#85

#85. British India - Summer Forgive Me (#84, 2013)

17th of 2013

I have a strong habit of going rogue with regards to my favourite songs by a lot of artists. Maybe I'm projecting a bit and everyone does it, but the beacon-like nature of popularity has a habit of exemplifying the regular reaction. I think it also gets reinforced over time because the accepted truth just tends to block everything else out as an entry point. The Rapture are the "House of Jealous Lovers" band, Fischerspooner are the "Emerge" band. It's very easy to use these as your accepted entry point and then just not go any further with it. If they had something else worth hearing about, I'd have heard about it, right? This is me going to bat for "Get Myself Into It" and "Never Win", for the likely reason that they're just the ones I heard first. Sometimes, it can feel like you're being pushed out of your nuance because it's just easier to go along with what everyone else says.

For the most part, this isn't really important. The breadth of choices is always there and I can live in my world where "Science of Fear" or "Rabbit Hole" are just as important as the usual suspects in The Temper Trap's discography. One exception to this is in the live music setting. That's one where depending on the artist and the context of the show, you likely have to take concessions to the consensus, and find out how willing you are to go along with it. That super deep cut you love just isn't going to come through but the song that got them famous absolutely will.

This all came to mind because I was recently thinking about a bunch of my favourite songs over the years and which ones I've had the opportunity to hear played live. It's a relatively small fraction, because I don't go to a great deal of shows and even if I did, you can probably imagine how often Western Australia gets left off the itinerary. What stood out to me though, is how often I had these standout picks that had basically no shot at ever coming into fruition, because I'd already seen these bands and they didn't have them in the setlist. Every new album cycle is just potentially more of them to get cycled out of rotation, very rarely will something come back.

With that in mind, one of my favourite British India songs is "Beneath The Satellites". On the whole, it's probably boilerplate British India but I have great affection for the delivery of the title, the way it's elongated but the sung note is shifted with no subtlety. I don't think I've encountered it done in such a way that called out to me like this before or since. The song was released in early 2010, as the second single to the band's 3rd album. I suspect that it was all over the setlist during that album cycle but never again, as the song wasn't really much of a hit. Sure enough, I saw them live in 2016 and it wasn't included, the window was over. My memory of that setlist is a little fuzzy but I feel like they weren't playing much of their very early material if any. Only "I Can Make You Love Me" feels safe from the passage of time because it's their biggest hit. I was in luck however, because I'm pretty sure "Summer Forgive Me" made the cut. That's not really a big hit either, but it does have a strong advantage as the direct follow up to "I Can Make You Love Me". I'd be pretty ready to accept this song being pretty forgotten but that position in their discography gave it the best kind of momentum. Instead of just being another British India song that I like a lot in particular, it split the difference to just make it over the line here and feel like a notable song in the long run.

I think the best thing it has going for it is the general production & mixing. British India are a garage rock band at heart and thrive on that kind of scrappy sound. Here, they switch things up with something that sounds remarkably crisp. I don't think it would work quite as well if it sounded like a 128 bit rate mp3 that was nicked off Limewire. It makes the band feel more primed for the big time, and just in general feels like one of their most instantly clicking songs.

#86

#86. Drake - Passionfruit (#35, 2017)

11th of 2017

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One of the more mundane coincidences I've come across relates to Australian soft drinks. When you think of passionfruit drinks, the two that come to mind are Asahi's Passiona, and Kirk's Pasito. In a very quick space of time in early 2017, we managed to have two notable songs that recalled them to mind. The Smith Street Band's "Passiona" (#366) of course, and who could leave out "Despacito", which is of course French for 'Some Pasito' [citation needed]. Also at the very same time, Drake joined in with "Passionfruit", and these were the only three songs I could ever think of that managed to fit this idea, until The Rions had their own "Passionfruit" many years later.

