10 hours ago, Brer said:

50-41 comments (catching up again oop xx)

Actually not sure which hit you were saying you thought I was not fussed about as I do like all of them - guessing you may have meant Taylor? Definitely not feeling too positive about this era in general from her but 'The Fate Of Ophelia' was the one song I did enjoy from the album albeit not quite among her best songs ever (also 'Elizabeth Taylor' has grown on me a bit and I liked 'Wi$h Li$t' more than I remembered when finally giving it a second listen the other day), somewhat suffers from her tendency to word salad lyrics of late but the tune is very solid, would rank it bang in the middle of her UK #1s, quite a way behind 'Is It Over Now?' and 'Fortnight' but just ahead of 'Anti-Hero' and well ahead of 'Look What You Made Me Do'. Either that or maybe you forgot that 'twilight zone' grew on me a lot after finding it middling on first listen, I don't really know what I was thinking there as I now feel like it's an even better version of the formula of 'we can't be friends (wait for your love)', this has also reminded me I meant to watch the 'brighter days ahead' short film but never got around to it whoops, it's on my Watch Later list on YouTube so I'll get to it eventually Then guessing the one you weren't sure of my opinion on is Sleep Token, I know they're another band with quite spotty reception and can see why but they were a welcome injection of diversity into the charts last year, nice that Bring Me The Horizon now have company in bands with heavy elements who can chart singles fairly consistently! The title track of their album was my favourite of their charted songs but 'Emergence' is a goodun too. Will just always find it amusing that the first time I properly heard a Sleep Token song was when 'Caramel' came on Radio 1 without being introduced beforehand and until it got to the chorus I genuinely thought I was listening to an Alex Warren song that I hadn't heard yet haha. I'm sure you must have known ofc that I'm a big fan of the other two hits here, gwan Lorde getting another embedded slot, I think now some time has passed I have cooled on the initial hype of 'What Was That' a liiiittle bit and now prefer quite a few other songs from the album but I still think it was a good comeback single both lyrically and production wise (and anyway I don't think the lead single has been the best song on any of her albums, 'Royals' was my fave from her debut for a long time but I'd sooner go to 'Tennis Court' these days), cruel that it peaked at #11, maybe she'll get top 10 with the lead from L5 in 2029 or whenever + Sam Barber very much serving similar vibes to Zach Bryan i.e. country music for people who don't like country music, and I greatly appreciate him for it, a powerful ballad there.

As for the non hit songs in that section - I don't know it as well as 'Cinderella' (still pending a listen to 'Pirouette') but 'Diva' is also excellent, had forgotten that was actually a bigger hit in your chart! 'Fuck Me Eyes' was the song from the Ethel album that stood out to me the most from what I've heard so far and I think it's still my favourite now, might help that it's a bit less lore heavy and more able to stand alone than a song like 'Waco, Texas' but also just really love the melancholy synth production <3 Chalk are another band I've discovered from your chart that have been consistently strong from the songs I've heard and they seem to have quite a diverse sound as well, the highlight of this song definitely being the electronic beat switch in the latter half. I somehow don't think I ever knew that Danny L Harle was involved with Caroline's album, that seems quite different to his usual style! 'Azimuth' definitely more what I'd expect from a collab between them i.e. banger beats and ethereal vocals, no notes x and 'Blu' was a great choice of auto-qualifier (though still deserved better in the final anyway x), a beautiful track that got 8 points from me, oh my at it placing higher on this countdown than your two top 5 hits of the year! 2 for 2 on enjoying Basque entries in BJSC as I also gave a point to the one Rich sent before (Huntza - Aldapan Gora) - assuming that was the only previous one anyway!

I thought you weren't particularly fond of 'The Fate of Ophelia' and couldn't recall what you thought of 'Emergence', I did remember 'twilight zone' growing on you though! Glad you like '...Ophelia' a bit more than I thought, then. Our Taylor #1 rankings are fairly different but we do have the same least favourite and 'Fortnight' could well be my 2nd favourite too, shall see how '...Ophelia' holds up, but I'm of course more fond of 'Anti-Hero'. Lol at the false Alex Warren jumpscare by the way! 'Caramel' is quite a unique top 10 hit but unfortunately the genre-blending was more messy for me on that one. 'Tennis Court' might still be my favourite Lorde song so I'm pleased it's right up there for you from her first era <3

Yeah I guess 'Cinderella' really warmed me up for more material from them and I then found 'Diva' even more instant, but both excellent. I was pleased you got into 'F**k Me Eyes' after not being as into 'Nettles' as me (although more on that one later x), agreed the synth production really works, God bless 'Bette Davis Eyes' as a source of inspo. Yeah I don't think Chalk have put a single foot wrong for me so far either, very exciting band. Here's hoping their brand new material is leading up to an album at some point! Ah well there you go, he is heavily involved in the credits of Desire, I Want to Turn Into You, including song of life 'Billions' pleased you liked 'Blu' enough for 8 points <3 will have to remind myself of the Huntza song.

Thank you for commenting Brerrrrrrrrrrrrr 🤩💃

40 minutes ago, DaTilt said:

These also charted for me last year:

48. Ethel Cain - F**k Me Eyes | 251 points

45. Taylor Swift - The Fate of Ophelia | 257 points

42. Ariana Grande - twilight zone | 264 points

38. The Marías - Back To Me | 270 points

37. Zara Larsson - Midnight Sun | 277 points

The Horrors album was definitely a highlight of last year. "The Feeling Is Gone" was the track for me from it, which made it into my EOY Top 100.

