Nearly there, this will cover songs 237 to 125. I might do bolds and strikethroughs, that will be higher and lower respectively if I’ve changed my mind majorly about something. Comments from me now as ever will be italicised ones, and this is stuff from Buzzjack.com that I’m copying for posterity over to my blog.
237 – Silentó – Watch Me (originally this was funny)
236 – Selena Gomez – Good For You
235 – The Shires – Friday Night
234 – Owl City – Verge
233 – Ruelle – Up In Flames
232 – The Vamps – Wake Up (all their songs are so interchangeable I have no recollection what this one was)
231 – OMI – Cheerleader
230 – Royal Blood – Figure It Out
229 – Tove Lo – Talking Body
228 – Years & Years – Eyes Shut
227 – Pertti Kurikan Nimipäivät – Aina Mun Pitaa
226 – Audrey Napoleon – Dope A La Mode
225 – Ladybaby – Nippon Manju
224 – Xandria – Voyage Of The Fallen
223 – We The Kings – I Like It
222 – Taylor Swift – Bad Blood
221 – Rationale – Fuel To The Fire
220 – Wiz Khalifa – See You Again
219 – The Weeknd – Can’t Feel My Face
218 – Sicko Mobb – Kool Aid
217 – Nadav Guedj – Golden Boy
216 – Florence & The Machine – What Kind Of Man
215 – Ellie Goulding – Love Me Like You Do
214 – Echosmith – Cool Kids
213 – Pia Mia – Do It Again
212 – The Avener – Fade Out Lines
211 – COIN – Run
210 – Ellen Benediktson – Insomnia
209 – Lost Kings – Bad
208 – The Summer Set – Lightning In A Bottle
207 – Clean Bandit – Stronger
206 – Jakob Karlberg – Fan Va Bra
205 – Bring Me The Horizon – Throne
204 – One More Time – Highland (old but I got newly introduced to it this year)
203 – Satin Circus – Crossroads
202 – Years & Years – Shine
201 – Mumford & Sons – Believe
As my songs this year were mainly based upon what managed to enter my personal chart (with a few exceptions if I remembered them) and because I don’t want to stick to a set number, this is all of those below my top 200 that I ended up actually liking. And there are a LOT here that I thought would be a lot higher in my chart so it seems only natural to pay them a bit of lip-service. See, even though I seem to complain a lot, that’s only because the charts are shit and there are so many non-chart hits I love that that’s how that comes across. I love music in general and wouldn’t be on here if I didn’t. So I didn’t set a set number to make it easier to get through.
As far as the order goes, for all of this, this is my opinion when I ordered them not too long ago so how they originally did in my chart doesn’t always dictate how they’ll do here, and if you’re expecting my BJSC EOY order to be exactly mirrored here, think again because I’m almost certain it’s not. Different days, different order. (I do a separate BJSC EoY , because I write far too much, that I’m not posting here because I’m only slightly happy with posting references to it in this version, the BJSC EoY would probably be only of interest to those who actually enter it)
Anyway… I’m not going to spend a huge amount of words on this but I’ve already started so… Watch Me I decided was going to be the cut off point, there were other songs that made my chart that I enjoyed for a short while and some that didn’t, mainly BJSC songs, but I’ve made this large enough already and what better to be the bottom than a novelty song that isn’t THAT bad and is enjoyable for what it is. Good For You is rather cool even if I haven’t been on board with Selena as I used to be, The Shires, well, let’s just say I’m glad I didn’t enter them to BJSC but it’s a good enough song.
Verge is pretty uplifting if below par for an Owl City single, Ruelle was one of my favourite UP discoveries this year, Finland’s Eurovision entry always has to make my chart, it deserved to do far better but we all know they’re just preparing for a glorious victory next year (sob, when will Finland do well again). Incidentally, Crossroads does make it slightly higher as it is probably a better song but for giving us a memorable entry I’m glad Finland went with PKN in the end, the live performance was one of the most energetic I’ve ever seen at Eurovision ❤
Nippon Manju (‘Welcome To Japan’) is Babymetal + metal growling and is really good for the novelty, I never took to Ladybaby as well as Babymetal but it’s nice to see the latter were trailblazers of a sort. Xandria are one of symphonic metal’s most prominent bands and I’m glad I got to chart one of their singles for once, Voyage Of The Fallen is very upbeat and fun. A follow-up to last year’s wonderful Drown, Bring Me The Horizon’s Throne stayed in my affections for a little bit, not as great as Drown but still enough for me to continue looking out for them.
