2018 Hottest 100

[samFFC]

I had an interest countdown, only Billie Eilish in top 10, then nothing in top 200!

But had 5 across Robyn, U.S Girls and Mitski, none of who placed at all so not too surprising.

 

[Lums23]

That's what shits me off. How do RBCF miss out? I thought their album was a 7/10, but Mainland, Talking Straight and The Hammer were all perfect H100 songs.

Double J is what has changed. Triple J have reduced the diversity of their music played since it was introduced. RBCF, TFS and Courtney Barnett put out three of the most critically acclaimed Australian albums (all made noise overseas) and would have been played historically but they were relegated to Double J instead. The unfortunate thing for those bands is that festivals don't book bands based on Double J play. RBCF have been booked for every second festival overseas yet can't get a look in here. And even when they do they're one of the first ones playing before 3/4 of the crowd get there

 

[SSwans2011]

Double J is what has changed. Triple J have reduced the diversity of their music played since it was introduced. RBCF, TFS and Courtney Barnett put out three of the most critically acclaimed Australian albums (all made noise overseas) and would have been played historically but they were relegated to Double J instead. The unfortunate thing for those bansss is that festivals don't book bands based on Double J play. RBCF have been booked for every second festival overseas yet can't get a look in here. And even when they do they're one of the first ones playing before 3/4 of the crowd get there

Yeah. I remember RBCF and Alex Cameron being on at the same time at Laneway in Brisbane last year. That pissed me off. Along with Pond they were the best Australian acts there.

 

[hamohawk1]

My issue is the same as it is every year. How can you let the likes of drake and miley cyrus (add a few more in there) be allowed in the hottest 100, but taylor swift isn't. This isn't a yearly thing either, how is someone like drake still getting JJJ airtime? Give it to an upcoming artist and give them the opportunity to break their career open by getting a song in the hottest 100. Conversely JJJ gets off its high horse and allows any song to be voted in.

 

[TubbsFarquhar]

My issue is the same as it is every year. How can you let the likes of drake and miley cyrus (add a few more in there) be allowed in the hottest 100, but taylor swift isn't. This isn't a yearly thing either, how is someone like drake still getting JJJ airtime? Give it to an upcoming artist and give them the opportunity to break their career open by getting a song in the hottest 100. Conversely JJJ gets off its high horse and allows any song to be voted in.

Shake it Off wasn't allowed because it's votes were inflated by third-party companies promoting her, namely Buzzfeed and KFC. Had they kept their noses out of it, Triple J may have allowed it to air. Miley only appeared due to it being a Mark Ronson song who has been a regular on Triple J.

 

[JeddaB]

6ix9nine is garbage. Post Malone isn't bad, but doesn't interest me. There's a few pretty good Lils out there - not sure if any of them released anything of value last year. I was happy to see Childish Gambino and Mallrat in the top 10. The rest sucked.

I also don't really enjoy Travis Scott. I think Rodeo is a great album, but everything else he's released has ranged from below average to pretty good. Sicko Mode is a good song. What exactly is your problem with it?

Why are you so upset that people didn't enjoy the music anyway? I had a good day listening to the count with mates. We all thought it was shit, but still made a good day out of it.

Had a few that night mate. Sorry for targeting you. Just so over the jaded going on every single year about the whole thing. Yes it's changed, yes they are pushing it a certain way, but if people are fed up with it, dont listen. We all know what we're getting ourselves in for (if weve listened to years of them that is!)

Yeah ill concede on Post. He's not amazing, but the pick of the litter that's for sure.

As long as brews are enjoyed, laughs are had WTF moments for songs in places are had, burned food its all good!

 

[Mootsy]

Man, can't believe I'm getting nostalgic over the early 2010's era of Tame Impala making it in, as if that was so long ago, which it seems it clearly was, lol.

I gotta say, 2016 had an awesome list!!!

This year, not feeling it. I'm past it all these days. Though I don't blame it on age, I just think the songs weren't very good this year.

