Chez Wombat

It was really brilliant, the slow transformation of Carol and how she changes how she thinks about the hivemind was amazingly done and I look forward to seeing how they progress with Manousos now in the picture (I saw lots of people saying it was dragged out, but I don't agree, this is about the characters as much as it is about the plot). I found myself conflicted whether to sympathise with the hivemind at points, but then you see something which shows how inhuman and eerie they are, much more layered villains than you'd get in this genre. Probably gonna be a bit of a long wait until Season 2 sadly but at least it's back x

11. james K – Play 12. Wolf Alice – Bloom Baby Bloom 13. Oklou feat. Underscores – Harvest Sky 14. Gorillaz feat. Trueno & Proof – The Manifesto 15. Florence & The Machine – Everybody Scream 16. Gelli Haha – Funny Music 17. Princess Nokia – Blue Velvet 18. Bambie Thug - REDRUM 19. Another Country $$$$ - TETHER 20. Barry Can’t Swim – The Person You’d Like to Be The top 20 starts off with Barry Can't Swim, I've really liked the few songs I've heard from him and am pleased about his gradual rise to award nominated superpower, but I don't think any have been quite as striking as this one. Instantly kicking off with harsh sirens and an atmospheric, slow guitar line, the spoken word section says 'Change, there is nothing permanent except change', this then changes to a spoken word vocal with, as you'd expect from a title like this, motivational statements in a similar style to Baz Luhrmann's iconic 1999 number 1, Everybody's Free (To Wear Sunscreen) saying 'you are an exceptional person' and 'Try not to laugh so hard at everyone's jokes', so far so amusing, but as the production becomes more layered and dream-like, using laugh soundbites and maintaining those blaring calls and steady bassline, the lyrics grow darker 'You miss something/you miss something you cannot name, or touch' and 'Can you hold my hand?/ I am frightened', which creates a really uneasy feeling and deeper look at the themes explored in ...Sunscreen and bears resemblence to the work of former BJSC act, Headache. I'm sad the January release kinda made me forget about it and that it didn't make more buzz as it's a real standout track and a great example of his talents in creating an immersive soundscape. A similarly quite under-the-radar Apple Music find, Gelli Haha, formerly known as Angel Abaya, this is the first time I've heard from her thanks to Apple Music and it was a really distinctive find. The Giorgio Moroder-esque synth line coupled with her angelic, almost soprano vocals, bizarre modified vocal samples and frequent changes in tempo in the verses and even a nonsensical bonk effect to end the track with make for something trippy and intriguing with lyrics contrasting the sometimes cartoonish track looking at the nature of playing the clown. The album, Switcheroo, is full of this sort of weird and wonderful cartoonish and playful songs combined with zany experimentation and diverse sounds so would recommend if you're into that x We have three of my BJSC entries in a row, not intentional but pleasing nonetheless. First up, Princess Nokia, David Lynch's death was one of the hardest hitting for me, still exploring his material and working my way through Twin Peaks, he was a truly unique voice in cinema, so I'm pleased this song came along. Hip hop has been one genre it has been hard for me to find something I like and feel confident enough to send to BJSC and that has been bothering me so I'm pleased this came along to break that spell. The song itself in much the style of Lynch himself, is a dark, moody song that takes sexism and double standards back through history, naming the teachings Lilith, Adam and Eve enforcing these beliefs in the first verse to mythical depictions of femininity like Hades and Persephone before relating it to her own brutal r*pe experience, using Laura Palmer as an example of how women are objectified and mistreated. It's hard hitting and rough, but brilliantly done with the witchy production, creepy laughing in the background and eerie lullaby like piano echoing the uneasy atmosphere in so many Lynchian works. Speaking of dark and classic film references, Bambie Thug continues to be one of the best things to come out of Eurovision and if Doomsday Blue showed genius in it's dark veering between styles, REDRUM is their rebellious self in all it's anarchic and brash glory, with revolutionary inspired lyrics with that Irish twang still present and that absolute beautiful racket of a chorus, you'd worry you might find yourself dead if you don't believe their cry of running riot. Finally, ANOTHER COUNTRY $$$$ are, as the name suggests, an obscure experimental act I heard on early morning 6Music and it's the kind of weird glitchy dance music I'm really a fan of, the beautiful strings and guitar line throughout add a real depth to the glitchy distorted vocals and the DIY feel is very charming that they can concoct such a well-thought out piece. Tangentially related to my BJSC entries is my former BJSC act, james K whom has broken through quite a bit from late 2024 when I sent the beautiful Blinkmoth (July Mix), Friend has a lot of gorgeous soundscapes and dance exploration held together by her beautiful vocals and my favourite of them is play, is much more pop-friendly than the more lingering aforementioned song, but her falsetto vocals are no less beautiful and work brilliantly with the breakbeat production which still forms a wonderful soundscape on an album that proved her a lot more diverse than I thought. My Oklou pick for this countdown is actually a 2024 song, I know, but it was on the album so I counted it. I must apologise if Jim happens to read this as I didn't actually give it any points when it was in Club Bizarre, maybe a mix of cheapness (I have a right to judge that as I am never, ever cheap I'll have you know) and it just not clicking with me as much, but it really has throughout the year. The hypnotic trance beat fitting to the vocals in the chorus are infectious on their own but it's also got a charming quaint vibe to it in comparison to the rest of the album, especially as the song reflects the singer's childhood memories of bonfires in La Fête de la Saint-Jean (St. John's Eve) and this adds a personal level to the otherwise otherworldly electronic sound. Finally, three more well known names. Wolf Alice are probably my favourite band doing that classic British Indie sound, Blue Weekend was a fantastic album and thus far Last Man on Earth is by far my favourite song of the decade, so there was a lot resting on this follow up, but they've proven here that they still can surprise and innovate. Bloom Baby Bloom is a strikingly different sound which shows Ellie on absolute top form, opening with it's showtune like piano, the verses open with breathy and low key intensity before the chaotic chorus comes with a loud yell followed by a graceful simmering down, which I'm just realising now almost mimics a flower with it's seed, sudden shoot and flowering. It shows them at their most creative, and does stand out on an album largely filled with a retro kind of Fleetwooc Mac-esque rock sound, though a shoutout to The Sofa which was a great, more subtly beautiful moment. Gorillaz's album isn't out until later this year, but I've already heard the three singles several times, of them, I think The Manifesto is my favourite (sadly The Happy Dictator got absolutely rinsed by 6Music which soured it's admittedly-still greatness), a seven minute song with a lot going on - Trueno's Spanish first verse with building chanting in the background, transitioning to a more Gorillaz sound with an Eastern feel to the instrumental as Albarn sings cryptically about mountains before the radio friendly parts end and it descends into a much darker vibe as Proof's angry, vicious sounding verse before Trueno comes back with more intensity than before and Albarn takes back control in a gradual fade out with further ominous vibes. It's really quite striking as a whole and I really like that Gorillaz can still afford to be so experimental and blending many different international styles interesting over twenty years after their last big hit. Don't go for the radio edit for this one, it really takes out a lot of the song. I haven't really rated a Florence & The Machine song in a while, their last era was a bit of a write-off for me, but the witchy, Halloween aesthetic they were going for this time perked my interest and Everybody Scream fits that sound great, over a wailing backing, Ms Welch's always impressive vocals fit brilliantly as she plays the banshee over the dramatic and stadium-ready chorus. I haven't yet got round to the album, but did also like One of the Greats, with it's more restrained feel and candid lyrics. Phew, OK, top 10 coming next where we'll slow down a bit x

