The six hundred seventy-eighth song: Birthday - The Sugarcubes

Since I only really know Bjork as a solo artist, hearing her with a rock band creates some stark contrasts. Her voice feels as odd and ethereal as it is in her solo work, but backed up by a proper rock sound with a deep base thrives on the contrast between the sounds rather than amplifying the oddness her songs have in another context. I really think it works, creating a contrast that really pulls everything to the front, and I just can't help but love this track.

The six hundred seventy-ninth song: Beds Are Burning - Midnight Oil

Although this number feels very danceable, the lyrics of Beds Are Burning have that darker feel as well. Even without diving into the details of the lyrics, there's an anger in the song, and the reason why this was written makes it that much stronger. At the same time, the ongoing beat, at times slightly sensual delivery and ongoing sound means there's something happier in there as well. It's an odd contrast - something that I somewhat associate with Australian culture anyway - and it pays off really well in this context, drawing you in while delivering its message.

The six hundred eightieth song: Ye Ke Ye Ke - Mory Kante

I've already mentioned that this year is the rise of house music and Ye Ke Ye Ke shows how it can embrace so much more. There's a driving beat in this song that underlies lyrics and a feeling that are from a more traditional African mold, creating a more traditional combination of sounds. It's addictive and I think I've heard the chorus sampled often enough - for a good reason.

The six hundred eighty-first song: Just Like Heaven - The Cure

If I have to pick a direction I'm happy rock and punk have gone into around this point in time, this is probably it. While with its new wave influences, it's mostly to add a bit of lightness to the sound. The subject of the song isn't too complex, but lyrically it is put together really well. It's a wonderful, happy love track that still stays far away from getting sappy.

The six hundred eighty-second song: The One I Love - R.E.M.

There's a real aggression in this track, a track describing a twisted love that has more to it. There's a definite role to it and it has that depth I feel R.E.M. can really bring to their music, with more ot interpret and look into than you might think at first glance. It's so well done, it sounds so good, it's a good accomplishment.

The six hundred eighty-third song: Fairytale of New York - The Pogues

After all that power, Fairytale of New York is a welcome comedown. The celtic sound works really well, the initial piano sound setting up the mood while the more abundant song that kicks off later keeps that tradition while having its larger, welcoming production. It's a celebration, one that sets its tone and runs it really well.

The six hundred eighty-fourth song: Paradise City - Guns N’ Roses

As another rock anthem, Paradise City hits all those moments so well, it's a joy and a party, a really good and memorable song that asks you to sing or shout along. It hits its beats and does it well.

The six hundred eighty-fifth song: Never Let Me Down Again - Depeche Mode

I can't say as much about this one - this is a decent new wave track, it hits the dance beats, I don't know whether I'd say it does a lot more than that.

The six hundred eighty-sixth song: Faith - George Michael

I have really been enjoying this. Faith isn't a very complicated track, but the sexual joy of it is amazing and there's something that just really engages you, a playful sound that carries further.

The six hundred eighty-seventh song: Need You Tonight - INXS

As another sensual dance song, the rockier sound here is a bit more explicit and dirtier. It's still a good sound that works well and gives some more depth to it. The call and response add to this, feeling like it's calling out more, as well as giving more internal thoughts.

The six hundred eighty-eighth song: With or Without You - U2

The build in this track is part of what makes it such a good track to listen to. It starts simple, a guitar, Bono's quite simple vocals, which start low and dark and very slowly build to a larger sound. It's well set up and sequenced through the song, the anticipation as important as the eventual, temporary crescendo. It's one of those songs that's well thought out, a sentiment that defines the band as much, whether it's a love song or a larger topic.

The five hundred and seventy-fifth album: #575 Sonic Youth - Evol

Evol features a lot of punk rock, shifting between various shades of darkness but with some clear hard rock in there. Vocally it's not the most amazing and I haven't had any major standouts in its aggressive nature, but its mood sets itself pretty effectively regardless. It doesn't feel like it enters any high important lists, but still does what it wants to really well.

The two hundred and eighth classical recording: #816 Aram Khachaturian - Violin Concerto

There are some expert shifts in this piece between higher energy violin playing and some of the slower pieces. It never goes maudlin, but does have a nice balance of energies in its performance, helped by the switches between solo violin and full orchestra, the star getting regular support to make it all stand out. There's a joy and energy in it that's palpable and stays free flowing through and through.

The five hundred and seventy-fourth album: #576 Bon Jovi - Slippery When Wet

This album feels like a collection of rock anthems. You Give Love a Bad Name and Like A Prayer are instantly recognisable and a lot of the other tracks are as jubilant and outgoing as that. As much as there's a message to these, for the most part it feels like a celebration, something to pump you up and really get you moving. There are some hints at depth, but in the end that's not as important here, it's just strong music.

The six hundred sixty-seventh song: Attencion Na SIDA - Franco

As the longest song remaining on this list, I had a lot of time to drink this in. The African sound, with a Caribbean feel, adds some abundance, but a lot of it also feels somewhat subdued. The track is still very precise and restricted, which shows there's a bit more to this track. I didn't fall in love with it - this track gets too long for me and I don't love the vocals even as the lyrics seem interesting - but I can see its merit.

The six hundred sixty-eighth song: Under the Milky Way - The Church

Under the Milky Way is a pleasant, gentle track. There's no screeching guitars here, just a pleasant upbeat sound, supplemented by what sounds like, but aren't quite bag pipes. It's a nice alt rock song with enough depth to sustain a lot here.