Among the BJSC entries are a number of indie ones, Jayrusalem’s greatest entry by a lovely little band, Coin, actually two Taahino entries which still regularly make my playlists, the very successful Sicko Mobb and the somewhat surprisingly successful Rationale – that might be the wrong way round. A lovely song from 1992, One More Time got a little penalised because it’s so old, but it has done well coming so close to my top 200. Lost Kings and Jakob Karlberg were also very enjoyable. See, the top 200 is all full of songs I like, so this lot is pretty much honourable mentions and I’m still talking about them a lot.
The rest I think is mostly chart hits. I’m not going to talk about them much because lots of people will be talking about them and these are the chart hits I enjoyed a little, so I haven’t got anything to say that people haven’t already. There were so so so so many songs that were better than 95% of the chart hits this year that it was quite easy to chuck these out. These are the ones I have given amnesty to. I am going to make an exception for Cool Kids, it has finished rather low, because Come Together is better. Or that I thought it was going to be a far bigger hit than it was and haven’t gone back to it outside January. Nevertheless, one of the songs I’m glad actually made it into the top 40 for a time.
200 – MNEK & Zara Larsson – Never Forget You
199 – Molly Sterling – Playing With Numbers
198 – Storm – Huri-Khan
197 – The Weeknd – The Hills
196 – Imagine Dragons – I Bet My Life
195 – Florence & The Machine – Ship To Wreck
194 – Chinese Man – Get Up
193 – Against The Current – Gravity
192 – 831 – The Runaway
191 – Petite Meller – Baby Love
190 – Shaggy – I Need Your Love (feat. Faydee, Mohombi & Costi)
189 – The Rocket Summer – Same Air
188 – Sia – Alive
187 – Annika Herlitz – Ett andetag
186 – Adele – Hello (I am, as I’m sure many people are, just bored in general with Adele now)
185 – Set It Off – Why Worry
184 – Delta Rae – Scared
183 – The Ready Set – Freakin’ Me Out
182 – Wibi Soerjadi – Undaunted
181 – Rachel Taylor – Come Alive
180 – Blossoms – Charlemagne
179 – CHVRCHES – Keep Me On Your Side
178 – Sheppard – Geronimo
177 – Lunch Money Lewis – Bills
176 – Hellberg – The Girl (feat. Cori Zuehlsdorff)
And into the top 200 it’s more lovely songs. A surprise hit of the year with Never Forget You (incidentally I didn’t think much of either of these two artists before this but this is sweet), a very pleasant Irish entry, a very perfect Storm of a BJSC entry, the best of The Weeknd’s all… rather decent… hits this year, I Bet Your Life which did far better in my 2014 EOY and is mainly here because I kept listening to it into 2015, a pretty cool Florence song, a *.* Gorillaz-esque-love-Chinese-Man-&-Singerpurear-song, the first Against The Current song I heard, it’s pretty fantastic, but it would be topped by another obvious one later on (Talk wouldn’t have been far off this if it had made my chart), a pretty beastly Taiwanese rock entry I almost sent to BJSC for one contest this year (the music video is full of blood, which I guess is why it’s banned), I just chickened out, it would probably have done even worse than Stamp if that’s how strong rock chords are treated, and a pretty lovely indie-pop hit in Petite Meller, we need more of THAT in the charts. And that’s just the first 10, a complete mess of genres.
Shaggy seems a bit weird being up here but it’s a fun tune, I got quite into Same Air in the waning days of 2015, another strong song from The Rocket Summer, a bit more refined than So Much Love, and there’s a beautiful understandable vocal from Sia on Alive. Ett Andetag was one of of the most underrated Melodifestivalen entries this year and it’s one that’s stuck with me the most. Sung by the Swedish voice of Elsa from Frozen, it’s a similarly lovely building ballad. One of the highlights from a weak year of that. Adele. Set It Off are one of my favourite band discoveries this year and the upbeat cheeriness of Why Worry exemplifies what makes them work. Like Fall Out Boy but with none of the angst and just something that should raise a smile to your face. They have another couple of songs to come yet though.