I really like the Flying Pickets version of Only You, I knew it before the original but have come to appreciate that more. I do think they do a good job and add a different somber tone. Pretty impressive for them still to be going albeit with no original members! Red Red Wine is definitely a victim of massive overplay, I can't really abide it these days and have never been a huge fan of them anyway. Uptown Girl and True are similarly overplayed, but I have a soft spot for them.

Love this theme, Just for clarity, is a noun that can also be used as a verb acceptable? E.g. Run, Water, Fish (the song isn't titled any of those dw x)

I dislike AI art in general, I think when used in tandem it can be effective, but solely AI in what is such a human based concept just never sits right for me, and Creatives are struggling enough as it is. I do believe AI has it's functional uses and can definitely assist in productivity in many areas, but the day it ever comes when entirely AI produced music, films, TV etc. is actually widespread will be a very sad one. Commentary on art is also distinctly human so I always appreciate human commentary as well. Saying that, I don't mind if people use them for basic graphics if that's easier, they don't offend me even if they are sometimes creepy when imagining people. It can be hard to tell with AI these days, one of my past entrants, SPIRITS UNBRIDLED, definitely used AI for the video and there's a chance it could be AI based, but I couldn't verify due to the very obscure nature of it (and the video was SO uncanny valley it inadvertantly worked with the song), I would never intentionally send one and will research them now they're becoming more widespread, I don't judge those that didn't know and will judge a song on it's own merits, though I would hope that no one would continuously send them intentionally.

Dr Kay, literally did nothing apart from stand around and look menacing, real waste of Linda Hamilton x

I'm sure it's a woman, they just all seem a lot more switched on and game playing. But it could be deceiving edits, Harriet, Fiona, Jade, Roxie and Ellie I think are my main guesses but if I went for one it would be Fiona, the comment about not needing the shield and framing of Hugo and Rachel seems suspicious and she's clearly revelling in being smarter than she looks.