Hi DaTilt,

Glad you also enjoyed those songs and The Horrors' album, as I didn't see tooooo much discussion of it on here, but they've been on great form.

Thank you for commenting :D

Great seeing "Back To Me" and "Midnight Sun" on here.

What Was That, twilight zone and Midnight Sun are my favourites since I last commented! The former was a much stronger lead than Solar Power (cellular device still gives me the ick xx), and twilight zone was a fantastic addition to an already brilliant album from Ariana

9 hours ago, Sergej said:

Great seeing "Back To Me" and "Midnight Sun" on here.

Glad you were a fan of those songs too, Sergej! Prayer circle for 'Midnight Sun' to become a top 40 hit this week.

thank you for commenting :D

2 hours ago, JosephStyles said:

What Was That, twilight zone and Midnight Sun are my favourites since I last commented! The former was a much stronger lead than Solar Power (cellular device still gives me the ick xx), and twilight zone was a fantastic addition to an already brilliant album from Ariana

Oh yes just seen the former two songs in your countdown too while catching up *.* agreed that the eternal sunshine deluxe tracks were a welcome addition, the really short positions ones are a distant memory apologies for the lack of trigger warning before mentioning cellular device xx

thank you for commenting, Joseph

Midnight Sun! I too went to Spain this year and it just increased my love for Zara Larsson's album.

Yes Baby was such a slow burner for me but its since became a fave for me.

Glad Gossip is in the top 100, such a banger.

13 hours ago, Henessy Lake said:

Midnight Sun! I too went to Spain this year and it just increased my love for Zara Larsson's album.

Yes Baby was such a slow burner for me but its since became a fave for me.

Glad Gossip is in the top 100, such a banger.

Ooh nice, I used to go there a lot growing up as my grandma is Spanish, but was my first visit in a while.

Glad 'yes baby' ended up growing on you <3 I'm a sucker for that electropop sound. A very fun single, much like 'gossip' as well.

thank you for commenting :D

TOP 100 SONGS: 30-21

30. uvula - ty' i tvoya ten' | 306 points

29. Demise Of Love - Like I Loved You | 308 points

28. Lana Del Rey - Henry, come on | 333 points

27. Sky Ferreira - Leash | 336 points (peak: #2)

26. Dave - The Boy Who Played the Harp | 336 points (peak: #1)

25. ROSALÍA - Berghain (feat. Björk & Yves Tumor) | 342 points (peak: #1, weeks on chart: 9)

24. Addison Rae - Times Like These | 342 points (peak: #1, weeks on chart: 12)

23. Demise Of Love - Strange Little Consequence | 345 points

22. Addison Rae - Fame is a Gun | 355 points

21. Izzy Camina - Neptune Mood | 361 points

ty' i tvoya ten' by uvula dates back to 2018 but is included in this countdown as it only impacted my chart last year, after sending it to the BuzzJack Song Contest. I discovered this non-English language entry during a YouTube crawl and came back from the contest's mid year break refreshed, ready to unleash this in the 176th edition. uvula are a Russian group but they were banned from playing in the country by the Russian Federation, for speaking against the state. The post-punk sound of this song immediately appealed to me - with its atmospheric drums and guitars, on top of earworm melodies. The title translates to 'you and your shadow' and the lyrics contain some haunting lines, such as: "I'm used to dreaming, day after day, that the darkness takes me away". I recall the characters in the music video being compared to British political icons Count Binface and Lord Buckethead when we had a SyncTube listen through for the contest...! This song produced a respectable result for me, finishing in 16th place, my strongest result in a few contests after missing the top 20 twice in a row.

Demise Of Love is a collaborative project between Working Men's Club, Daniel Avery and Ghost Culture. Working Men's Club previously achieved my EOY #1 in 2022 with 'Widow', plus Daniel Avery is also a favourite of my personal chart, so I'm sure you can imagine how excited I was to learn of this new endeavour. I was less familiar with Ghost Culture but got to know him well on 'Like I Loved You', as he (real name James Greenwood) dreamily takes on lead vocals. Most of the Demise Of Love EP is quite industrial but this song is more of a pop-leaning departure, with a classic, melodic chorus. The lyrics are pretty gloomy and reflective, with "you never loved me like I loved you" being a particular stab in the heart. The processed percussive elements and synths inject a gothic feel to the song, including a wonderful instrumental break, before the final chorus.

