my heart for, but it's been a long time since I've had the privilege of them finding the necessary votes. What we're left with is not a defining song by any stretch of the imagination, just the closest we're gonna get to tapping into that feeling.

If I were to point to one thing in particular that they do very well here to justify it, I'm listening out for those verses. It's fairly minimalist, just some occasional finger snaps, a scattered guitar loop and some faint droning. The bass pops in after a little while but it's barely audible. I'm just addicted to the tension that the guitar provides, just never reaching a resolution until the drums finally come roaring in for the chorus. Everything after that is just a pleasant formality, but I'll always come in to rep for any song with one brief idea that hits the spot.

#366. The Smith Street Band - Passiona (#49, 2017)

37th of 2017

We've all seen the jokes about cheering during movies when they say the title, especially when it's late in the piece or it punctuates a significant moment. A close second to this is when an album does it. It's such an unbelievable power play to use it as the chorus for a song whose title doesn't even appear itself. It has me asking questions, why did they call the song "Passiona"? The only logical explanation is that it's the particular title that won out on the lottery of Australian signifiers that can read as a subtle in-joke. The kinds of references that just haven't really made it internationally as something we're associated with, which are the best kinds. Also I've got a soft spot here because when I was a kid, Passiona was the ambrosia of the Woolies aisle. The occasionally purchased soft drink that hit different to all the other ones. My teeth aren't very fond of it though so I haven't had it in quite some time. I suspect it still does the trick.

There's nothing refreshing about this "Passiona" though, it's all anxiety and estrangement. An English teacher somewhere is furious at Wil Wagner for starting nearly every sentence with the word 'And'. At least he's fighting the good fight for distinguishing literal and metaphorical examples, and it's gotta be one of the hardest lines about self-pity going around. I think the one single line 'It's also not a competition' is one that just leaps out of the page. I didn't get it from the Smithies, but it's a way I look at a lot of aspects in life. You'll do better to focus on meeting people at their weaknesses, rather than try to live in an attempt to be in the desired percentile of the planet in your self-approved measure of success.

It's not all vague platitudes also, not that I'd expect that from this band. The lyric about having panic attacks on German TV is a very real thing that happened. Wil Wagner will say that it's about the overwhelming emotional toll of being a touring band, but I know deep down he's thinking about those ducks, flying together, away from the "Don't F**k With Our Dreams" pool. And whatever happened to Ed Kuepper? The strong silent type. That was an Australian. The whole song goes through so many mood swings; it really does nail the experience of anxiety.