I know I shouldn't be, but I was just utterly shocked. How on Earth is it legal that a country can just invade another and put it under their control without some kind of agreement first?! Even worse that it's clearly aimed at distracting from Epstein and so he can claim their oil.

OK, finished! Spoilers to follow obvs x I think I felt similarly about the finale that I did for most of the season in all honesty, in that I enjoyed it, but I didn't love it, and that was mainly decided in S4, when the start of the season took a really dark, more horror-linked turn which I thought would emphasise a change in direction, but the last episode definitely confirmed that wasn't the case, and so I think S5 played out as well as it could given it was solely going for the 80s Action/Sci-Fi blockbuster route. I was one that complained about the characters not dying (and they still had a ridiculous amount of plot armour in this), but I do realise now that it wouldn't fit the tone here and so the route they went down felt OK. That's all fine honestly, it's just not quite what I loved the show for. I think it just lacked a wow moment and instead just settled for solid, there just wasn't really much else they could've shocked us with - yeah, Will's secret power and El having to stay behind wereI supposed meant to be big, but they didn't feel like game changers or surprises. But anyway, some good things - the effects, 80s atmosphere and performances were all great, I thought they were better in S3 and it could've used a bit more diversity in the presentation of the worlds, but these were still very impressive. I think the finale actually did pretty good at giving all the main characters something to do and the epilogue felt very genuine as young adults moving on in the world (I guess the alternate ending for El is a nice bit of fan service, but I personally think the real one is more fitting, just hope they don't go with that as an excuse for a spin-off xx Mike as a Stephen King-esque figure felt a great shout as well). There was a lot of 'moments' some of which felt awkwardly placed, but Steve and Dustin I think effectively showed their fallout and reunion well. Jamie Campbell Bower I think was the best part of the season, he really was incredibly effective and I loved that they didn't go the redemption route when they could've gone, and I agree that it was a great way of saying that some people really do just want to watch the world burn. Kinda liked Dipshit Derek too, his arc did feel complete. The main issues were as you might expect from a show that doesn't kill off main characters - too many characters, too much plot and way too much time dedication to venn diagrams and plans. I think the real sticking point though was the real lack of an effective villain - Vecna/The Mindflayer just never felt that threatening and was constantly outmaneuvered by the kids, given he had control of where Holly was taken, you'd think he wouldn't keep losing them! The Demogorgons suddenly slowing down dramatically when the main characters and being randomly taken out by a heavily injured Karen Wheeler, and the Military as well felt useless, Dr Kay literally did nothing all season apart from...experiment on kids, which we knew about already. Linda Hamilton was totally wasted and didn't even get a resolution, they just...went away? Kali felt quite useless too and only served as a means of communicating that El had to die. I would criticise them for literally completely forgetting about Vicki entirely in the epilogue, but I found that quite funny! 😅 she was annoying anyway x I didn't really see anything wrong with Will's coming out scene, I just think it would've been more powerful if it was just to his family and Mike and they did it better with Robyn, sad that the backlash to that is one of the main talking points but culture warriors gotta fight etc. TL;DR: Solid and good endings for the characters, but not what I really came to love the show for. I will miss it though, it was undeniably a bit of a phenomenon a little bit like Harry Potter and it's always nice to see a show end naturally with a story completed. Didn't do a Game of Thrones at least x I would recommend the stage show to anyone that hasn't been, it's a good bit of additional lore that adds a bit of context to the final.

Oh I really enjoy Karma Chameleon, I'd definitely have that a bit higher, certainly overplayed granted x I think the other two are fair placings, they definitely feel like they've aged the least well. 1983 definitely has some very ubiquitous number 1s so there wasn't a lot I wasn't already familiar with, they're all pretty overplayed but there are several deserved classics, interested to see which one you put on top x

Real shame to lose Judy so soon, I do hope that makes them gang up on Sam, smarmy and arrogant, no thank you x I did feel when they showed her head turning like Linda last year that that's got to add up to something, and they wouldn't give away the secret traitor already. I think my next guess was Jade for Secret Traitor, and I still think maybe as she got very flustered at the round table as if she'd been found out, but Ellie does seem a good shout too. Amanda I feel could be a misleading edit.