 

[GroggSquad]

Those of us here complaining about it are just old. We're just not the demographic of this youth radio station any more. And yes, their listenership is obviously heavily influenced by what they put on high rotation, but the obvious implication is that artists that probably suit my demographic more - Mitski, Idles, Parquet Courts, even Courtney Barnett - aren't popular with the 15-25 year olds that they're aiming for.

To use a saying that is also probably closer to my demographic than to Triple J's - "don't hate the player, hate the game."

I think the countdown this year was poor (particularly the top 10), but admittedly I am 27 years old and now outside of the 18–24 demographic.

However, while I can understand why rock acts like Mitski, Idles, Parquet Courts & Courtney Barnett may not appeal to the target demographic, I am more annoyed that acts like Kids See Ghosts, Pusha T, Denzel Curry, Earl Sweatshirt, DJ Koze & Peggy Gou didn't make the countdown.

Am I still old and out of touch? Are Kanye & Pusha T considered to be "dad rap" now? I honestly don't see how the hip hop acts I listed differ much to Travis Scott, Brockhampton, Anderson Paak, ASAP Rocky, Kendrick Lamar etc. who made the count.

DJ Koze & Peggy Gou also released dance anthems (Pick Up & It Makes You Forget) that had a massive impact at clubs and festivals across the globe last year. Both songs are infinitely superior to Fisher's Losing It, which is allegedly ghost-produced by British DJ Chris Lake anyway.

Rather than dismiss all haters as old, I think Triple J should try and give better music greater airplay.

 

[GroggSquad]

You call Sicko Mode music? Best of the top 10? Rest was insipid? Hahaha. Travis Scott isn't a musicians/song writers arseh*le.
No one will even remember him in a few years. Flash in the pan for a generic, regrettable genre, and I use that term very loosely. Todays American hip hop is a joke that even its founding fathers can openly admit to. Nothing but a sad social media cash grab/insta fame shot.



Admittedly it was a below average year, but that is mostly down to artists.

Disagree completely. Sicko Mode is easily the most interesting, innovative and engaging song in the top 10 and perhaps the entire countdown. The track is already a classic and will be regarded as an iconic 2018 song 10 years from now, whereas Ocean Alley, Fisher, Mallrat, Ruby Fields & Dean Lewis are all much more likely to be forgotten. Bookmark it.

Remember the people (generally speaking) that grew up with Beethoven hated Miles Davis, the people that loved Miles Davis hated The Beatles, the people that loved The Beatles hated the Sex Pistols etc. Travis Scott is just part of that next cycle that the previous generation generally struggles to understand.

 

[Blackhawk42]

I will say, it wasn't the worst hottest 100 of all time. That goes to either last years or 2012. I'm not even sure a song with a guitar made it in last year.
Only two songs I voted for made it, and were number 94 and 93. Very surprised 'You Can Count On Me' by Trophy Eyes wasn't higher. I had it going top 20. Once I heard it in the 90's I knew the heavier songs were probably done for the day.
Positives were seeing a legit band (as opposed to a DJ, rapper, indie solo artist etc) dominate the day and take the crown. Ocean Alley aren't going to take up a lot of space on my iPod, but Confidence is probably the best number 1 for a few years.
Negatives were this fact highlighting that mellow music is taking over. I can appreciate a decent song regardless of it's tempo or genre, so i'm not hating on it. The only problem is that as primarily a fan of metal/hardcore/punk etc, if the countdown is being dominated more and more by slower and softer songs, it means the stuff I enjoy the most is probably moving further down the list and won't be heard much at all in the coming years.
It reached its peak in the 2015 countdown when Parkway got in twice, Amity made the top 25, and Bring Me The Horizon got in 3 times. Since i'll be nearly 30 by next years count i'd say the whole channel and concept has probably gone past me anyway.
Regardless, had a decent day on Sunday listening to half in the car on the way home and the other half at a pub with friends.


Edit: I had never heard Sicko Mode before and missed it the other day because I ran into an old ate at the bar when it came on. Just chucked it on and last about 1:50 before I turned it off.

 

[nobbyiscool]

Disagree completely. Sicko Mode is easily the most interesting, innovative and engaging song in the top 10 and perhaps the entire countdown. The track is already a classic and will be regarded as an iconic 2018 song 10 years from now, whereas Ocean Alley, Fisher, Mallrat, Ruby Fields & Dean Lewis are all much more likely to be forgotten. Bookmark it.