If you're reading this post as it came out, you might be aware that Drake recently released 3 albums on the same day. If you're reading this further in the future, it's not too late, but who even knows what gimmicks he's resorted to since then. It's been a peculiar thing to witness, as I've watched the general perception of Drake change over the years. Maybe it all happened the moment he first had a #1 single and he was no longer the curious underdog to root for, and became the very establishment propped up solely on pure hubris and persistence. It was something that became very clear around when he released "For All The Dogs" in 2023. I just remember seeing a comment that was dismissive of the potential sales on Drake's album when physical formats were released, as it's hard to imagine someone spending actual money for a CD or vinyl over just streaming the latest disposable offering. I almost didn't question it but then I remembered back in the early 2010s, how different things were back then.

In a time when many artists were having trouble with that aspect of fandom, Drake was a glaring exception. It was mainly just in the US, but suffice to say, he was an absolute monster in terms of getting fans to buy his albums. His first four albums coincided with his own growing popularity and a slide in pure sales across the board, but it was he who was actually winning that battle. He'd consistently sell close to half a million copies in his first week, peaking with "Views" in 2016 which managed over 850,000 sales to go with record breaking streaming numbers. Almost nobody but Adele or Taylor Swift was doing Drake numbers. This is evidently not the case anymore. Drake is still a very bankable star, obviously, but that album-buying audience he once had has all but disappeared. Most recently, "ICEMAN" managed just 13,000 pure sales in its first week in America, and that was the big one of the three. Just a decade ago, Drake nearly moved half a million digital sales in a week with a barely announced mixtape.

You can make a lot of brash judgements on this. I do think the easiest is just to say that Drake eventually neglected the artistry of the album format. He's become one of the more infamous artists of late whose every action with regard to his discography seems to preference keeping the ship running with excess, rather than quality control. There's a need to seemingly always have something out around the corner, and to buff the streaming numbers by making as many songs as possible. It's begrudgingly working, but it feels like the disappearance of a once vital performance metric for Drake in pure sales has been the cost of doing business this way. You can't expect your fans to value your art if you treat it so frivolously.

My gut feeling is that this all set in when Drake released "More Life" in 2017. This was just under a year after he'd released his 20 track album "Views". "More Life" had 22 tracks, and then just a year later came "Scorpion" with 25 tracks. I hate to reference the TERF wizard franchise but I just can't not think of Harry Potter's cousin Dudley lamenting getting one less birthday present than last year and getting his parents to cave and buy two more presents when they go out. That feels like the mindset Drake is satiating, the idea that to slow down, is to signal to shareholders that it's all downhill from here. The aspect that I've left out here is that Drake marketed "More Life" as a playlist, as opposed to a mixtape. It feels like an attempt to modernise the nomenclature to something a younger generation is more familiar with, but you can't help but be cynical about just how banal it comes across. It changes the dynamic from 'Here's a fun sequence of songs I put together' into 'Here are some songs, do what you want with it'. I'll also admit that when it comes to his sheer excess of productivity, the line between studio album Drake & mixtape Drake has never felt less clear to me.

I'll be fair though. Regardless of how I might feel about where Drake's output has been heading lately, I didn't feel quite as uninterested back in 2017. I thought there was some potential in this project, and by all accounts, it had its moments. I have to give big props to "Get It Together", for introducing me to Black Coffee and also giving Jorja Smith a starring role. The two of them provide good balance so it's not just 4 straight minutes of Drake, in a way that seems increasingly common. His later Hottest 100 hits, "Rich Baby Daddy" and "NOKIA" feel more like bops that Drake happens to be on, rather than Drake songs in their entirety. Alongside this, "Passionfruit" is just a really good song too.