'Henry, come on' by Lana Del Rey is the first of three top 40 hits in this section. I wasn't sure what to make of a teased country era from her, but was intrigued all the same, as her discography is probably my favourite of any female artist. The country influences on 'Henry, come on' turned out to be more subtle than I expected, with it amounting to western strings and cowboy imagery in the lyrics. Lana is often criticised for staying in the same lane, which made the switch-up of 'A&W' a particularly pleasing shock for many a few years ago. 'Henry, come on' feels like classic Lana, still referencing blue jeans and as melancholic as ever, but with enough timeless beauty to still keep me interested all these years on. There is a gentle ache to her angelic vocals and I continue to enjoy her storytelling, turning a break-up into a bit of a blockbuster, as she dramatically references Icarus and is metaphorically struck by lightning, as she finds clarity in her dating patterns. The strings are stunning and even get an instrumental break to shine further, amongst a fleshed out 5 minutes. I got to tick off a bucket list activity in 2025 when I finally saw Lana in concert. I was supposed to watch her in Birmingham back in 2020, shortly before lockdown, but she unfortunately had to cancel due to illness. I snapped up tickets when it was announced she'd be returning to the U.K. in stadiums last year, even if not the most intimate setting. Lana continues to troll fans a little, with low effort set-lists and even replacing some slots with a holographic version of herself singing, but it felt pretty magical when she was actually singing. I got to hear 'Henry, come on' live, which is just as beautiful in person, on top of many classics - it was a joy singing along to the likes of 'Video Games', 'Summertime Sadness' and 'Ultraviolence' with thousands of other big fans. In true Lana fashion, she announced an accompanying album for 'Henry, come on' called The Right Person Will Stay, but the title and release date have since been scrapped, as it's now known as Stove. Here's hoping we finally get this project soon. But for now, 'Henry, come on' was a great lead for me and the public gifted it a chart placement, peaking at #30.

Sky Ferreira last appeared in one of my EOY countdowns in 2022, with standalone single 'Don't Forget'. She has been grappling with label issues for years, but finally unleashed her first release as an independent artist in December 2024, after being contacted to create a song for the Babygirl soundtrack - an erotic thriller starring Nicole Kidman. She agreed after feeling a connection to Kidman's character Romy Mathis and was given a tight two week turnaround. 'Leash' is inspired by this destructive character's actions and also Ferreira's own experiences, of being under control by her former label. The song is sexual and gory, documenting a toxic relationship, yet so poetically written - with metaphors such as "enraptured by a bitter moon, drain all the light straight from the wound" opening it up. The production is right up my street with its synth-pop sound, but also contains elements of electro-rock, especially during the epic outro. Here's hoping we'll get that elusive sophomore studio album Masochism at some point soon, as it was finally teased for 2025, but is yet to materialise.

Dave released his critically acclaimed third album last year, The Boy Who Played the Harp. The title track has impressively made #26 in this countdown despite only being released in late October. My instant favourite from his new album was penultimate song 'Fairchild', a harrowing commentary about women's safety, but the title track and closer ended up overtaking it in my affections after that initial album listen. The song begins with an unexpected collision of my worlds as it contains a lyrical sample of 'And I Love Her', by The Beatles. This detail is wonderfully atmospheric throughout alongside the piano playing. Dave walks us through different periods of history, from World War II, to the Civil Rights movement, to the sinking of the Titanic and even stretching back to The Battle of Karbala in the year 680 - reflecting on his own morality and how he would've acted in these situations. He takes it right up to date with impactful lines such as "can't speak out on illegal settlers, now I'm afraid of a shadow-ban". He closes the song, plus the whole album, on the titular "...the story of the boy who played the harp", which gives me chills. He connects himself to the biblical David, who used music to soothe and connect with God, looking to the future as he wants to make a meaningful difference with his own music and platform. Dave claimed this is his favourite song he's ever put out and it's right up there for me too, time will tell if it'll be my ultimate favourite from him. But it's still riding high in my chart into the new year, currently sitting at #5. Fingers crossed for a hard-hitting Brit Awards performance next month.

ROSALÍA, Björk and Yves Tumor all achieving a U.K. top 40 single together sounds like some kind of alt fanfiction, but was instead my very real favourite chart moment of the year. It is not unlike ROSALÍA to be pleasingly experimental but I was still floored that she chose this unhinged lead single to lead a new project, after MOTOMAMI took her status to new heights. However, despite this sounding like chart poison, her bold swing was surprisingly rewarded commercially in markets outside of Spain (where she is tied for most #1s ever for a Spanish artist), on top of the more expected critical flowers she receives. ROSALÍA flexes her classically trained muscles with an emotive, operatic performance of the German-language lyrics, with equally dramatic backing vocals and strings, courtesy of the London Symphony Orchestra. She also sings in Spanish, plus both features Björk and Yves Tumor provide English lyrics, the production becoming more harsh as the latter is introduced. This song is about losing yourself in a toxic love, which compliments the captivating yet jarring transitions, as well as ROSALÍA's actions and worried expressions in the video. Björk appears as a robin in it, stating "this is divine intervention", because why the hell not. I admire how you never quite know what ROSALÍA is going to do next, but I'm always here for the ride and am so pleased this LUX era has been a resounding success for her. 'Berghain' was only released towards the end of October so has done incredibly well to place in the top 25 of a points based system already.

Addison Rae's debut album was a visual feast for fans, boasting an impressive six music videos, rounded off by the visuals for 'Times Like These'. This song is one of my lyrical favourites on the album, as Addison introspectively discusses her whirlwind existence, with "my life moves faster than me" being particularly effective and emotional during the chorus. She also battles feelings surrounding familial trauma, with the lines: "am I too young to be this mad, am I too old to blame my dad?". She later drives off and throws her fears out of the window, prettily leading into escapist album closer 'Headphones On'. Aside from the words, I also adore the production of this song, with its moody introductory melodies and trip-hop sounds throughout. The music video is a behind-the-scenes look at a dance performance, starting in colour and concluding in stylish black and white, the reverse experience of the colouring for the 'Diet Pepsi' music video at the start of the campaign.