Is it different? Yes. I could even go with interesting.

It's most definitely not memorable or iconic though. Like about 98% of this countdown, I doubt we'll even remember it in 10 years.

 

[GroggSquad]

Is it different? Yes. I could even go with interesting.

It's most definitely not memorable or iconic though. Like about 98% of this countdown, I doubt we'll even remember it in 10 years.

It managed to get to Number 1 in the US, despite having 3 beat changes and no chorus/hook. That in itself is an incredible achievement and proves to me that it has well and truly captured the zeitgeist.

I actually think it will leave a legacy similar to Hey Ya from the previous decade, which also happens to be another great US Number 1.

 

[Roobs321]

Hey Ya was a great song at the time, but I don't think it has aged as well as dozens of other 2000s hits. And Sicko Mode never made anywhere near the impact of Hey Ya. Sicko Mode is a nice enough single, but I don't hear anything special enough in it to make it a song worth remembering.

 

[JeddaB]

Disagree completely. Sicko Mode is easily the most interesting, innovative and engaging song in the top 10 and perhaps the entire countdown. The track is already a classic and will be regarded as an iconic 2018 song 10 years from now, whereas Ocean Alley, Fisher, Mallrat, Ruby Fields & Dean Lewis are all much more likely to be forgotten. Bookmark it.

Remember the people (generally speaking) that grew up with Beethoven hated Miles Davis, the people that loved Miles Davis hated The Beatles, the people that loved The Beatles hated the Sex Pistols etc. Travis Scott is just part of that next cycle that the previous generation generally struggles to understand.

A classic? Really? Heavy use of auto tune, absolutely. Classics and auto tune aren't even in the same galaxy in my opinion.

I understand what you're conveying about previous vs now generations over the time, but I can't see it with Travis Scott. And in saying that, I don't just think it, I feel very strongly about it.

Mind you, I've been very wrong in the past, so who knows!

I wouldn't call any of this years stuff classic worthy to be honest. Sure there was some catchy tunes, some you didn't particularly like, but can concede were catchy, but none will last the distance. I genuinely feel that artists or groups need to be something very VERY special today to even close to classic worthy, as an artist or a song. It's churned out to suit right now, and nothing but. It's just the way it is now.

That being said, I do hold hope for Anderson Pak. I think he might be the next Q Tip. He's a talented writer, singer and isn't too bad on the drums at all. I think he will figure more in the future helping people, featuring, producing and creating than almost anyone else semi fresh. His album this year was a good example of people getting to know someone who has been around, but is starting to come to the forefront.

 

[Blackhawk42]

It managed to get to Number 1 in the US, despite having 3 beat changes and no chorus/hook. That in itself is an incredible achievement and proves to me that it has well and truly captured the zeitgeist.

I actually think it will leave a legacy similar to Hey Ya from the previous decade, which also happens to be another great US Number 1.

Because Drake.

And Hey Ya is ridiculously fun and catchy and everything Sicko Mode isn't.

 

[JeddaB]

Hey Ya was a great song at the time, but I don't think it has aged as well as dozens of other 2000s hits. And Sicko Mode never made anywhere near the impact of Hey Ya. Sicko Mode is a nice enough single, but I don't hear anything special enough in it to make it a song worth remembering.

Hey Ya still recieves a lot of air play. Andre 3000 to his credit has talent. I just think with Travis Scott that someone had to make a better than the rest track, and Sicko Mode was that. It doesn't make it good, it just makes it better at a certain point in time than what else was out.

 

[JackOutback]

I remember 2017 copping the same criticism but it already looks better in hindsight. A global hit from a big international name at number 1 (Kendrick Lamar), three songs from Gang of Youths who are quickly becoming one of Australia's biggest acts, Green Light from Lorde was a big hit, an Aussie indie track from Methyl Ethel, and a couple of Aussie dance tracks from Pnau and Thundamentals. Certainly seems stronger than this year.