It's a song that's surprised me a little lately by just how well it's endured. Certainly it was a popular song in its time, but if any Drake songs are going to fade into the background after they have their moment, it's gonna be the more unassuming ones that aren't attached to a major project. It was a little hard to get a read on "Passionfruit" at the time because a lot of its momentum could just be owed by being the 'single' from the latest Drake project, but also being one that didn't feel entirely tuned to be a pop hit. "Passionfruit" is 5 minutes long. It takes about a minute to get going and then it resets itself. Drake's first verse starts at the 1:16 mark, and his last chorus ends at 3:46, meaning it's really a two and a half minute Drake song that's been stretched to double time. Unless you want to shut out other artists by being a time thief, there's no commercial benefit to making the song this long.

For that, I think Drake is just lucky that he landed on a brilliant instrumental. It's a very simple loop that doesn't really change much for the whole song, but in this simplicity, it just manages to land on something incredibly soothing. Sometimes he'll land a bullseye, but I often think much of Drake's negative perception of late is on how often he tries to make much harder raps that can't invite as many people in. "Passionfruit" is a big invitation for all the non-Drake fans and continues to be one of his absolute most popular songs to this day. As I write this, aside from tracks on his new albums, only "One Dance" (#796) is outstreaming "Passionfruit" daily on Spotify, so it's become an unexpected but welcome classic.

#87

#87. Ocean Alley - Deepest Darkness (#56, 2022)

4th of 2022

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I'll try not to belabour the point too much but it really is a red flag to me when anyone sweeps entire discographies under the same rug. I'm a believer in putting your best foot forward and choosing your battles. To chime in on literally everything feels like building up an ego that can't possibly be lived up to. I know, because I've sometimes overstepped my mark and felt the blunt force of my own ignorance getting called out. It doesn't feel great. Sometimes you can find yourself in the kind of echo chamber where it's a particularly shared ignorance, and you'll probably get away with it. Anyone willing to call it out either isn't there, or is just going to get shouted down by the collective who aren't willing to concede the fun they have in their broad summary.

Ocean Alley get this a lot, I feel. If you've heard one Ocean Alley song, you've heard them all,  apparently. Their most famous song (#521) doesn't do much to stand out, and so it feels fitting to say it's the band in a nutshell. The crucial mistake of conflating the most prominent example with everything else that hasn't done enough to earn its stripes in the conversation. Anyone dismissing Ocean Alley like this probably thinks "Way Down" (#312) and "Drenched" are like for like, and would never care enough to consider otherwise. There's just nothing in it for them, deep down, you crave the adversarial artist that you can put in their place, and the more popular they are, the more people you can position yourself above for having figured out not to waste time with them.

I have been holding onto a peculiar stat for Ocean Alley ever since around when I made this whole list years ago. In direct contrast to the reported stereotype, I've ended up giving Ocean Alley what could be argued as the most even spread of positions across all of this. If you split this all up into ten chunks of 100, you will find Ocean Alley in nine of them. It's only the #201-#300 section they don't snatch up. I think they had a pretty solid haul of entries in the most recent countdown though so there probably is space in that particular outer ring of my heart for them in the end. I just find the whole thing amusing for twofold reasons, firstly that I just really didn't know I had this in me, yet it made perfect sense as it came through. Secondly, that Ocean Alley have done so completely against the tide, where the latter years are relatively struggling on the overall standings, but here they are getting their highest two entries in 2021 & 2022. The heroes we didn't know we needed.

As a direct follow up to "Touch Back Down" (#150), it was probably the best context for me to give "Deepest Darkness" a proper look-in. I just had no idea that they'd so thoroughly surpass my expectations again and deliver something like this. It's not very Ocean Alley at all, and to me, re-calls mid-90s post-grunge. Think "Comedown" by Bush. Some of that stuff can get bogged down by sloppy production choices that haven't necessarily aged the best, but I can't hear any sludge in "Deepest Darkness", because all the instruments come through so pronounced. You can hear multiple guitar lines over the chorus counter-acting each other, and the drums & hi-hats get their chance to poke in above the mix. Outside of the chorus, even just the song's opening note is the ultimate mood-setter. This is the sound of completely locking in.