Demise Of Love land not one, but two, appearances in the top 30. 'Strange Little Consequence' is more like what I expected from a project involving Working Men's Club. The group's lead singer, Sydney Minsky-Sargeant, takes on vocal duties this time - a far cry from the delivery on 'Like I Loved You' earlier, instead more doom-laden. The lyrics appear to be inspired by the breakdown of a relationship, much like their supergroup name, with music video director Jak Payne expressing a cluttered vision based on this theme, but they also read as a commentary on societal decay. The production is glorious, with squelchy, acidic techno sounds mixed with more dark, industrial details. The warm-up of the verses lead to a huge, rockier chorus, before being treated to a synth outro. I remember coming across comparisons to New Order and Underworld and can certainly see why, with its electronic influences and shapeshifting.

Addison Rae can also claim repeat appearances in this section. 'Fame is a Gun' was released as the fifth single from Addison and my anticipation was sky high, following the incredible 'Headphones On'. She once again delivered and surprised with the direction of this single. The actual themes aren't too unexpected, as Addison explores her relationship with fame - discussing how reckless it can be, but is also honest about the fact she's always wanted to be famous, living the glamorous life and adored, stating "nothing makes me feel as good as being loved by you" in the bridge. However, the production did take me by surprise, as I didn't see a throwback 8-bit style synth direction coming - but once again, her all-female production team smashed it out of the park. The music video is brilliant fun too, as she hosts a Rocky Horror-esque dinner party in a blonde wig, later fighting with a bystander version of herself and breaking into a dance routine. An ultimate highlight of watching Addison live this year was hearing 'Fame is a Gun' on her set list, especially as she switched it up, with an electrifying distorted instrumental breakdown. 'Fame is a Gun' peaked at #23 in the U.K. chart for Addison last year but is currently experiencing a TikTok renaissance, with a #45 re-entry in the latest chart, so will perhaps become a top 40 hit all over again already.

It was interesting to listen to 'Neptune Mood' by Izzy Camina right after 'Fame is a Gun', as I was reminded of: "I don't want any kind of fame or drip near me" and also "hands up, if you're armed, I am too" in the lyrics - similar to the imagery in Addison's title! However, 'Neptune Mood' is its own entirely separate beast, that Camina describes as "emerging from my orchestral club seafoam dance dreams", which perfectly matches the aquatic artwork. This is a glorious sad banger, as the lyrics chronicle feeling overwhelmed and on autopilot, but they do have a glimmer of hope as the narrator is trying to make it out of the other side. Izzy Camina wrote the lyrics and provided the thumping electronic production, while Shaan Ramaprasad plays the violin, which gives the track another ethereal dimension.

Hi Jade

Since I last commented, one of my faves has been your namesake. I love how how many different styles JADE takes influence from on the album and 'Plastic Box' is a definite stand-out moment.

'Shapeshifter' was a grower for me from the Lorde album with the production really starting to hit me after multiple listens but 'What Was That, on the other hand, was her most instant track for me since 'Green Light'. A great comeback single from her.

The whole deluxe album was inspired but I'm not surprised that 'twilight zone' is the one that caught on the most.

'Fame is a Gun' is neck-and-neck with 'Diet Pepsi' to be my favourite track from Addison. The production was unexpected but it works so well.

'The Fate of Ophelia' was definitely one of the high-points from Taylor's new album and I'm loving how high 'The Boy Who Played the Harp' has landed. What a way to close an album!

Great chart so far 🙂

13 hours ago, LewisGT said:

Hi Jade

Since I last commented, one of my faves has been your namesake. I love how how many different styles JADE takes influence from on the album and 'Plastic Box' is a definite stand-out moment.

'Shapeshifter' was a grower for me from the Lorde album with the production really starting to hit me after multiple listens but 'What Was That, on the other hand, was her most instant track for me since 'Green Light'. A great comeback single from her.

The whole deluxe album was inspired but I'm not surprised that 'twilight zone' is the one that caught on the most.

'Fame is a Gun' is neck-and-neck with 'Diet Pepsi' to be my favourite track from Addison. The production was unexpected but it works so well.

'The Fate of Ophelia' was definitely one of the high-points from Taylor's new album and I'm loving how high 'The Boy Who Played the Harp' has landed. What a way to close an album!

Great chart so far 🙂

Hi Lewis

I agree that JADE's range of influences on the album is an impressive melting pot. It's a shame 'Plastic Box' couldn't add to her top 40 tally but at least is getting some critical appreciation. I'd say 'Shapeshifter' was quite instant for me, while I needed a bit more time with 'What Was That', so the opposite experience! But I do agree that 'What Was That' is really catchy, like you mentioned in your commentary for it, so can see why it would be instant.

Yeah I was so impressed by the quality of Ari's deluxe and the new album covers were stunning too! Glad 'Fame is a Gun' is an Addison favourite for you as well and I definitely get 'Diet Pepsi' more nowadays, after initially being a little unsure.

Oh yes I just saw that 'The Fate of Ophelia' made your countdown too, yay! What a result for Dave indeed. Manifesting a Brit Awards performance for it after wishing the same for 'In The Fire' and that actually coming to fruition, fingers crossed a brilliant closer indeed.

thank you for commenting ❤️

Like seeing "Henry, Come on", "Berghain", "Times Like These" and "Fame is a Gun" on here.