 

[JeddaB]

I remember 2017 copping the same criticism but it already looks better in hindsight. A global hit from a big international name at number 1 (Kendrick Lamar), three songs from Gang of Youths who are quickly becoming one of Australia's biggest acts, Green Light from Lorde was a big hit, an Aussie indie track from Methyl Ethel, and a couple of Aussie dance tracks from Pnau and Thundamentals. Certainly seems stronger than this year.

Everything you named has an infinitely better chance at becoming a 'classic'than anything from this year. And I don't think anything last year has a chance in hell becoming a classic, especially Kendrick and his square up. King Kunta was a farrrrrrrrr superior track, and had every right to #1 over Hoops. But you know, aussie and all that.

This year was good without being amazing. Nothing wrong with that. It's funny, I put last years average countdown to artists year off, but maybe they're having a few years sabbatical! I did enjoy last years top 30 more than this years, but thoroughly enjoyed this years 100-30 more.

Bring on next years disappointments, wtf moments, reflections then ultimate 2020 wuz better than 2021.

Getting in early. Such and such wuz robbed. Shudda bin higher.

 

[nobbyiscool]

Everything you named has an infinitely better chance at becoming a 'classic'than anything from this year. And I don't think anything last year has a chance in hell becoming a classic, especially Kendrick and his square up. King Kunta was a farrrrrrrrr superior track, and had every right to #1 over Hoops. But you know, aussie and all that.

I didn't particularly love King Kunta... but **** me if The Rubens winning doesn't go down in the annals, alongside Thrift Shop and Pretty Fly, as the darkest hours of the Hottest 100. I've no idea how such a dull band who are thoroughly untalented with their instruments (including vocals) and their songwriting can get traction on Triple J. Triple M maybe, but Triple J? (If you were holding that count today, I don't think Hoops would get near it. Lean On, Magnolia, Let It Happen, even Hotline Bling would all be streets ahead of it.)

It managed to get to Number 1 in the US, despite having 3 beat changes and no chorus/hook. That in itself is an incredible achievement and proves to me that it has well and truly captured the zeitgeist.

I actually think it will leave a legacy similar to Hey Ya from the previous decade, which also happens to be another great US Number 1.

You know, I actually kind of like Sicko Mode as a song (despite my knowledge that I will delete it off my phone in 6 months and never listen to it again). Conversely, I didn't love Hey Ya at the time, but came to appreciate it later one.

But that's a crazy comparison. Hey Ya managed to become a crossover rap/indy/pop hit... and it was catchy as ****.

The fact that Sicko Mode has the beat changes and no chorus is neither here nor there - it doesn't make it more or less interesting, it doesn't say anything about it's position in "the zeitgeist." I would argue - albeit informed by the context of Triple J's announcers calling it "the Bohemian Rhapsody of our time" - that it's trying too hard to be different and innovative. You don't set out to create classics like Queen did, it happens organically.

Whatever though... while it's a catchy song, and it certainly stood out as interesting in what I considered a fairly bland H100 - none of that makes it something we'll care about in 1 year, much less in 10 years.

 

[tombomb]

I just listened to the song that came #1 for the first time.

my god ... what utter trash.

And rhyming 'baby' and 'crazy' ... lyrical genius.

 

[GroggSquad]

You know, I actually kind of like Sicko Mode as a song (despite my knowledge that I will delete it off my phone in 6 months and never listen to it again). Conversely, I didn't love Hey Ya at the time, but came to appreciate it later one.

But that's a crazy comparison. Hey Ya managed to become a crossover rap/indy/pop hit... and it was catchy as ****.

The fact that Sicko Mode has the beat changes and no chorus is neither here nor there - it doesn't make it more or less interesting, it doesn't say anything about it's position in "the zeitgeist." I would argue - albeit informed by the context of Triple J's announcers calling it "the Bohemian Rhapsody of our time" - that it's trying too hard to be different and innovative. You don't set out to create classics like Queen did, it happens organically.

Whatever though... while it's a catchy song, and it certainly stood out as interesting in what I considered a fairly bland H100 - none of that makes it something we'll care about in 1 year, much less in 10 years.

