[sic] Magazine

Sub-Ed’s Tracks Of The Year 2018

The partner piece to my albums and EPs of the year summary, I hereby present those tracks that have best soundtracked my year – the only rule being that each entrant could only be represented once in order to best share the love.

On heavy rotation throughout the year, these tracks truly rock/humble/excite – delete as appropriate. Do make sure you get to the bottom of the list. In a just world, all these tracks would be in the top 10. To help you explore this list, I’ve also put together a Spotify playlist.

No doubt you had your own favourites. Here are mine (rough genre given in brackets):

1. Svalbard – “Pro-Life?” (Black Metal/Post-Rock)

Achieving the impossible, this total atom-smasher of post-rock, powerful emo and black-metal is simply one of the most essential tracks of the last decade never mind year for, atop pretty mewing and a glistening shimmer of guitars, comes a marauding horde of speed drumming and stirring crescendos, an angsty vocal the counterpoint to dreamier drops. Breath-taking stuff, it’ll stop you frozen as it consumes you entirely and eternally.

2. The Body – “Nothing Stirs” (Power Electronics/Doom-Metal)

There’s a minute-long section in “Nothing Stirs” in which Chrissy Wolpert’s stunning operatic vocal is audibly corrupted by blood-curdling electronics and it’s a thrillingly emotional experience to witness her join the dark side alongside Chip King’s syntactically null screaming. If ever proof were needed that The Body are making some of the most important and inventive music of our times then this should be exhibit A.

3. Uniform – “The Walk” (Thrash/Noise)

Growling into being, “The Walk” is a truly thunderous creation built of totemic distortion, Michael Berdan’s pained yell and exhilaratingly thrashy guitar parts. Carrying a more nuanced if just as noisy rhythm section, Uniform use the occasion to revel is outrageously dangerous sonics suitable only really for blasting during an assault on board an attack chopper, the white-hot guitar strafing the unwary at every turn.

4. IDLES – “Never Fight A Man With A Perm” (Punk)

Quite what the Americans must make of IDLES is anyone’s guess. Cramming their energetic punk with extremely British political and societal references (such as Love Island, Topshop and the rest) they must be somewhat baffling to our trans-Atlantic cousins. Luckily Joe Talbot’s wit is universal and his firebrand lyricism and the band’s intelligently angry guitars and drums transcend further borders still.

5. Anna Von Hausswolff – “The Mysterious Vanishing Of Electra” (Singer-Songwriter/Doom-Rock)

A resolute creature of the night, Ms. Von Hausswolff didn’t quite get it all right on her Dead Magic LP this year, but – boy – did that not matter not one bit when you stand back and bask in the darkness of this evil-sounding opus. Heavy doom riffs stand like an undead army behind her theatrical vocal turn, the raw passion she evokes during the track’s closing exchanges vibrant enough to rouse more of the recently expired.

6. Shame – “Dust On Trial” (Post-Punk/Punk-Rock)

Some of Shame’s rightly lauded Songs Of Praise album does, to its discredit, mug off a number of former greats, but on the other hand, and to its deep credit therefore, the thrilling “Dust On Trial” isn’t one of them. Eschewing some of the more laddish tropes elsewhere more prominent, it is instead a surging, snarling serving of punk-rock that sounds just as hungry as it should for these young upstarts would likely shank you for a sandwich.

7. Lucy Dacus – “Body To Flame” (Singer-Songwriter)

You could pick almost any track from Lucy Dacus’s excellent album Historian for this list, but “Body To Flame” edges out strong competition because of its swaying string accompaniment and the way it steps up at the mid-point to swell to a powerful plugged-in performance. The strength of the vocal melody during the climax is unbelievable too, confirming in one fell swoop Dacus to be a new master of the craft.

8. Amnesia Scanner – “AWOL” (Future-Pop/Experimental)

Dragging his outsider beats an inch closer to the mainstream for his full-length debut on PAN, Amnesia Scanner’s new LP is a firework display of challenging future-pop full of industrial compressions, screwed vocal samples and gun-shot drum programmes. The stand-out “AWOL” is the most coherent of the exciting offering, a drunken lurch pulling the twinkling electronics off in decidely odd directions.

9. Pigs Pigs Pigs Pigs Pigs Pigs Pigs – “GNT” (Heavy Psych/Hard Rock)

One of those bands the mainstream came late to and are now showering with praise to rectify the oversight, Geordie rabble-rousers Pigs x7 are so successful because they’re both masters of sludgy fuzz-metal AND harder rocking psych-riffs. “GNT” is a behemoth that incorporates both attack strategies, an unholy listen, but one whose black charms beckon seductively from the shadows like a kebab after a big night out.