Scared is a BJSC 12 I sacrificed a final spot for and I’m glad I did, the vocal repeating of the title is very compelling, it’s interesting all the way through, and I’m just saddened it didn’t do much better. There’s another few BJSC entries next up, another Bellamia entry, their best this year as they attempted to appeal to me a lot , and there’s a pretty epic building tune in Undaunted. Wibi works his piano so well that this actually reminds me of Lindsey Stirling in the skill with which a dance beat and mastery of one instrument is combined. More music should be like that. Then there’s the title track off Rachel Taylor’s EP, which is pretty energetic and demands you to Come Alive with her. Which I see no problem with.
Charlemagne I initially took notice of because I rarely see songs referencing historical figures as eminent as him. It turned out to be a pretty catchy pop tune too that I kept coming back to so I’m delighted to see them representing guitars on the Sound Of, here’s to hearing a lot more from Blossoms. Keep Me On Your Side is the first of many from CHVRCHES, it only took a few listens to become obsessed with this beautiful ode to a companion. Geronimo is another upbeat band-pop tune, I like that sort of thing, was nice to see it get some recognition here even if it wasn’t enough. Bills is just a bit of fun, I’m happy to admit I had quite a bit of fun with it back when it was becoming popular. And then there’s The Girl. Like all the best dance I love it uses lyrics to excellent effect that the lack of would make me forget similar tunes.
175 – Lao Ra – Jesus Made Me Bad
174 – Owl City – Unbelievable (feat. Hanson)
173 – Billy Boyd – The Last Goodbye
172 – Blonde – I Loved You (feat. Melissa Steel)
171 – Major Lazer – Too Original (feat. Elliphant and Jodi Rockwell)
170 – Marlon Roudette – When The Beat Drops Out
169 – MONAKR – Calling Out
168 – OMFG – Hello
167 – The Wombats – Greek Tragedy
166 – Little Bitter Cubes – Luigi
165 – CHVRCHES – Clearest Blue
164 – Ulf Nilsson – Little By Little (Lulleaux & Whyman Remix)
163 – Aminata – Love Injected
162 – Ayumi Hamasaki – Warning
161 – The Gentle Storm – Shores Of India
160 – Royal Blood – Out Of The Black
159 – O-Zone – Dragostea Din Tei (not new to me, I just put it in here because me and some friends did a lot with it this year as detailed in one of the paragraphs below)
158 – Rihanna – Bitch Better Have My Money
157 – Set It Off – Forever Stuck In Our Youth
156 – Owsey – I’ve Been Secretly Falling Apart (feat. Resotone & Jernalism)
155 – Guy Sebastian – Tonight Again
154 – Little Mix – Black Magic
153 – Years & Years – King
152 – Sigala – Easy Love
151 – D. Holic – Chewy
One of the best Kyla La Grange ripoffs I’ve come across since I fell in love with her back in 2011, Lao Ra’s Jesus Made Me Bad is a bit more harsh than Kyla tends to be what with the accusatory lyrics but she seems to be cut from the same airy indie-pop cloth and I’m totally fine with that. It’s not the only song in this section from Colombia either as Luigi gave me a wonderful discovery from the best BJSC spinoff this year from a very feisty pop-rock band. Stuff like this is what I want from BJSC.
Unbelievable was one of the tracks off Mobile Orchestra that I was most interested to see what was like, because we needed to see what Owl City + pretty-respectable-rock-band-now-Hanson would sound like. It’s a song with some strong nostalgic lyrics, which resonate the best if you were a stereotypical American kid born between ’83 and ’92. Some of those lyrics feel too much in the past for me. But it’s a very happy song nonetheless and the collaboration lived up to expectations. Only one track from that album beat it here.
The Last Goodbye is a quite a poignant track for me. The credits song on the last Hobbit movie, it’s effectively saying goodbye to the entire Tolkien franchise. Sung by Pippin, Billy Boyd showed he was a good singer in the original trilogy and he does it again here, it was #1 for a short time at the very beginning of the year. Or it’s a very good goodbye track. It got nowhere near as much recognition as I See Fire but that was unusual in that regard.