So you admit that both Hey Ya & Sicko Mode are catchy then? Unconventional song structure + success on both Triple J & commercial radio confirms Sicko Mode’s crossover status to me. Maybe the comparison isn't so crazy then?

Also, how do you come to the conclusion that Sicko Mode tries "too hard to be different and innovative" but Bohemian Rhapsody doesn't? Remember that the reception for Bohemian was also initially mixed on release and you could easily argue that it is over-produced and over-theatrical. Queen definitely intended to create something that was "over the top".

 

[SSwans2011]

I thought the Bohemian Rhapsody thing was completely tongue-in-cheek because of the whole three distinctively different parts and no chorus thing?

Doesn't matter to me anyway, because I think Bohemian Rhapsody is grossly overrated and wouldn't care if I never heard it again. Besides, people are trying to find flaws in Sicko Mode to justify their anger at the comparison, as if Bohemian Rhapsody doesn't have flaws itself. Take away Freddie's vocals, and it's pretty standard arena rock. Then consider Freddie's vocals, and I take issue with the fact that he exaggerates them so much that it completely removes the human side (imo). I genuinely find Queen to be bereft of any emotional value - a similar criticism that many people have for a number of rappers. Freddie does well on a list of the most talented vocalists of all time, but doubt I'd include him in a list of the best vocalists of all time.

At the end of the day, Sicko Mode wouldn't be in my 100 favourite songs of last year, but the response to one stupid comparison is embarrassing and shows people really take music too seriously. From the older audiences it reeks of "music was better then" and from the younger audiences it reeks of wrong generationism. Way too much defending a song that we are, at least to a certain degree, programmed to enjoy.

 

[GroggSquad]

I thought the Bohemian Rhapsody thing was completely tongue-in-cheek because of the whole three distinctively different parts and no chorus thing?

Doesn't matter to me anyway, because I think Bohemian Rhapsody is grossly overrated and wouldn't care if I never heard it again. Besides, people are trying to find flaws in Sicko Mode to justify their anger at the comparison, as if Bohemian Rhapsody doesn't have flaws itself. Take away Freddie's vocals, and it's pretty standard arena rock. Then consider Freddie's vocals, and I take issue with the fact that he exaggerates them so much that it completely removes the human side (imo). I genuinely find Queen to be bereft of any emotional value - a similar criticism that many people have of a number of rappers. Freddie does well on a list of the most talented vocalists of all time, but doubt I'd include him in a list of the best vocalists of all time.

At the end of the day, Sicko Mode wouldn't be in my 100 favourite songs of last year, but the response to one stupid comparison is embarrassing and shows people really take music too seriously. From the older audiences it reeks of "music was better then" and from the younger audiences it reeks of wrong generationism. Way too much defending a song that we are, at least to a certain degree imo, programmed to enjoy.

100% agree.

The widespread outrage of JJJ comparing Sicko Mode to Bohemian Rhapsody is hilarious. You’d almost be fooled into thinking Bohemian hasn’t completely degenerated into an overplayed cringefest that brings out the worst in white people at every wedding...

 

[SSwans2011]

100% agree.

The widespread outrage of JJJ comparing Sicko Mode to Bohemian Rhapsody is hilarious. You’d almost be fooled into thinking Bohemian hasn’t completely degenerated into an overplayed cringefest that brings out the worst in white people at every wedding...

The most embarrassing thing is all those lyric comparison memes as of Bohemian Rhapsody is the height of songwriting. Every half-decent folk artists ever has probably written a lyrically stronger song.

 

[DaRenegade]

I don't mind Ocean Alley and Confidence is a good track, no qualms with it winning and Sicko Mode placing third is much the same for me.

the real issue here is that garbage Fisher put out somehow managing second place, that is disgraceful. there was a million similar sounding tracks released this year alone that are superior to that.

countdown was about what I expected, some good stuff and lots of boring, bland jjj endorsed rubbish, alot of it coming from Unearthed artists sadly.

of the most recent countdowns I found 2013 and 2016's to be my favs, and 2015's was good apart from The Rubens stealing Kendrick's winning spot away.