10. Bambara – “Dark Circles” (Post-Punk)

Upping their game considerably for this year’s new album, gloomy Brooklyn band Bambara and Reid Bateh’s morose baritone rumble like thunder through this noir blast of chilly post-punk despondency. A moment to nonetheless savour from an arty record and like a vampiric vacuum sucking all positivity from the world, “Dark Circles” skitters uneasily, creaking noise and wiry guitars joining forces to blot out the sun.

11. Blacklab – “Hidden Garden” (Doom Metal/Stoner-Fuzz)

Comprising only Chia Shiraishi’s pounding drums and Yuko Morino’s heavily treated guitar and guttural growl, these unassuming Japanese Goth girls slop out heavy sludge as if it were gruel, weapons-grade chug like acid. In quieter moments, Blacklab variously bring Deap Vally or golden era QOTSA to mind, filthy wah and blown-out thrash lending “Hidden Garden” a delightfully doomier angle instead.

12. The Soft Moon – “Burn” (Darkwave/Coldwave)

Showing no signs of letting up, The Soft Moon’s Luis Vasquez is digging deeper into punishingly industrial darkwave as time passes, the blur of beats and compressions at his fingertips austere and unfriendly. A relentless stream of this misanthropy may be too much to stomach, so wisely Vasquez varies his delivery so that metallic bangers like this stand even more monolithically in these irradiated aural wastelands.

13. Parquet Courts – “Almost Had To Start A Fight / In And Out Of Patience” (Punk-Rock)

Easy to appreciate, but sometimes difficult to love, Parquet Courts nevertheless pepper their records with very capable songs and, found for the first time on album full of them, this song-of-two-halves still stands out. There’s a refreshing punk-rock simplicity to the first side that’s really hard to shake, the vocal drawn out with a sneer just as soon as new listeners get too comfortable, the likeable flip stomping up a real storm.

14. Jaye Jayle – “No Trail: Path Two” (Singer-Songwriter)

Heads up Mark Lanegan fans! Young Widows’ Evan Patterson’s dark solo project sounds a lot like the great man and this bleak and gravelly duet with Emma Ruth Rundle hovers atmospherically throughout not unlike a track like, say, the still very decent “Where The Wild Roses Grow”, destructive slow-drums and ghostly guitar parts here carrying bleak melodies like a funeral procession does a coffin.

15. Nothing – “Us/We/Are” (Rock/Shoegaze)

A gloriously retro slice of grungy, early 90s alt-rock, Nothing have, until now, been a decent but largely unremarkable shoegaze revival band. All that was missing was the songs and here’s a great one. Warm, fuzzy nostalgia of early Radiohead of all things envelops the listener, peeling feedback and monumental guitars preventing it from all becoming overly saccharine. It turns out they do still make records like they used to!

16. Launder – “Annie Blue” (Post-Punk/Dream-Pop)

Launder features Zachary Cole Smith of DIIV on guitar and French singer-songwriter SoKo on certain vocals (John Cudlip getting the nod on this one though). The band’s excellent, self-released debut EP was produced by Jackson Phillips of Day Wave and, perhaps predictably, it has a real late-night wooziness to it despite a being shoegazing post-punk release, this sweet highlight making an album next year hotly anticipated.

17. Dilly Dally – “Sober Motel” (Punk-Rock/Grunge)

First things first if you want to be a good punk-rock band – bag yourself a good singer and Katie Monks is so good Dilly Dally were only ever going to be a success. Sit back then and let her sandpaper your ears with wave after wave of soaring emotion. An angel with a 20-a-day habit, it’s the contrasts that do it. A coo becomes a howl. Gentle strumming a wall of a noise. Dreamy plodding ripped asunder by a solo.

18. White Ring – “Leprosy” (Witch House)

When you get over the fact that the much-maligned witch-house is back and doesn’t suck, you’ll get on a lot more easily with the killer “Leprosy”. With a dirty beat and compressed percussion in the chamber, first wave act White Ring here pump through a very serious series of macabre theatrics, big budget choruses throbbing deliciously to the sounds of a pilled-up and downright incandescent coven meeting.