1 hour ago, Sergej said:

Like seeing "Henry, Come on", "Berghain", "Times Like These" and "Fame is a Gun" on here.

Glad you appreciate all of those including the double Addison feature *.* that's not the last we'll be seeing of her, unsurprisingly!

thank you for commenting! :)

TOP 100 SONGS: 20-11

20. Lady Gaga - Abracadabra | 366 points

19. Ela Minus - ONWARDS | 372 points

18. Erin LeCount - 808 HYMN | 388 points

17. Lady Gaga - Zombieboy | 401 points

16. PinkPantheress - Stateside | 406 points

15. EQ - B.S.A.S. (Si Alguna Vez te Sentís Sola de Noche) | 409 points

14. Chappell Roan - The Subway | 412 points

13. Ela Minus - UPWARDS | 414 points

12. FKA twigs - Eusexua | 420 points

11. Danny L Harle - Starlight (feat. PinkPantheress) | 425 points

Lady Gaga unleashed sixth studio album MAYHEM in 2025. I appreciated the industrial style of lead single 'Disease' but it was follow-up 'Abracadabra' that truly blew me away. It wasn't entirely instant, as upon first listen I found the chorus a bit too nostalgically charged, with hooks reminiscent of 'Poker Face' and 'Bad Romance', but on further plays it all clicked into place - creatively standing on its own two feet as a brilliantly bonkers spell. 'Abracadabra' is about pushing yourself forward and incorporates the dancefloor as a metaphor. It was written and co-produced by Gaga, Cirkut and Andrew Watt, but has additional writing credits for 4 members of Siouxsie and the Banshees, due to interpolating the also brilliant 'Spellbound'. The production is intricate and bold, particularly appealing to me with its acidic techno beats. This song was first introduced to the world when the music video premiered during an ad break for the Grammy Awards last year. I was instantly blown away as it reminded me of Gaga at her dark, theatrical best. It explores the duality of two separate personas, the red 'Mistress of Mayhem' and also the white 'Virgin Gaga'. Sustainability was key for the costumes in the shoot, using old wedding dresses and discarded fabrics from previous projects, while new materials were kept to a minimum. Parris Goebel's choreography for Gaga is frenetic and striking throughout. 'Abracadabra' was a critical and commercial success, featuring in many year end 'best of' lists and providing her biggest Spotify debut with a solo song ever. She entered at #6 on the U.K. singles chart during a partial tracking week but climbed to a new peak of #3 the following week, her highest for a solo release since 2011's 'Born This Way'. This felt like such a moment for Gaga and transported me back to being an 11-year-old mega fan who witnessed her dominating the world, utterly obsessed with her vision. This was a welcome return to the very best of Gaga so may this re-energised creative spark continue.

Colombian artist Ela Minus had an incredible 2025 in my personal chart with her DÍA album. She became the first artist ever to score three back-to-back weekly #1s for me - with 'UPWARDS', 'QQQQ' and 'ONWARDS'. The latter, one of the English-language songs on the album, is the first of this trio to appear in the countdown - at #19. This album track was written in response to the perception that we should always be striving for more. Ela's take is that she just wants to be on her own path, calm and focused. I struggle with the same insecurities so can heavily relate! She hits a confident stride on this song, fearless and rising from the ashes, while backed with glorious in-your-face production that has an industrial-tinged electroclash sound, full of crunch, bleeps and bloops.

Erin LeCount is a British singer, songwriter and producer who first rose to prominence on The Voice Kids back in 2017. I didn't watch this, instead discovering her in the BuzzJack Song Contest early last year, when 'Silver Spoon' was entered. It qualified for the final but finished in 37th place. I try to avoid recycling artists in the contest where possible but my hand was forced once I heard '808 HYMN'. I had Radio 1's Future Pop show on during the drive home from my aforementioned Spanish holiday and they gave this a spin. I was immediately taken in by the huge chorus, synths and drums. The lyrics are about being followed home and I felt a visceral connection to them, especially the haunting: "Grit your teeth, make a scene, put your keys between fists" line. I can hear some Florence and the Machine DNA on this song, particularly during the bridge, so it comes as no surprise that Erin is indeed inspired by them. She also cites the likes of: Fiona Apple, Lorde, Kate Bush, Imogen Heap, Sylvan Esso, Sampha and BANKS as idols, so clearly has excellent taste. I sent '808 HYMN' to the 178th edition of BJSC and... won for the first time in 4 years! So this song has an extra special place in my heart.

'Zombieboy' swiftly followed 'Abracadabra' as another weekly personal chart #1 for Lady Gaga this year. It initially went over my head a bit - as I failed to name 'Zombieboy' as a highlight upon first listen of MAYHEM, but it soon became infectious upon repeated plays. This song is a tribute to the late Rick Genest, who gained popularity for his heavily tattooed appearance that resembled a skeleton. He featured in Gaga's own 'Born This Way' video. 'Zombieboy' is also a celebration of nights that are so much fun that you feel like a zombie the next morning. A clip of this song was originally teased in the music video for 'Disease' while Gaga is driving. I'm pleased it delivered in full! This song is a bit of a '70s throwback, with a funky disco sound, plus Gaga even channels Debbie Harry a bit in her delivery, particularly during the post-chorus and second verse. But there's also typical Gaga flair, with "put your paws all over me" especially sounding very on brand.