I heard Blonde and Marlon Roudette both last year but they really came into their own for me this year. I might have even put the former in my last EOY chart but I’m doing it again if I did it then, they’re both well-produced and very pleasant songs to listen to. Major Lazer’s Too Original is a bit more feisty, I still need to listen to their album but I got introduced to this off plug and it feels so fresh, rhythmic and summery to me. Elliphant really shines through on this, I’ve often found her hit-and-miss but this is definitely a hit for her.
Calling Out is standout for the little synthy noises that play during it, OMFG is standout for being totally awesome with Hello, this sort of glitch hop is very much up my street, I seem to possess a rare ability to be able to differentiate between every OMFG song, this is the second best of them. A great introduction to an quirky producer.
I used to be a huge fan of The Wombats, I haven’t kept up with them as well as I would like but Greek Tragedy was a nice return to form for them, maybe one of these days I’ll listen to the accompanying album. It did take a while to grow on me but the next CHVRCHES track to appear builds so beautifully and while it’s not the very best on the album for me, it’s quite up there and shows how skilled they can be in making a track sound out of the ordinary.
Little By Little combines two of my favourite things lately, a thick well-formed voice from Ulf and a chill, meandering happy dance beat from the remixers, it made for one of my first great discoveries of the year. Love Injected was a Eurovision smash for Latvia. That was so incredibly pleasing as they had been going without a final appearance for the longest out of all countries, without messing up EVERY time and so I was gaining some real sympathy towards them. I would have expected their next final entry to limp in there somehow. That it didn’t is a testament to the quality of Love Injected, it’s a cool 2015-sounding track, it’s one that would have been played on Radio 1 many many times had it not had the Eurovision stigma and the quality of Aminata’s singing shines through.
Two of my entries to various competitions take the next few places, Ayumi Hamasaki has always been one of the best J-pop artists for her ability to work with a lot of genres (as well as often work with fabulous rock chords). So when I was taking a listen to her newest tracks, Warning stood out, so I got her to represent me at BJFest, I’d wanted to do this with her for ages. It’s a DAMN SHAME she didn’t do better. But, live and let live. Shores Of India was one of my two UP entries this year, a very atmospheric nautical track, themed with a high concept about a sailor far away from his love, and with some cracking guitar solos. The Gentle Storm are an intriguing concept band, I do try and give people the best of what’s new in symphonic metal when I can. Another track for the Muse-esque Royal Blood as I got really on board with their offerings this year, Out Of The Black being the best of them, hard, gritty and coupled with a bizarre but lovable video.
There’s one very conspicuous track in this section that looks out of place next to the others. That’s because while I’ve loved Dragostea Din Tei for absolutely years and do count it as one of my favourite songs ever what it’s done this year has been the signature song of plug.dj, something that was a huge part of so many people’s years on here. Count this as a victory for plug.dj and all the memories I’ve shared with loads of you on there.
I do actually rather like Bitch Better Have My Money, particularly the Kat Krazy bootleg. Something about the anger in the track. Not Rihanna’s best but then she has not had the best year. But this is quite different and unlike those tracks of hers that I’m not on board with, it’s exciting. On the other end of the music scale, Set It Off’s other solo track in here, Forever Stuck In Our Youth eventually grew on me to be the best that I’ve heard from them, principally because of the descent into their upbeat and fun chorus intended to capture the joy of being stuck in your youth. The even more blatant Fall Out Boy ‘homages’ are very welcome also.
I’ve Been Secretly Falling Apart is one of the most beautiful downbeat instrumentals I’ve come across this year, a pleasure to listen to. There’s so much going on in the background, you notice a new little note every time. Not many tracks I can say that about, a wonderful musical experience. Tonight Again, the catchy, upbeat introduction of Australia to Eurovision worked very well as a debut entry and they’ll be welcome back next year.