21. Model/Actriz - Cinderella 22. HAIM – Relationships 23. Tame Impala – End of Summer 24. Merely & Malibu – Arpeggiated Romance 25. Mark Pritchard & Thom Yorke – A Fake in a Faker’s World 26. Ethel Cain – Amber Waves 27. PinkPantheress - Tonight 28. Lady Gaga - Abracadabra 29. Kieran Hebden & William Tyler – Secret City 30. Mount Palomar & Makeshift Art Bar – Pass The Parcel First up in this section is the second release I've heard from Mount Palomar, they were the act behind my 2023 BJSC entry, terra firma with Enola Gay, this has a strikingly similar sound vocally (in fact, that was the reason I didn't send this one to BJSC too!) but Makeshift Art Bar are a different band, so I guess he just has a clear style and type of artist he works with. Anyway, the song itself merges electronic ambience with post-punk in the same excellent combination, with pulsating beats and a vocal style that slowly evolves in intensity leading up to a memorable chorus and dark atmosphere throughout, reminds me a lot of the Prodigy and that can only be a good thing. Kieran Hebden & William Tyler was entirely a pitchfork discovery, I'm quite surprised they are so charitable to a seven minute guitar ambient instrumental, I can now see this is actually Four Tet under his real name so I guess he features twice! The collaboration with avant garde folk artist, Tyler, is a lovely, slow building guitar instrumental with a rising synth backing that never really takes off in a sense, but is happy to lull in it's feel good, languid pace and while that might be a lot for some, I personally think it's a really nice track. Hey, speaking of, there's another artist here with two songs - Ethel Cain, while on the surface appearing like another folk singer-songwriter type, always had an experimental streak as seen by the brilliant Ptolemaea from Preacher's Daughter, and the Perverts release at the start of the year, preceding Willoughby Tucker..., is a 90 minute long album doubling down on this sound, with various ambient, drone, super unsettling songs with not many vocals and lengths going up to 15 minutes, it feels like a bit of a troll release in a way, but it's right up my street and my favourite from it was Amber Waves - starting with the spoken line 'I would recommend you take as much as you need to make you feel good' and ending with 'I can't feel anything' sets a precedent for the dark tone to come, I think this is one that manages to merge Ethel's styles well without being too intense (that'd be housofpsychoticwomn shudders), with Ethel's mournful and restrained vocals and devastating lyrics ambling over the delicate piano, it's heartbreakingly beautiful and the guitars ramping up ever so slightly at the end match the rising intensity. Of the more well known artists, HAIM's album is still on my list to listen to, but I was a fan of the singles and Relationships felt particularly distinctive for them, merging an R'n'B, distorted sound to match their usual blues guitar sound feels fresh and really suits Danielle. Lyrically, it's as blunt and tight as always from them. Lady Gaga is not an act that's produced an essential song in a long time for me, as unpopular an opinion as that is, the Sour Candy era just didn't click. That's definitely changed with Abracadabra though, nothing will top Edge of Glory for me but I'd put in safely on par with most of the Fame Monster/Born This Way era. It sounds classically Gaga (on first listen, I thought it was just aping Bad Romance, yet I came to realise that it just has that same charm she exuberates on that song. It's so nice to hear the safe, radio-friendly pop out the window and instead bringing a wonderful chaotic, extravagant charm to the verses and that chorus is just glorious and even a choir at one point, it's everything I came to admire about Gaga and refreshing to hear she's still got it. PinkPantheress has had a great year and though Illegal seems to be the critics choice, I do prefer this one, the wonderful garage based production, infectious repeated vocals (like what?) and wonderful flow between verses and chorus, she's come a long way from the bedroom garage she became famous for yet glossier production aside, she hasn't strayed too far and still produces bitesize throwback bangers. Tame Impala continue to be an act I enjoy most of the work from though I've been hesistant to engage more this time due to the poor reviews and the fact that the other singles have been probably his worst oops x but End of Summer at least is a favourite, it's progressive dance sound and great synths proving a very good fit for him, the continual beat drops and switch ups over the eight minute length make it an intense song to explore. I am still trying to work my way through all the Radiohead albums (heard Kid A the other day and predictably enjoyed it x) but this project by Mark Pritchard & Thom Yorke was a good thing to check out in the meantime, 6Music played This Conversation is Missing Your Voice, but on the album, my favourite was definitely A Fake in a Faker's World, an eight minute creeping track which combines Thom's ever-distinctive falsetto with Pritchard's murky and slow-building production, this charm is felt throughout the rest of the album, but this one stood out to me in particular. Lastly, two songs with song contest links, I liked what I knew of Model/Actriz mainly from Bre sending them to BJSC, but this one getting 6Music airplay and being sent to BJSC really caught my attention, it's eclectic production and personal lyrics about the frontman's story of becoming the person that can admit who he'd like to dress up as for his birthday parties a great piece of experimental work with meaning behind it. The collaboration between producers Merely and Malibu is a holdover from last year but still fed into this year, especially with the success in Club Bizarre. Merely's Backdraft was a favourite BJSC discovery of mine, this is something of a different style with a beautiful ambient atmosphere throughout, a wonderful track to walk to and triumpn ofc. for female producers x

Pretty excellent top 50 there, there's a small handful from the recent eras that I wouldn't quite rank that high, but they are standouts.