PinkPantheress claimed 'Stateside' is her favourite song from last year's Fancy That mixtape and I wholly agree with this opinion! She is generally known for British sounds and aesthetics, but came together with The Dare, Caroline Ailin, Karen Poole, Aksel Arvid and Jkarri to create this anthem about American boys, much like Estelle in the 2000s. PinkPantheress said she was in a longing, cheeky mood when writing this song, about the early stages of a crush. 'Stateside' is incredibly hooky and even interpolates 'Freak Like Me' by Sugababes in the post-chorus, a big 2000s favourite of mine. Apparently The Dare had not heard of them until the creation of this song, so I'm glad Pink could educate him. I can forgive this ignorance as he contributes some incredible production to 'Stateside'. This single has an exciting, layered breakbeat meets drum & bass sound. I also hear flashes of 'Move Your Feet' by Junior Senior in the production during the first half of the song, only adding to the 2000s feel. This extends to the video which has an authentic, throwback sharpened and upscaled look to it. 'Stateside' originally missed the top 40 but has recently achieved a #23 peak, thanks to a Zara Larsson remix that went viral on TikTok. This version can be found on PinkPantheress' remix album Fancy Some More?, released 5 months after Fancy That.

EQ represented my BuzzJack Song Contest nation Jadakissnia this year with 'B.S.A.S. (Si Alguna Vez te Sentís Sola de Noche)', in the 175th edition. This is a collaborative project between Argentinian electronic acts Estratosfera and Qiri. I stumbled across the music video on YouTube and immediately felt compelled to unleash it. I was in love with the left-field, bass heavy cacophony of sounds, incorporating electronic music, pop sensibilities and even an indie sleaze feel; it doesn't let you breathe for one moment. This largely Spanish language track explores connection and takes place at a house party, both lyrically ("we are at the party and I love them") and in the music video. This song qualified for my nation but didn't exactly set the contest alight, finishing 27th in the final, my worst result at that point until the final two contests of the year. It received three sets of top marks though so that love was a silver lining!

Chappell Roan's 'The Subway' was my favourite U.K. #1 single of last year. I was excited to hear more material from her, after 'Good Luck, Babe!' was a huge hit in my chart (multi-week #1 and later EOY #2), but unfortunately her next single 'The Giver' missed the mark for me. I was cautiously optimistic to hear 'The Subway' next as it had garnered a really positive online reception, based on Roan's live performances of it. I was evidently living under a rock, as those performances passed me by, but I decided to continue avoiding them until the studio version came out, so it was a complete surprise. Chappell had taken her time releasing this song due to concerns she couldn't replicate its live quality. The mixed reception to 'The Giver', also first debuted live, put further doubts in her mind too. But she got there in the end and put out the studio version of 'The Subway' right at the end of July 2025. Thankfully, I completely got the hype of this song, with its satisfying sonic pivot towards a dreamy '90s pop-rock sound, a bit like The Cranberries. The build up of the production also specifically reminds me of 'It Must Have Been Love' by Roxette. Chappell delivers a powerful vocal performance, with plenty of light and shade, as she demonstrates soft vulnerability but also impactful belting as the song progresses. It is immediately apparent that Chappell is navigating a painful break-up and deals with lingering emotions, after she physically spots her ex on the subway. My favourite lyrical touch has got to be the subtle power of "she's got a way" transforming into "she got away". Chappell bypassed music videos for 'Good Luck, Babe!' and 'The Giver' but thankfully delivered for 'The Subway', where she mostly clings to her pain through exaggerated long hair, later getting it cut short. 'The Subway' became Chappell's second U.K. #1, following 'Pink Pony Club', plus her highest peaking song in the U.S. when it reached #3 there. Elsewhere, the lyrical mention of 'Saskatchewan' has apparently done wonders for tourism interest there, as the CEO of their board expressed that generating this level of interest would cost "the better part of our budget".

How neat that 'ONWARDS' and 'UPWARDS' by Ela Minus have both ended up in the same section. The latter is the higher of the two, where it sits at #13, living up to its title as it has rocketed up from its EOY position last year. 'UPWARDS' quite literally snuck into my 2024 countdown, at #100, after just 5 strong weeks in my personal chart. It ended up spending four weeks at #1 for me, spilling into 2025. So this year's position feels a lot more reflective of my love for it. I won't repeat my commentary from last year, but will add that Ela released the accompanying album DÍA a couple of months after 'UPWARDS' and it swiftly became an AOTY contender. I'd say it was my favourite of the year until ROSALÍA's LUX came along. I couldn't recommend this project enough!

'Eusexua' by FKA twigs is another song that already appeared in my countdown last year, the highest placed repeat, with a fresh top 10 around the corner. 'Eusexua' managed an impressive #6 performance last year, with 591 points, off the back of the Autumn/Winter months alone. She adds another multiple of 6 this time with a #12 result and 420 points. I'd say my EOY #1s from Working Men's Club (2022) and Heartworms (2023) still remain my favourite songs of their respective years, but I actually ended up giving 'Eusexua' my top marks for 2024 in the Record of the Decade contest, so that has blossomed into my favourite of the year in the end, as much as I still adore 'Sympathy is a Knife'. I suppose it was unlucky to be released quite late into the year... but can now boast two strong top 15 results for my EOY countdown! She had a formidable year, registering 7 positions in this top 100 with material from Eusexua, EUSEXUA Afterglow and an Oklou feature.