3 big hits that were ‘above par’ next and then D.Holic’s Chewy. One of the more interesting K-Pop tracks I’ve come across this year, it works because it uses an exotic instrumental in a similar manner to Talk Dirty. In fact the whole track reminds me of Talk Dirty. Now that seems a bit confusing as my feelings about Talk Dirty are well… I hate it. That’s because of a certain repulsive individual putting his ‘I get better sex than you’ attitude all over that track. Remove that, replace it with some Korean girls who have better singing/rapping voices and it becomes very amazing. The exotic instrumental was always the only saving grace of Talk Dirty and so a better singer (and indeed the instrumental itself is far better and more engaging) could always make something similar amazing for me. I might save this for a future BJSC, I might have entered it this year but I have been entering a lot of Asian pop lately. It’s seriously good. That makes three in a row where I’ve had some Asians as the thumbnail, I make no apologies for that.
150 – Lana Del Rey – High By The Beach
149 – Polina Gagarina – A Million Voices
148 – Life Of Dillon – Overload
147 – Last Lynx – Curtains
146 – Hasse Andersson – Guld och gronar skogar
145 – Owl Vision – Lightshy
144 – Wolf Alice – Moaning Lisa Smile
143 – Cash Cash – Surrender
142 – Everything Everything – Distant Past
141 – Mika – Talk About You
140 – R. City – Locked Away
139 – Within Temptation – Dangerous (feat. Howard Jones)
138 – Dimitri Vangelis & Whyman – ID2
137 – Dr Kucho! & Gregor Salto – Can’t Stop Playing (Makes Me High) (feat. Ane Brun) [Oliver Heldens Remix]
136 – Hozier – Someone New
135 – NicolAmarfi & Blue123 – Concord
134 – Axwell x Ingrosso – Sun Is Shining
133 – Courage My Love – Skin And Bone (L3 Remix)
132 – Five Knives – Savages
131 – Hannah Diamond – Every Night
130 – PVRIS – My House
129 – San Fermin – Jackrabbit
128 – Lights And Motion – Fireflies
127 – Kuana Torres Kahele, Napua Greig and James Ford Murphy – Lava
126 – GFOTY – Friday Night
Lana Del Rey is fine by me, I guess this might be the point where I cut loose of her albums-wise as I haven’t yet listened to Honeymoon and it may take a while before I do that but one last thing I have of her is the lovely chilled High By The Beach which gave me similar feelings that West Coast did, a sombre summer tune, and that does tend to be what Lana does best.
One of the biggest Eurovision growers, even if it is just a big old peace ballad, was the somewhat rock-tinged A Million Voices. KINDA. I ended up really quite liking this after the contest and I’d have vastly preferred it winning over what did in every sense except for the choice of hosting location next year (would we have gotten so many countries back with Russia hosting this year? who knows?)
The last few years have made me realise I really like and can easily get addicted to deep male folky/country/indie voices over a dance beat. Thank you Avicii, you saviour of dance you. Life Of Dillon has one of these (electro-folky) voices as their lead and with a quirky little maneuvering dance beat, Overload is one of the more breezy and addictive prospects I’ve come across this year. One of my many summer highlights.
Curtains is a song that, as I’ve said many times to Jade since she entered it, a song that just keeps getting better the more times you listen to it. It has those beautiful backing vocals sending the track spinning along, you notice more every time and it’s such a fusion of genres I’m not sure whether to call it electro, rock or pop. Well-produced tracks like this are a rarity so it’s nice to find them when you can.
The next one is a huge fun track that comes in at my third favourite track from Melodifestivalen this year. If you haven’t heard ‘Guld och gronar skogar’, imagine an kindly old man strumming a guitar on stage while singing his heart out to get a whole audience of Swedes up and dancing and you don’t really need to imagine much more. Because that happened. A moment for Melodifestivalen, a moment for me to savour when going back to it, it never loses any of its charm even if I can’t understand what he’s singing about… I should look that up.
The first of my glorious 10, I always keep track of where the 10 canon (i.e. non-spinoff) Séyetan entries finish in my EOY and the bottom one normally goes out at about this stage. I mean, after I’ve spent a whole month putting a good few of my competitive hopes in a song I’m going to consider it a major part of my year no matter what. Lightshy is a track of dark electro, Owl Vision seems to indulge in this particular genre, what I like to call the ‘metal’ of dance. There’s some similar vibes going on with the grindiness of the instrumentals. Lightshy is definitely the most pleasant of his songs that I’ve heard. It builds so beautifully well and it gets me quite pumped up, particularly that transition into the last ‘chorus’.