19. Wild Nothing – “Canyon On Fire” (Indie/Dream-Pop)

Unavoidable. You just can’t talk about “Canyon On Fire” without raving on about Jack Tatum’s guitars as they come straight from the dead-centre of The Cure catalogue. For these ears, Wild Nothing have too often been, well, a bit nothingy to be honest, but with big, heartfelt choices made to tail-end all the melody and then bubble it through with those guitars, the dreamy project has never sounded better.

20. Phantastic Ferniture – “Fuckin ‘N’ Rollin” (Garage-Rock/Pop)

A bit of classic in the making, “Fuckin ‘N’ Rollin” is a little bit naughty thanks to Julia Jacklin’s (yes, that one) gratuitous choruses, but – goodness gracious – isn’t it a stately listen?! It isn’t just the song title that “feels right”, there’s a bit of magic sprinkled in its composition where every note, every cymbal splash seems well placed, a sumptuous bridge leading to a spicy climax. Not even one second wasted here.

21. Nicole Dollanganger – “Tammy Faye” (Singer-Songwriter)

Desperately sad, there’s a vintage quality to Nicole Dollanganger’s impeccable vocal, an old-world elegance to her music too. Made contemporary by unobtrusive drum machine rips, “Tammy Faye” is deeply alluring, one of those songs that beckons you onto the rocks and, once stricken there, you find yourself utterly entranced, bewitched and obsessed by the Siren’s beauty, bound to starve in an ocean of beauty.

22. A Place To Bury Strangers – “Never Coming Back” (Noise-Rock/Post-Punk)

A permanent fixture in our lists, the ever-cool APTBS are back again to plug straight into all of musical preferences simultaneously. Time after time, the way they manage to elicit such excitement from sombre bass tones, crusty custom pedals and pulsing drum machine never ceases to amaze, this particular cut then dragged through an acid bath of distortion and feedback so as to render it next level for good measure.

23. GHXST – “Ocean Is A Desert” (Doom-Rock/Stoner Fuzz)

To celebrate the climax of their Nowhere trilogy, long-time [sic] favourites GHXST return with more trademark distorto-rock in the form of EP highlight “Ocean Is A Desert”. A brooding palette of Shelly X’s enigmatic vocals and fuzzy stoner-rock that gets the neck popping with a blackened blues groove so compelling you’re once again left wondering how this band aren’t way up the billing at choice festivals.

24. Ty Segall – “She” (Glam/Hard-Rock)

Ty Segall, of course, has it in him to make some truly wonderful guitar music, but his output has started to suffer from being too varied and too frequent. It’s great therefore to have back doing what he does, in our opinion, best – namely shredding. There’s nothing fancy about “She”; it’s just Segall having a wail of a time with his axe and consequently it’s infectiously heavy stuff. This is fun with a capital F.

25. Gnod – “Donovan’s Daughters” (Doom/Noise)

Most full-length albums don’t pack as much punch as this one immovable slab of nastiness. Its lengthy run-time lets Gnod get really weird and wild, this crushing exploration of sound starting in industrial krautrock, a creeping coruscation filling the composition out with metallic fuzz, the heavy stuff then duly arriving like broadsides from a dreadnought, an onslaught of experimental noise rounding it all for balance. Tasty.

26. Deafheaven – “Canary Yellow” (Black Metal/Indie-Rock)

Deafheaven seem to be on a trajectory whereby they seem to be leaving black-metal behind, but in doing so seem only to be making the parts of them that remain in that camp hit harder still. A good example, “Canary Yellow” is a lengthy and dreamily constructed flow of post-rock motifs that shimmers gracefully for much of its existence only then to tear itself apart with an unholy uprising of growling guitar and doomed backing.

27. Cornelia Murr – “Different This Time” (Dream-Pop)

One of the more leftfield of dream-pop releases this year, Cornelia Murr comes at the genre more as a singer-songwriter than with a torrent of pleasing melodies like, say, Beach House. This stand-out from the LA-based artist’s debut album is a supremely sultry example, Murr purring soulfully over gentle synths and percussion, a dose of echoed whistling making it extra dreamy. It’s music that treats you right.

28. Low – “Quorum” (Slowcore/R&B)

Yes, it’s supposed to sound like that! Coming on like your turntable is knackered, “Quorum” is full of static noise and skipping, a gorgeous clipping and screwing of Low’s signature slowcore delivering ghostly fragments of fragile R&B. Distorting all but the veteran band’s masterful song-craft, as opening tracks go it’s unbelievably disorientating yet it plays it cards early, laying down a gauntlet at the same time.