Danny L Harle was back with his first solo music since debut album Harlecore, in 2021. He enlisted the vocal talents of fellow British star PinkPantheress and they worked some magic together on 'Starlight'. Danny L Harle states he was inspired by the melancholic style of European classical music when creating this song. More obvious production influences stem from 1990s and 2000s Eurodance and trance artists. This hard trance sound does feel very throwback but with a modern hyperpop touch as well. The shimmering synths progress well and take an unpredictable turn towards the end, descending into complete chaos. PinkPantheress sounds dreamy, on this sad banger, as she discusses the struggles of unrequited love. The 'starlight' metaphor is her character trying to run away from bright, passionate feelings, even if they remain inescapable. Danny L Harle contributed writing credits for her song 'Ophelia' in the past, plus on Skrillex collaboration 'Way Back', but this is the first time the two have worked together as performers. What a pay-off it was.

Her name is Pink and he’s top twenty.

The continued Gaga presence is fabulous Abracadabra becoming such a big hit was one of my favourite chart moments of 2025!

I'm new to Stateside but I'm digging it, particularly the Zara remix but I like the original too!

Hey! Belatedly commenting, I could probably say something about most of the songs here (taste!) so I'll try and keep it short 😄 Loving the various Rosalía / Addison / FKA twigs appearances - I saw Addison live too last year and it definitely solidified how solid her debut is and how much she's grown as an artist and a performer! If I told pre-2023ish me that one day I'd be screaming along to the 5th single from an Addison Rae album I don't think I would've believed me 😭

Absolutely love to see Leash here too, such a gorgeously produced song and I really hope we get that album one day! Also big fan of the Gaga and PinkPantheress songs there - I love the Zara remix of Stateside but I do wish The Dare's slightly darker-tinged production on the original was the version hitting the top of the charts!

3 hours ago, JosephStyles said:

Her name is Pink and he’s top twenty.

The continued Gaga presence is fabulous Abracadabra becoming such a big hit was one of my favourite chart moments of 2025

I'm new to Stateside but I'm digging it, particularly the Zara remix but I like the original too!

I agree that 'Abracadabra' becoming such a big hit here was an ultimate chart highlight of 2025

Glad you're getting into 'Stateside' now <3 the original has my heart but the music video for the remix has really increased my appreciation for that version too!

thank you for commenting <3

1 hour ago, Ansel said:

Hey! Belatedly commenting, I could probably say something about most of the songs here (taste!) so I'll try and keep it short 😄 Loving the various Rosalía / Addison / FKA twigs appearances - I saw Addison live too last year and it definitely solidified how solid her debut is and how much she's grown as an artist and a performer! If I told pre-2023ish me that one day I'd be screaming along to the 5th single from an Addison Rae album I don't think I would've believed me 😭

Absolutely love to see Leash here too, such a gorgeously produced song and I really hope we get that album one day! Also big fan of the Gaga and PinkPantheress songs there - I love the Zara remix of Stateside but I do wish The Dare's slightly darker-tinged production on the original was the version hitting the top of the charts!

Hi Ansel, great to see you in here

Yay, they've absolutely smashed it this year <3 Addison was a revelation live, I was worried Wembley Stadium might be quite an overwhelming environment for someone so new to performing, but she took it in her stride and was great. Hahahaha I feel exactly the same, I can't believe how much of a stan I became this year, but the music really delivered 🤩

Sky has still got it with these amazing droplets in recent years <3 fingers crossed for a proper project soon indeed. I completely agree, the original production is incredible, but Zara's added verse is fun - I forget what life even was before "boots, that's my ego boost" and the music video tbh

thank youuuuu for commenting <3

"Starlight" is so great - one of the best dance tunes of 2025. It is strange, but I never get the appeal of "Stateside" - for me "Illegal" is the standout track of "Fancy That".

14 minutes ago, DaTilt said:

"Starlight" is so great - one of the best dance tunes of 2025. It is strange, but I never get the appeal of "Stateside" - for me "Illegal" is the standout track of "Fancy That".

Shame you didn't quite connect with 'Stateside' but I'm glad you appreciate 'Starlight' (and 'Illegal') too!

thank you for commenting :)

Ooops sorry I am really falling behind but handily have a few days off work coming up so I can catch up

40-31 thoughts:

I initially thought 'Porcelana' may have peaked on first listen for me but then it started to grow on me a lot more again and I think I'd now rank it within the top 5 of the album, love the menacing production and actually think Dougie's contribution sounds pretty cool (shame it seems to be quite a divisive inclusion among the fanbase). Think The Marías song sounded like quite a natural progression from the hits from their previous album, another nice one from them. 'Midnight Sun' is a banger and quite possibly now my favourite Zara song so hooray that the UK public have woken up to it months after release, hearing both that and 'Lush Life' in the chart at the same time really highlights to me how much her vocals have improved (not that I don't still bop to 'Lush Life') and big fan of the breakbeat/Jersey club(?) flair in the instrumental, plus the video is a big vibe for sure. I think I recall thinking the Sidewalks And Skeletons song was fairly middle of the road by his standards when I first heard it but enjoyed it a lot more when revisiting it for this, the vocal effect is quite cool, think it is reminding me of another song I cannot recall which is always annoying x Ooh good to see that there is an EP from Mount Palomar coming out soon as I've loved all the songs I've heard from him from your chart (and Chez's BJSC entry), Makeshift Art Bar have also been yet another good discovery from your chart from the post-punk space so a strong crossover there <3 and still absolutely stan 'Tonight' every time I hear it, I thought it'd be tough for her to top 'Mosquito' for me but she's done it with this (and iirc you didn't actually chart 'Mosquito' at all so glad we're more on the same page on this one x), the 'like what?' ad libs always get stuck in my head every time I hear it and the song is packed with hooks and another very cool music video indeed (definitely need to get around to seeing this 'Stateside' music video ASAP after complimenting both artists' visuals in this post). 'The Silence That Remains' ofc a great holdover from last year, shame that like 'Cold Reactor' also did iirc it's been caught between years and not made your EOY top 10 in either aw x

I do like all of the other songs in this section too but again don't really have a lot to say about them (sorry twigs again + both of the Nilüfer songs, I feel like her songs are always consistently nailing a very similar vibe that I always enjoy but does lead to them blurring together in my memory a bit oops, funny coincidence though that they've popped up in the same section as 'Midnight Sun' as I think Nilüfer's own song of the same name (albeit all lower case) is also my favourite from her!)

1 hour ago, Brer said:

Ooops sorry I am really falling behind but handily have a few days off work coming up so I can catch up

40-31 thoughts:

I initially thought 'Porcelana' may have peaked on first listen for me but then it started to grow on me a lot more again and I think I'd now rank it within the top 5 of the album, love the menacing production and actually think Dougie's contribution sounds pretty cool (shame it seems to be quite a divisive inclusion among the fanbase). Think The Marías song sounded like quite a natural progression from the hits from their previous album, another nice one from them. 'Midnight Sun' is a banger and quite possibly now my favourite Zara song so hooray that the UK public have woken up to it months after release, hearing both that and 'Lush Life' in the chart at the same time really highlights to me how much her vocals have improved (not that I don't still bop to 'Lush Life') and big fan of the breakbeat/Jersey club(?) flair in the instrumental, plus the video is a big vibe for sure. I think I recall thinking the Sidewalks And Skeletons song was fairly middle of the road by his standards when I first heard it but enjoyed it a lot more when revisiting it for this, the vocal effect is quite cool, think it is reminding me of another song I cannot recall which is always annoying x Ooh good to see that there is an EP from Mount Palomar coming out soon as I've loved all the songs I've heard from him from your chart (and Chez's BJSC entry), Makeshift Art Bar have also been yet another good discovery from your chart from the post-punk space so a strong crossover there <3 and still absolutely stan 'Tonight' every time I hear it, I thought it'd be tough for her to top 'Mosquito' for me but she's done it with this (and iirc you didn't actually chart 'Mosquito' at all so glad we're more on the same page on this one x), the 'like what?' ad libs always get stuck in my head every time I hear it and the song is packed with hooks and another very cool music video indeed (definitely need to get around to seeing this 'Stateside' music video ASAP after complimenting both artists' visuals in this post). 'The Silence That Remains' ofc a great holdover from last year, shame that like 'Cold Reactor' also did iirc it's been caught between years and not made your EOY top 10 in either aw x

I do like all of the other songs in this section too but again don't really have a lot to say about them (sorry twigs again + both of the Nilüfer songs, I feel like her songs are always consistently nailing a very similar vibe that I always enjoy but does lead to them blurring together in my memory a bit oops, funny coincidence though that they've popped up in the same section as 'Midnight Sun' as I think Nilüfer's own song of the same name (albeit all lower case) is also my favourite from her!)

Haha no worries, thank you for continuously responding in such a detailed way, it's still appreciated

I'm pleased that 'Porcelana' has unexpected grown on you further! I remember being very confused when I looked up reactions to LUX and it mostly seemed to either be people's favourite or least favourite on the album, barely any in between so a standout track either way. I think 'Midnight Sun' might be my favourite Zara song now too! Apologies to either 'All the Time' or 'Don't Worry Bout Me' which previously held that title. Oh yes can definitely hear some Jersey club energy in that instrumental too, so cool to have that in the top 40 now.

Yay for 'Dissolve' belatedly growing on you now <3 hope the song similarity will come back to you! I remember thinking 'Bedwetter' by Makeshift Art Bar would be right up your street when I first heard it, so I'm pleased that was the case *.*

'Tonight' is an excellent new choice of PinkPantheress fave <3 yeah I think 'Mosquito' narrowly missed out on my chart, but still one of the best Barbie songs. The 'Stateside' music video was such a joyful, vibrant watch and perfectly captures both of their aesthetics I think, hope you enjoy it too.

Oh yes, poor Horrors, I think I just missed out on nominating them for ROTD too so will make that up to them next year tbh - unfortunately my 'Take a Trip' nom was dead on arrival x

Argh that's neat re. the 'Midnight Sun' coincidence *.*

thanks for commenting, Brerrrrrrr 💃

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