Wolf Alice make another reappearance with the first track I heard from them that I really began to fall in love with, Moaning Lisa Smile. Some hard rock chords and some light indie vocals that don’t feel like they belong on a track this heavy until they combine with the instrumental sounds, it’s quite a wonderful experience to see the track go from hard to soft back to hard again. It wouldn’t remain my favourite Wolf Alice track but it’s definitely one of the most innovative, I have it to thank for making me notice them.
Something far LESS innovative, Cash Cash’s Surrender is a very fun tune. It’s like a lesser Take Me Home really, the same happy sort of tune that elevated that into the realms of amazing dance-pop. There isn’t much of that that I notice as standing out at all and this just stands out because the vocals are layered, I can detect some emotion. It’s the sort of thing the old Iz would have put in his Y/E top 20 back in 2011 or something. And while I’m not that person anymore I can still appreciate some of that sort of thing.
And… back to normality and 2015, Distant Past seems like it could be a gateway for me to more Everything Everything as I listened to the album a week ago and loved it. Distant Past stuck with me because you have the alternating guy and girl saying the title line over and over again, and then the vocalist bringing some good music and some interesting instruments on the backing, and stuff like this is why you need to listen to the indie forum more. Intriguing music is so fulfilling.
Hmm, perhaps I am a better person with a good balance of interesting indie-rock music and fun pop music. But I choose my pop music very carefully. Mika has always been one of my first choices for pop music as he fills the fun aspect pretty effortlessly and his concept of melody is pretty wonderful. Talk About You continues this very well and similarly to Everything Everything, I’ve listened to the album and I also like. My album EOY for 2016 is already looking fuller.
I’m not sure why I like Locked Away so much (I feel at this point I should reiterate that every year it feels like each number is stronger even as I try to write less, so my #146 this year is better than the #146 last year and I really love all of these even though there are plenty more to come) as it has Adam Levine on it, and I’ve gotten quite fed up of him lately. I think he doesn’t actually sound too much like himself on her and R.City’s verses remind me of the Caribbean vibes I tend to have a soft spot for (in the same vein as Cover Drive I guess). It’s radio built but it has a nice feeling to it and that’s all you really need for a hit.
Dangerous, I seem to have quite a few tracks called Dangerous and they all seeem to be similar lyrically (‘hey guys i’m so dangerous you better watch out around me’), David Guetta and Big Data weren’t far off my cutoff point, Within Temptation made it this far because of the rule of symphonic metal. And the rule of duets. A leftover from Hydra last year, I got into this properly at the beginning of the year, played it on plug quite a bit, it’s a very energetic piece.
ID2, like Lightshy, fulfils my need for dance instrumentals, they need to be building and exciting. And on ID2, even if there are no lyrics, it feels like there are some lyrics. It feels like behind the instrumental there’s someone reaching out , reaching out for greatness. It could soundtrack a high-octane scene in a movie. This has kept me coming back again and again to it. More like this please, the world of dance, I would be very grateful (Alan Walker’s Spectre I’m currently loving and that’s quite similar).
I don’t like Oliver Heldens normally but for some reason, either I’m going soft towards him or it just works with Ane Brun’s cool Nordic vocals, because Can’t Stop Playing was a mid-summer tune the GB public did well (and I’m surprised it was a hit looking back) to get high up the charts. Another rare score for them.
Hozier has had a good year and Someone New shows a much more friendly, upbeat and exciting side to him than Take Me To Church ever did. His deep voice makes this pretty beautiful to listen to.
Concord, is I guess actually a few composite tracks. Like Innocence and Ease. All from the Katawa Shoujo soundtrack, they made a big impression on me in the summer as I was playing that. Concord was the one I noticed the second-most (I have given my favourite track from that soundtrack a place of its own further up), as it’s one of the themes of the main characters. A relaxed piano melody that conjures up images of harmony, sitting in the sun and the passing of time, it’s the perfect track for that particular girl and I have played it a lot outside the context of the game which is why it’s made it up here. I guess it’s the closest I’ve gotten to classical music this time around. But still, a beautiful, tear-inducing piece (it’s more tear-inducing when associated with the game so that’s partly for me). Innocence is just as emotional, a slower track but a beautiful one befitting its title. Ease is upbeat and just pleasant to hear. There are other good tracks on there but these are the ones that stood out to me the most.