#88

#88. BENEE - Find an Island (#25, 2019)

7th of 2019

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I am once again presenting myself with a serious challenge which is to find a bunch of things to write about an artist whose career was very much in its infancy when they notched up multiple entries that all happened so quickly that there's not much in the way of unique stories here. That's right, I've got 3 consecutive singles from before BENEE even had an album out that all share the same producer and don't sound dissimilar. What a prospect.

Well, I suppose if nothing else, "Find an Island" is relatively noteworthy because it's technically BENEE's breakthrough single, the first to chart in Australia. That comes with some big asterisks, but then arguably the more realistic outcome also did, but much like how I said it's weird CHVRCHES got their first Hottest 100 entry with "Lies" (#91), it's weird here too in a different way. This feels like BENEE just trucking along, although I suppose if not for late virality on the part of "Glitter" (#737), then this could easily have wound up as her highest Hottest 100 entry of her career, so maybe I do have to consider it more closely.

I'll probably have more to say about the general vibe of BENEE's music and what it represents specifically for me in the future. I tend to enjoy introspective music which lets you into the head of the artist, and it's something I find she's generally quite good at. "Find an Island" is a slight change of pace as the song is directed outward. Instead of direct feelings, we're instead gleaming from this by her choice of words and tone. "Find an Island" could easily be a break-up song, but instead it's just a petty argument BENEE was having with her guitarist, turning into the logical extreme of asking them to get as far away as possible. By all accounts, I think she knows it's a bit silly and that's why it's expressed in this way. I am fond of committing to the bit, starting to talk about rafts and a search party. I wonder if BENEE has also seen Lost.

Up to this point in her career, it's probably her most openly upbeat song. I get the feeling that she was generally using a slight veil of darkness to shyly come into the world of music and not try to be too boisterous, so this might just be her getting more comfortable about it all. The production is a key part of this as it manages to suit the generally bouncy lyrics with some silliness as well. That one little cowbell is the signal not to take it too seriously, but also works as a solid transition. Sometimes it takes a lot of effort to sound so effortless.

#89

#89. Flume (feat Kučka) - Hyperreal (#90, 2017)

12th of 2017

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Australia has a funny tendency for claiming everyone as our own. I remember a bit of uproar at Ladyhawke being included in the ARIA Award nominations and winning a couple, and then a few years later, Kimbra managed back to back wins for Best Female Artist. The first was for a single, the second was for an album that contained that single, which came out a month after the first cut off, a glorious gambit. Around the same time, Brian McFadden had managed to get himself on the books as Australian (which almost seemed like a case of 'We're the only country that wants him'). The rationalisation is usually that they're recording and promoting their music within Australia, but it looks a bit silly, and then you get someone like Joji whose link is tenuous at best.

Kučka is an Australian singer, that's what I tend to go with. The curiosity here is that she wasn't born in Australia, didn't move to Perth until she was 16, and not long after, moved to California where I believe she still lives. Australia is where she started her career though so I suppose it's sufficient but it feels like such an increasingly small part of her life. She does seem to still have an Australian accent though so there's that.

This isn't the first time Kučka has come up here, nor the first time on a Flume song, as there was "Smoke & Retribution" (#344) that came before it. The two have worked together many times, and have at least 8 different collaborations out there. I think the simplest explanation is that Flume is a fan and wants to expose her relatively niche music to a wider audience, but it also tends to be a strong match. Much of what Kučka already does has similarities to Flume's music, and her high pitched voice proves to be very malleable no matter what he throws at it.

Also yes, this will just be a Kučka blurb, Flume has had plenty of the limelight as it is. I feel a bit more connected to her music because I cottoned onto it a little earlier, and that also tends to happen when they're the less famous one. I first heard her via the song "Flux 98", which is a fairly minimalist song but immediately, her unique vocals just make everything stand out so much. Not just that though, but her gift for melody stood out immediately, a bit like R&B music under the disguise of electronica. Not long after that, she teamed up with Cosmo's Midnight on "Walk With Me", which I suppose proved that her music could be fun too (I don't know how much of that is just the jarring feeling that she has a song with the hook 'I just got a text from you').