oops long catch up post time x The Husbands of River Song - The River Song storyline was a bit too confusing, but I do really like this episode, one of my favourite Christmas specials, even if it's a pretty throwaway story. Greg Davies is absolutely hilarious (as he usually is x) Eve of the Daleks - My favourite of the Chibnall Dalek specials (though they're all quite flawed) mainly for the concept which felt refreshing and Aisling Bea is always great, it's still writes itself into a corner by the end though. Smith and Jones - A bit like Partners in Crime but with less chemistry, but it definitely has a much more engaging premise and threat. The Judoon were a great creation even if the CGI wasn't the best. The Star Beast - Definitely did it's job as a fun anniversary episode that most of the fanbase can enjoy, Tennant and Tate are as amazing as ever, the explanation for Donna's recovery seemed a bit rushed, but was a nice and inclusive way of doing it. The Meep was a great, ridiculous villain, the scene with the Doctor in a courtroom setting (although I'm not familiar with what it's referencing) with the two aliens was fantastic too, a lot of fun x The Runaway Bride - I actually don't remember this one very well, apart from that cliffhanger start and obviously great chemistry between them both, it's lacking a little bit compared to the last one, maybe it's just dated a bit. Revolution of the Daleks - Don't like this one as much, the ending was way too rushed and it seemed far fetched that every bloody Dalek would fit in that TARDIS. It was good to see a proper Dalek episode though and I did like the scenes from the prison the Doctor even though that was forgot about quickly. Rogue - Ugh, did they have to reference Bridgerton in every bloody scene? It's not the only period drama that ever existed, they might as well have held a big sign up saying 'HELLO GEN Z KIDS, PLEASE WATCH US YOU KNOW THIS REFERENCE!!' ..ahem, anyway, good episode despite that, the twists worked well and the relationship with Rogue was well done but again almost entirely pointless now because of how rubbish this era was wrapped up. The Interstellar Song Contest - The last really solid episode thus far, that's a little sad to say, but true. I think this worked really well and the Doctor's mood swing was well done, though I'm not overly familiar with the Rani so the cliffhanger didn't have a huge impact. Assume you've seen this? Lux - Another very good one and the only time one of these Gods has actually felt quite threatening and I quite like the twist that he kind of 'succeeds' in the end even though he vanishes, the period setting and the different animation were very well done, I wish more would've been done with the breaking of the fourth wall (like clowning on those 'Doctor Who's too woke' idiots) but it was a nice idea. Planet of the Ood - Was really great to explore the Ood a bit more and I feel the time taken to develop aliens is really missing from recent incarnations, agree that the CGI hasn't held up the best, but otherwise I like that it explored cruelty and slave races. Boom Town - This one's a mixed bag, I do like the concept of it and it does humanise the Slitheen to an extent, showing them and the Doctor's similarities, as well as Rose and Mickey's relationship which was fitting before the final, but the actual threat feels a bit minimal and there's just a bit too much silly escape sequences for it to be a classic. Rose - Of course a classic and where it all began, the instant chemistry, building of character and gradual collaboration is something I feel not many first Doctor episodes have done as well and why Rose is still my favourite companion. War of the Sontarans - this and the Angel episode were the only saving graces of Flux, I'll give it credit that I think this is the best presentation of the Sontarans in Nu-Who, it's not immune to the typical Chibnall writing pitfalls, but the historical setting is good, the Sontarans feel much more of a threat and there's a less packed cast than usual. Lucky Day - A bit on the nose and I don't think it needed that Doctor monologue at the end, RTD does have this problem, but otherwise another very good Ruby-centric episode, which is odd as I don't actually think she was that standout when she was with the Doctor, the ending a lot crueller than usual to the antagonist which was interesting.

Changes above Sugar Sugar, come on now xx (The Cheeky Song is acceptable of course as that is high art x)

Great to get three entries in the top 100, I was sadly tuned out for all but REDRUM but that's a very solid performance. I actually forgot about You, it was right at the start of the year and I think I DNQed that contest so was less engaged in the final, but I think that would be my favourite in the top 10 followed closely by Night Tapes <3 I voted for half of the top 10 so a decent result, congrats to Fljotavik, was never in doubt with a landslide like that! And thrilled to see Night Tapes in 2nd (not at all bitter given I only finished 8th with them x), I agree with the sentiment to stream portals//polarities xx Thanks so much for putting this together Rob and to Bre for the stats, I couldn't tune in as much (and missed any that may have been referencing my entries) but the radio presenter parts were wonderful when I heard them, you should consider a side-hustle there x I do miss TBO but do get that it's just a bit difficult to run nowadays, so it's great we've managed to find an EOY celebration that really works.