I’ve been enjoying the work of Axwell /\ Ingrosso this year, it’s almost like Swedish House Mafia are reborn. Kind of. Sun Is Shining is another ridiculously happy dance track. I only noticed it very recently actually, I missed it when it was first out. That it’s worked its way up this high is quite amazing really, but this sort of shameless positive Eurodance I find so addictive, and this is one of the most addictive of the year. Because it’s so very worthy of the name ‘dance’ ❤
Skin And Bone has really been growing on me the last few weeks, or at least this remix. I knew of Courage My Love for ages, ‘Bridges’ I believe was the main track I knew them for but I hadn’t gotten round to hearing anything else. And this is superb. Maybe I should listen to the original or more from the band because their vocalist has been endearing me a lot on this. Even now, BJSC keeps providing the tunes.
Similarly fem-rockish and similarly BJSC, Five Knives is a bit more electro. Electro-rock is normally a hit with me because… it’s kind of everything I love from one genre poured into everything I love from another genre. This time I can’t get the feeling out of my head that the Five Knives’ singer is really The Pretty Reckless’ Taylor Momsen in disguise because she sounds so similar what with the pathos in her voice and the punk backing reinforcing that. A very very enjoyable song (and honestly I’d have never called it doing that well in BJSC so one of my favourite big hits of the year), again, if I get any time I might need to check more from Five Knives.
PC Music has also had a good year with me. Hannah Diamond has been one of those on the fringes for me so far, I had yet to find something I really loved from her. That all changed with Every Night, which kept growing on me to the point of addiction, and from there there is no return. ‘I want to see you every night’ is just such a beautiful loving phrase and the chippy dancey happy music just adds another layer of enjoyment to this monster of a track. As another track further up will prove, PC music is best when it pulls at the heartstrings.
My House is a pretty great track from PVRIS, using Lyndsey’s voice to its full effect, actually, similarly to Moaning Lisa Smile, the bits when she’s singing free of the rock instruments and then when her vocals are merging with it and it keeps me hooked very well. I first heard this at the same time as St. Patrick, it was clearly secondary to it but still a fantastic track and the knowledge that they had two amazing tracks helped keep them in my thoughts long enough for the album.
San Fermin came back this year! I was half expecting that not to happen. Jackrabbit isn’t anywhere near on the same level of a standout track as Sonsick was, it’s lacking the instrumentation and distorted chorus that made Sonsick such a hit but the vocals build very well regardless and ‘run for the hills run’ repeated well does recapture a little bit of the same magic as Sonsick originally did. (naturally I was very glad to see Seven score a minor hit with it)
I’m not sure I needed much persuading with a track called Fireflies but Lights And Motion didn’t even need to name their track so well for me to take notice of it in the UP it was in. I think this scores as my favourite discovery from UP this year, even though I didn’t give it top marks at the time. It is, as all the best entries are, an epically building instrumental that ends up taking your breath away as it reaches its zenith. Also the artists get to justify their name, it definitely feels like lights could be in motion across a dark starlit sky with this being listened to. Such a beautiful atmospheric track.
Helped by going to see Inside Out, Lava is a bit silly but it’s also a well-done love song and I do really like those. Especially when aided by some ukelele strumming. ‘I have a dream, I hope will come true, that you’re here with me and I’m here with you’, while not unusual, is the sort of lyric to give you chills and make you cry and feel all emotionally welled up.
And since I seem to be whiplashing all the time in this section, from love to the $l*t-filled anthem that is Friday Night. I guess it doesn’t help (or DOES) that with the high voices of the vocals it’s almost nightcore/anime in its presentation, so it appealed to me as soon as I heard it. I mean, it’s so audacious and over-the-top (‘thanks for coming, that was quick’) it has to be tongue-in-cheek so unlike a normal club banger it’s just comedic and that makes it alright for me to love. Well, I’m not sure the word ‘love’ should be anywhere near this song but it’s just INCREDIBLE.
Alright, that’s a lot of words. Seriously, how much did I write? Anyway, it’s also a lot of great songs.