Kučka has proven to be one of the most consistent artists for me because I very rarely go a year without downloading one of her new singles that catches my fancy. There was a bit of a lull on her own music while she was working with Flume and moving overseas, but she's been going strong ever since. My favourite song of hers came out not long after this, "Real", no relation to this song. There's probably something you can find from back around 2007 that explains it but I just love the combination of subtle strings in electronic music. It all comes together to make something beautiful. She's one of those artists that I might pigeon-hole a bit and then get surprised every time she finds something new to mine from this sound (hanbee is another one lately).

When we go back to "Hyperreal", it's Flume's song really, just like with "Smoke & Retribution". I feel this one gives her more of a starring role, and not just because Vince Staples isn't there. It just feels more distinctly like her kind of melody line. Even when the music is increasing in volume, she's still commanding it. The most distinctly Flume parts of the song, I think, aside from the instrumental breaks are the very sudden transitions between verse & chorus. It feels like an economic decision to ramp up the excitement, and I'll admit it's a good one. "Hyperreal" is an immaculate listen though because everything's been wound up so tightly and sounds so clean. I've never really gotten sick of it.

#90

#90. Vera Blue - Temper (#72, 2021)

1st of 2021

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That's 2021 for you, not a bang, barely a whimper. I don't think it warrants any grand declarations beyond it just being a particularly unlucky year for my voting prospects. It's the only year where nothing I voted for made the top 100, and if that's not enough, only one vote of mine made the top 200. Given the size of the voting list, someone picking at random would likely do better than me. Several artists I did vote for got in with other songs. The one exception was a bit of a close miss with Holly Humberstone's "The Walls Are Way Too Thin", a rare song that lifts a similar riff from The Police's "Every Breath You Take", but doesn't immediately get dragged down by that over-familiarity. It got to #123, with the potential to get high enough if it wasn't sharing vote space with her other song, "Scarlett" at #169.

There are other songs I'm rather fond of in that second half too, "NDA" might be my favourite song from Billie Eilish's second album, Clairo has "Amoeba" which is at her typical best. Inexplicably I'm very fond of Drake & Travis Scott's team up on "Fair Trade". One of those songs that takes their usual dark, moody sound and makes it sound captivating. Then you've got AURORA who has never made the Hottest 100 before managing to channel the opening line of The Walkmen's "The Rat" with her song "Cure For Me", but make it goofy and fun. Lastly, as I say before, I was so close to partially salvaging it with MAY-A's "Time I Love To Waste" landing at the unlucky #101 slot, which I'd probably have a little bit higher than this. I've seen people make countdowns where the #1 spot is a big statement that the whole list stands behind, but sometimes it's just the best of what you've got. As a year in music, I'm very fond of 2021, which has a serious contender for my favourite song of the decade so far (by an artist who will eventually appear in this list), but it's time to wrap it up with...just another non-album single by Vera Blue.

I do find myself associating this song pretty strongly with "Lie To Me" (#94). They both came out at roughly the same time of the year, a year apart. Both landed at roughly the same spot in the Hottest 100, and I liked them both about the same. Ask me another time and I might even swap them on this list. Maybe it's all just her perfectly manipulating the voter set by releasing singles at the optimal time. She had one of her best performances with "All The Pretty Girls" (#215) released in October, so here's another one. It also had the bonus of being the only song she released at all that year, and that might be why she's so suddenly fallen considerably out of favour since. "Temper" is actually her last song to register in the Hottest 200 entirely.