Thanks for the comments all <3 I'm always here to remind people of Flow x -x- CMAT – Euro-Country Sofia Kourtesis & Daphni - Unidos Robyn - Dopamine Jane Remover & Danny Brown – Psychoboost Tropical f*** Storm – Dunning Kruger’s Loser Cruiser Kelly Lee Owens – ASCEND Nuovo Testamento – Picture Perfect bdrmm – Lake Disappointment Smerz – You Got Time & I Got Money Ionna Lee – STILL BLUE CMAT had a very good year last year, while I have liked and appreciated a lot of the wit and clever songwriting her songs, not a lot of them have withstood the huge overplay, so I'm pleased that the title track from her recent album made me get the hype a bit more. A song written about the post Celtic Tiger economic downturn in Ireland after the 2008 financial crash includes an Irish language opening which feeds in nicely to the feeling of disconnection from her cultural identity that persists in the song, deceptively produced in quite an upbeat manner, the song is a great example of her anger wrapped in gloss. Also here is Peruvian DJ, Sofia Kourtesis, also sent to BJSC this year, with a great dance tune that melds multiple house, soul, disco strings and R'n'B styles into a great progressing dance song that moves along at a leisurely pace but never loses you. Another female dance producer is Kelly Lee Owens, I'm sad I wasn't more aware of her work earlier in all honesty as this led me to her past work in Dreamstate and this dreamy, trance-inspired production is right up my street, ASCEND is no exception with a progressing beat and breathy, subtle vocals about being outside your mind takes you on a rave journey (The album cover is a choice though x). Norwegian duo, Smerz had Pitchfork's #2 song of the year, I'd never heard of them before so it came out of the blue, and it's certainly a subtle kind of beauty but one that does really sneak up on you, it's Lounge style with prim strings and a hazy synth backing along with some relaxed vocals about taking it easy and some frank vocals about her having enough money to cater to them both, it's got that refreshing Scandinavian wit (I saw Sentimental Value yesterday, a Norwegian drama so am fresh off experiencing more of that) that makes it stand out. On the less subtle side is Tropical f*** Storm, a random Apple Music new music find and you can kind of tell from that conundrum of a title you're in for a ride and it definitely is with eclectic vocals slurring along to a loose song structure that still throws up a few surprises, it's difficult to really convey that zaniness in words so if you're a fan of experimental rock, then do take a listen x Jane Remover was another crazy Apple Music find, probably recommended from that being in BJSC and me listening to the playlist but predictably I don't remember that one x But I definitely don't remember it being as striking as this one - Danny Brown's frantic, lightning fast verses fit wonderfully with the mad hyperpop-esque production that is grounded by Jane's refrains, one for the running playlist x Robyn's comeback after many years was instantly distinctively her, getting that emotional yet danceable mix just right, fittingly for a song titled Dopamine, it's relentless with it's energy and catchiness and was a pretty instant favourite however late in the year it came. Finally, some BJSC adjacent acts starting with Nuovo Testamento, this is just a really addictive little song, with so much feel good energy and great vibes in it's pristine synths and her sunny vocals, just a really nice summery track in (just about) less than three minutes. A former BJSC act, bdrmm is next and they continue to be one of the most interesting and underrated alternative acts at the moment, if my last BJSC entry felt like a classic Radiohead track, this one keeps those atmospheric sounds of dread with a drum'n'bass beat, the distorted vocals add a further unease as the atmosphere takes over, and a retro BJSC artist combining her previous guise (iamamiwhoami) with her birth name to be just known as ionnalee but you may better remember her as iamamiwhoami in which it's been at least a decade until I thought about, I confess her older songs were a bit hit and miss, I wasn't quite as much as an indie hermit then though. This one came to my attention as it was used as the trailer song to the London Film Festival, one of my favourite experiences of last year so I will naturally associate it with that, however the song itself is a lovely song with her extensive range being used just right here in a beautiful chorus and some lovely strings accompanying it. Fitting for a trailer as it's bursting with life.

Only two spots down on last year isn't too bad given I had a win last year! Glad for continuing my top 20 streak too I missed me this evening, but two great picks there and wonderful to see Projections make the rejects list <3 Thanks to Rob and Bre for the excellent presentation!