The six hundred sixty-ninth song: Bamboleo - Gipsy Kings

As is sometimes the case, the fame of this song comes from its chorus, a jubilant sound that really brings up the celebratory feel with just a slight difference of sound and some drums compared to the remainder of the track. It's quite simple, but it works well to provide you with this happy feeling that the chorus of 'Bamboleo, Bambolea' really brings in.

The six hundred seventieth song: This Corrosion - The Sisters of Mercy

As the second longest remaining song for the list, it's been a large batch I've been going through this time... This is a rock anthem, which at least suits me a bit better as a general music genre. It's properly big and epic, with a choir supporting it, and the build in it works so well. It really isn't as much of a chore to listen to, and it mostly feels like it flies by.

The six hundred seventy-first song: Camaron - Pata Negra

It's nice to get a mix of tracks and origins in this batch. As another track with a heavy flamenco influence, the direction this takes is more rock inspired. It's quite a classy track and there's a lot here to enjoy.

The six hundred seventy-second song: Amandrai - Ali Farka Toure

There's a sparseness to this song that creates a lonely feeling. The guitar is a heavy one, echoing in the recording, and the at times lamenting vocals give an idea of what's going on even when I don't get the lyrics completely. It's plain, but masterful.

The six hundred seventy-third song: Push It - Salt-N-Pepa

Back to the more commercial, known stuff, Push It is one of those known eighties hip hop tracks that are there for the dance floor, getting you excited and moving. Although enough feels dated (including a massive use of stereo) it's still as infectious as it was then.

The six hundred seventy-fourth song: Bring the Noise - Public Enemy

Bring the Noise brings the other side of it. While it's still there to have something to dance to, there's also more of a message to it, a defense of rap and their own styles while trying to push for more. It's still a lot of fun to listen to - nothing as dark as it can get - but with some more of a conscience.

The six hundred seventy-fifth song: True Faith - New Order

This is the point where I realised the spirit of new wave is still around - first in the batch it seems. True Faith really hits that full sound, with some interesting lyrics. It's a pretty neat sound and a good track.

The six hundred seventy-sixth song: It’s a Sin - Pet Shop Boys

As said before, I do have a fondness for the music of Pet Shop Boys and it's here too. A bit campy, there's a bit of a message while not entirely meaning to. It still feels rare to have a song criticising religion, even more on this specific topic, but it works. The music also has that characteristic feel of their songs and it feels executed as it should be, even a bit over the top where it needs to be.

The six hundred seventy-seventh song: Pump Up the Volume - MARRS

The rise of house music was clear earlier and this fusion between a dance track and hip hop works well, the musical complexity and beats integrated well when meshing into each other. The main line sticks in your head and the sound builds beautifully on it. It's odd in that experimental way that really makes it shine and gives a further chance to build.

The five hundred and seventy-third album: #573 Megadeth - Peace Sells... But Who's Buying?

Megadeth exemplifies thrash metal in a way that other bands so far haven't quite reached. While the songs are complex in places, the album just keeps going hard and fast, without a moment to breathe. It's no wonder it doesn't run for too long. The lyrics are as aggressive as you'd expect, with a few having a deeper meaning show through but on the whole feeling well read anyway. It feels a bit much for me regardless, but it does what it wants to do with real skill.

The two hundred and seventh classical recording: #960 Michael Tippett - String Quartet no. 4

The more modern pieces can have their unsettling moments, as we're at a point where they break away from what's conventional.There's a lot of confusion that comes through in parts of this piece, an occasional sudden lack of focus with short notes that start to dominate your mood. This settles frequently enough, but it still catches you by surprise and creates this strange mood, together with a shrillness that never quite leaves.

The two hundred and eighth TV show: #160 Hey Hey It's Saturday

So this was a painful watch. I wouldn't say that Saturday night variety is always great, but I feel like we did watch better. Taken up mostly by rapid fire humour, the jokes and improv segments don't land well - probably because of distance and age for the most part. There could be something charming about the looseness, but here it feels a bit too much, a bit too often and a bit too egregious. This might be something you can be nostalgic for - I can think of similar shows, although ones that worked better - but looking at it now, there's not much in here that holds up.

The two hundred and seventh TV show: #938 Broadchurch

There's a great throughline in Broadchurch, with the case of the first season echoing through the second and third, first overtly as the court case places out, then in the third season through the background of several other characters. The first season sets up the characters well, with a personal connection that plays through the story. It's incredibly well done, with the perfect twists at several places in the story. It doesn't give you the closure or resolution you want in places, but in the end some of the less satisfying endings as a viewer are the ones that make sense and are the more interesting to watch for that reason. The resolution of season 2 in particular seems like that, but it makes too much sense and works out that well.

And the performances really shine. Olivia Colman and David Tennant are, of course, excellent, and Jody Whitaker is obviously singled out fo how well she does as well. The third season brings in a larger new cast to support the new case, but they're compelling from the start - Julie Hesmondhalgh in particular feels believable through all the stages of what must have been a very difficult role. It took us a long time to finish it - we only now got to the last season - but that's because it takes enough focus to finish it and get through it.

The two hundred and sixth TV show: #46 Golden Globe Awards

To check off some specific entries, I'm watching some of the yearly one off shows to get them covered. The Golden Globes show is one that feels second to the big hitters of the Emmys and the Oscars, the awards not quite as prestigious. It does focus on both movie and tv, and just watching it means that it moves a lot faster than the Oscards tend to. Voted on by the press, it focuses on a different direction than those as well, which makes it a bit less predictable, which probably matters more on the night than it would be now. But it's not quite as much of a spectacle as it's a variety show that still focuses a lot more on the awards, which is fair enough - while maybe not as entertaining, it at least feels like the show is more focused.