I don't think I'd typically lean into a song as light & airy as this one, but I do think it's very well crafted. A lot of that comes down to the performance, firstly where Vera Blue shifts it up on the pre-chorus. If I was confident enough at making declarations from thin air, I'd say it's thematic and she's expressing her mood shifts through her vocal melodies. She treats her temper as an uncontrollable aspect of her and evidently just runs into it unexpectedly. It feels like she borrows from OneRepublic's workbook after that by starting the chorus with a 'Lately,', but otherwise uses it more as a build-up of tension that isn't released until the song's actually hook comes in. Then, as if to counter the set up in the verses, she actually raises her voice up higher for that, giving the song a surprising amount of dynamic range for what it is. After that, we're mostly just going through the motions to fill out the next two minutes, but I'm pretty sold anyway.

#91

#91. CHVRCHES - Lies (#60, 2013)

18th of 2013

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You have no idea how badly I just want to copy paste the first two paragraphs of my "If I Could Change Your Mind" (#102) entry. Basically everything I said there could have been written word for word on this entry that occupies a very similar space in my mind. They basically came out at the same time, are both living in the shadow of bigger hits without much in the way of distinctive gimmicks. Haim just landed in the list first and got the 'Get out of writer block free' card.

This isn't all a problem though. I think it's an opportunity to explore another aspect of how these kinds of entries happen, because it's hard to think of them as casual entry points. I think back to 2009, when I was basically listening to almost nothing but Muse for months on end. I wanted their newest album "The Resistance" to conquer the world, and to an extent it did, with bigger first week sales and hits than the band had really had before. I wanted them to top the Hottest 100 again, but I also wanted them to get as many entries as possible. I remember someone on the triple j forums suggesting that the best plan of attack was for fans to vote the deeper cuts that need the support. So I had it both ways and voted for both "Uprising" and "MK Ultra". I learnt the hard way that the world doesn't actually revolve around Muse, so not only did they not win the countdown again, but all those extra songs just scraped into the bottom end of the top 200. Not a bad result still, and generally could be considered a win as pretty much the whole album, barring the 3-track symphony at the end, and the much maligned "Guiding Light" got in there.

I look at it as that occasional moment where you feel so obsessed with an album that you put aside any inhibitions and nerves and you just kinda want everyone to be listening to it. It gets extra effective if the album is already in the spotlight to an extent because you both feel encouraged by a likeminded army, while feeling like it's actually possible to tip the scales just a little bit more. I think about that the way that Olivia Rodrigo's fanbase continues to get her #1 hits that easily could have fallen a little short. Or otherwise whenever any artist has a field day with the Hottest 100. If you're on board with it all, these can be some of the most fun experiences. Hanging out to hear your favourite artist and to have it actually start with a whimper because the bang is coming later, it's promising a good time. I've felt it a bit recently when it came to Billie Eilish in 2024, and Ninajirachi in 2025, because most of those songs are just really good.

The experience with CHVRCHES in 2013 is a little tame by comparison. It's possible we can pretend they had a 4th entry if "The Mother We Share" were eligible, but otherwise, "Lies" is just the cherry on top of a particularly good debut performance for the Scottish trio. Now that I'm saying this, I suppose "Lies" was literally their first ever appearance, which is a strange thing to bestow on a late album single that again, I don't think is very gimmicky or noteworthy. That's just what happens when you measure things on a yearly basis instead of weekly.

I felt strongly about "Lies" at the time as quite clearly my 3rd favourite song on the album. The song has only gone up in my estimation since then while still sitting clearly in 3rd (one of those songs will appear later in this list). I want to say that it's the most straightforward CHVRCHES song, but I don't think that's true, if only because there's a certain darkness undercutting the song's chorus which later reveals itself in the song's menacing outro. The whole song is built on this big synth explosion that only has a lighter melody peppered over it to make it sound as sparkling as you might expect. It's a little trick the song has going for it where the song's big hook is from Lauren extending out the title while a bunch of notes are going on behind it, a combination of slow and fast that nonetheless never feels out of place.