Lou Monte doing as well as that Pleased to have got to contribute that point x

That's an excellent top of the countdown - In fact, I think that top 2 would be my top 2 as well! Blue (Da Ba Dee) was one of the first songs I was aware of, that chorus was just that infectious (and I of course got some of the words wrong - I recall mistaking it as 'Aberdeen' though I never heard 'if I were green, I would die') and it's stuck with me as I've got older as I like the aesthetic complimenting the message, deeper than your average cheesy eurodance song at least. Love 9PM as well and it's still a regular on my running playlist, that repeated guitar line with the trance beats just works really well to build anticipation. That, Armand's You Don't Know Me and Fatboy Slim were my top dance hits of the year. ...Baby One More Time is of course a classic and shaped the sound of pop of the decade to come, I was another one whose mind was blown when I realised Hit Me was not in the title! Genie in a Bottle is also great. Baz Luhrrman's one is more one I appreciate as an oddity rather than one I actively listen to, but I always love hearing it and it's tale is a classic quirk of the UK charts, and a real time capsule. There's a pretty scathing review of it on Popular, and I suppose if you properly analyse it lyrically, it may fall short, but I have always quite appreciated it's messages and think most of them are useful throughout life. Keep On Movin' and I Want It That Way are definite boyband classics, and I'll even be charitable to Steps here as Tragedy actually suited them well and Heartbeat is one of their better songs, the bizarre video with a random CGI alien fight in the snow is a good laugh too. Great read as ever, Rich!

Saltillo – Hair on the Head of John the Baptist Kneecap & Paul Hartnoll - Sayonara Perfume Genius feat. Aldous Harding – No Front Teeth HUNTR/X - Golden Yndling - It's Almost Like You're Here Jinkasei - angels Fcukers – I Like It Like That Four Tet – Into Dust (Still Falling) Sabrina Carpenter - Manchild Blood Orange – Look at You Starting the top 50 off is Blood Orange, I'm aware of a few songs by him but this cut from his fifth album is the most I've been captivated by him, his sparse and soulful vocals blare over a minimal, ambient synth and orchestral backing that is striking and atmospheric, it changes midway though as he switches to a softly spoken vocal where it takes a more poignant, elegiac tone. He was struggling with grief from his close friend Mac Miller and his mother when he recorded this and it shows, it does make me interested to check out the album even if I'm not familiar with his past work. Another here you may not know is Jinkasei, I get recommended several of what I would call moody breakcore in the style of Sewerslvt with classical instruments thrown in and they are always great, sometimes hard-hitting if sometimes blending into one another, Jinkasei stood out to me as it interpolates the verses from Linkin Park's Numb and putting it in a breakbeat context is the sort of innovative reinvention that works really well and it jumps into a beat frenzy at the end somewhat reflecting the tormented mood throughout. Several songs here from the ever-reliable 6Music/critic sphere, Four Tet is a slow building minimalist dance track made up of just one lyrical couplet: 'Still Falling/Breathless at once' over a lush string and beat backing which creates a wonderful slow build. Fcukers were not an act I was familiar with but this single (and Play Me) were both pretty banging electronic tracks with a catchy hook, some summery and silly lyrics as well as some addictive, throwback production that make it instantly memorable that could easily fit in amongst a Charli XCX album. Perfume Genius is an act that's been around a while but I've never fully checked out, I've got to say his voice is still 50/50 for me, but No Front Teeth is a great song with ever-changing tempos and switch-ups that goes a lot of places over it's six minute runtime and Harding gives a wonderful wistful vocal in the chorus that is part ballad and part full on rock stomper. I first became aware of Kneecap with their excellent (loose) biopic last year, they specialise in Irish language hip hop and are unashamedly forthright in their solidarity with working class culture, Irish Republicanism and rights of language, as you can expect, still it was great to see their music getting airplay at the start of the year, sadly their forthright calling out of genocide didn't please the corrupt capitalist suits and they wasted no time in digging up past clips (out of context mainly) to run them in the media and paint them in the worst possible light, thankfully they have avoided any charges and still got to play at Glastonbury, this whole thing only appealed them more to me but it is a shame it meant their music was blacklisted by BBC, thankfully then this remix of Sayonara came about later in the year when the dust had settled a bit (and Bob Vylan had stole most of their outrage x) which allowed me something, it might not be as raw as their other work but the pulsating, fast paced beats combined with their typically brash Irish delivery is still a treat and I'm glad I got to include them in some way here. On the mainstream side, some of these certainly seem divisive but I am unable to resist - K-Pop Demon Hunters has been the cultural phenomenon of the year, a movie of that title certainly had no business being as good as it was and the excellent soundtrack by fictional group, HUNTR/X is definitely part of it's appeal. Golden is your classic 'I've realised who I am and going for it' centrepiece song that we've seen in many Disney films, and I initially preferred others from the soundtrack for being a little more musically interesting like How It's Done and the Saja Boys' Your Idol, but the sheer ubiquity of Golden just made it quite irresistable, it's much like Let It Go in that the power of the vocals (BAAARNABY), context of the film and anthemic, singalong factor (experiencing this a lot in real life too) really makes it memorable, it's one of the more interesting chart stories this year and one I'm fully behind. Sabrina Carpenter was also back for more, I just really like how she so easily pisses everyone off while clearly having the best time doing it and there's not many that can pull off a song about men that can't get it up and still get a massive hit with it, I do think the synth line apes Chappell's Good Luck Babe quite a bit, but Manchild is still a really fun, endearing song that really throws everything at that post chorus that makes it quite addictive. Finally some Buzzjack discoveries, BJSC moves so fast and with so many other song contests and just general life duties, I'm sad to say I forget more songs I vote for than I remember these days, but there is still some absolute hidden gems that I love discovering - The entry from Yndling is a beautiful, atmospheric journey with a suitably subtle and enigmatic Bjork-style vocal that culminates in a great guitar solo, it could fit very easily into a Twin Peaks soundtrack and that's always wonderful x Saltillo was a late year find but is the sort of under-the-radar thing I'd have never discovered without Buzzjack, a 2006 song off one of the only musical works from a multi-instrumentalist who is primarily a painter, but he clearly beings his experimental passions to his music as well, with a distinctive title, the song is primarily built around excerpts from William Shakespeare's Hamlet with a trip hop and classical backing with the chorus occuring as a refrain, I'm not clued up enough on religious lore to see how John the Baptist links with Hamlet, but I'm sure he knew what he was doing and the result is a haunting, unique blend of modern and classical styles that stands out for miles.

I think the only one I'd have ranked a bit higher from 11-17 is Stronger, but I do agree it's not a highlight at all from Kanye compared to some of his other work and the Daft Punk song is infinitely better (and harder, faster and stronger ba doom tish etc.) Eva Cassidy's Songbird was part of my COVID album bucket list project and I enjoyed it much more than expected for an easy listening album. I'm not mad on this cover as it's just not as powerful as the original and it became a bit 'X Factor-ised' over the years, but it was a nice idea in tribute of Eva, and I remember the real shock I had at it getting to number 1, a Tesco exclusive single still managing to get there in the download era was an interesting novelty. I rather like Transylvania from McFly, it's quite quirky and sounded a bit different from their usual sound, the other side was more by the numbers though. Amusing fall from number 1.

Albums 1. Night Tapes – portals//polarities 2. Ethel Cain – Willoughby Tucker I Will Always Love You 3. Snapped Ankles – Hard Times Furious Dancing 4. Sudan Archives – The BPM 5. Maria Somerville – Luster 6. Gelli Haha - Switcheroo 7. Ethel Cain – Perverts 8. Lily Allen – West End Girl 9. Wolf Alice – The Clearing 10. Oklou – Choke Enough Subject to change as I do still need to listen to a few acclaimed albums once the lists are out (LUX is definitely top of my list, but I do want to do a deep dive with her), all of these artists will have one song from each era appear in my top 50 as per my own self-imposed rules (the Ethel Cain albums are both very different beasts so feels right to acknowledge them both), the exception is Lily Allen which I did feel worked better as a single piece of work rather than having individual highlights. Films Flow No Other Land Nosferatu Hallow Road One Battle After Another Sinners Memoir of a Snail Weapons Frankenstein Bring Her Back All We Imagine As Light Dreams/Love/Sex: Dreams Sorry Baby Savages Final Destination: Bloodlines K-Pop Demon Hunters 28 Years Later September 5 Bugonia The Brutalist May still be able to add Marty Supreme this year depending on if I see it before Wednesday. A pretty decent year for films overall, Flow I think will go down as an all time favourite which I haven't found in a while <3 TV Pluribus Adolescence Severance The Studio Black Mirror The Traitors + Celebrity Traitors (probably the first reality show I am ever putting on here x) The Last of Us Only Murders In The Building Prehistoric Planet: Ice Age Sean Combs: The Reckoning A few I do need to finish like The Beast in Me, Alien: Earth, The War Between the Land and the Sea and Invincible and a few names I will probably belatedly start. Didn't think Adolescence could be challenged but Vince Gilligan proved me wrong x

It's that time of year in that dead gap between Christmas and New Year where I rank my favourite songs of the year. I do want to actually do a full countdown this time as I think I'm in a better place to. 2025 has been a bit of a rollercoaster for me personally, but throughout I have managed to keep up pretty well with music of the year and have a very solid list. Though mainstream-wise, it's definitely been a huge step down on 2024 which culturally felt like the best year for music in a long time. I blame Alex Warren x I will also start with my countdowns in Film, TV and Albums, I don't want to burn myself out so they'll just be standard lists with no commentary, but I may have posted thoughts on them in the relevant thread x I as always appreciate all comments and reading throughout!

Joan Jett And The Blackhearts - I Love Rock 'N' Roll Yazoo - Only You Iron Maiden - The Number Of The Beast Duran Duran - Hungry Like The Wolf Madness - House Of Fun Tiebreak: Japan - Ghosts