29. SOPHIE – “Is It Cold In The Water?” (Future-Pop/Trance)

There’s pop and then there’s SOPHIE. The go-to producer on everyone’s lips, she couldn’t be more now and yet presents us with experimental visions of the future that include solid references to the past. A divisive and varied album finally given a physical release on Transgressive is now out, an old-school artefact in such company really, and this silkily voiced trancey take ought to stand the hairs up on the back of your neck.

30. Ought – “Disaffection” (Art-Punk/New Wave)

The louche Tim Darcy is a fascinating frontman. Growing up fast, he and his band have already moved on from punk-rock to New Wave, growing too in stature and sophistication. There’s a creativity that burns in him that transmits itself to his band’s stop-start songs, the way he spits out every syllable of the track’s title quite something here, his remarkably melancholy vocal soaring to artier reaches elsewhere.

31. Power – “No Morals” (Hard-Rock/Proto-Punk)

A marauding feast of guitar riffs, the aptly named “No Morals” is pure headbanging adrenaline, its speeding chords and breathless energy flashbacking to Raw Power proto-punk attitude, only played twice as fast. Joyriding this out-of-control maelstrom through supercharged Glam and nose-bleeding, primitive metal, it winds tighter and tighter until it explodes in a high-octane collision of leather and sweat.

32. The Men – “Maybe I’m Crazy” (Punk/Noise)

Never in a month of Sundays would you guess this was a new track by The Men. The erstwhile Americana-tinged punk-rockers have, to the amazement of all concerned, probably themselves included, dug out their wheeziest drum machine and returned to their noisier beginnings, the vocal – the snarled track title aside – little more than whispered menace, freeform sax challenging you to submit at the close.

33. Exit Group – “Plastic Coffin” (Post-Punk/Electro-Punk)

Driving it like they stole it, “Plastic Coffin” churns on Blank Dogs-style, piledriver bass riffs, an electro-punk strut and crazy sci-fi FX equally damaging. Inspired by Neue Deutsche Welle antisocialism, this is all somehow channelled into an impressively tight herky jerk that’s both paranoid and uncomfortable to endure in long sittings. Sometimes, just sometimes, society gets the soundtrack it deserves.

34. Hairband – “White Teeth” (Indie)

It’s the neat little groove that Hairband, an outfit containing members of Spinning Coin and Breakfast Muff, manage to bend out of their indie guitar strings that gets this one over the line. Naggingly insistent, the austere interplay already makes for an uncommon listening experience, but add to that the band’s charming Scottish brogue and the brazen jangles acquire a whole new level of appeal.

35. Spiritualized – “A Perfect Miracle” (Neo-Psych)

Mesmerising from the first bar to the last, this hyper-fragile moment of swooning beauty may lead to bigger plugged-in statements, but as the album opener it needed to create an immediate impression and – the embodiment of the medicinal effects and vulnerable highs of being deeply, hopelessly in love – it’s an outrageously classy affair that more than ticks the boxes. Life-affirming stuff right here.

36. Uniform & The Body – “In My Skin” (Experimental/Noise/Doom)

Crumpling the very structure of sound, ugly noise-maker The Body is here given license to firmly lead noisy thrash monsters Uniform further astray. While there may be some pretty strumming buried deep in the mix, the buzzed-out bottom end is a more suitable bedding for that disembodied scream and Berdan’s gritty holler, which sounds like it was captured so far off mic that he was not even in the same room.

37. The Holydrug Couple – “Forever End” (Psych-Pop)

Reaching out and giving you a big, warm bear-hug, “Forever End” is bleary, woozy psych-pop that’s as comforting as a duvet day. Just as necessary at times too as its hypnotic synth patterning undulates as if bobbing around on choppy seas. The Holydrug Couple may be from Chile, but there’s a majestic, arms-wide Nordic quality on display here as the glistening vocal duets with those majestic synths.

38. Negative Scanner – “Shoplifter” (Punk)

A properly rousing call to arms, “Shoplifter” is twice the length of any other track on Negative Scanner’s new, no-messing punk album Nose Picker. This incongruous luxury allows it to revel in scuffed sonics, building to deadpan choruses that intensely repeat the track’s title as if it were an exultary emblem of pride, the vocal cracking around the high notes, unused to such soaring altitudes.

39. Preoccupations – “Disarray” (Post-Punk)

With vocal borrows from Joy Division’s “Disorder”, Preoccupations set up shop right in post-punk’s main square, but – surprisingly – it isn’t facsimile gloom that they’re peddling. Alright actually it is, but the melodic guitar scales that rain down on top of them like a curtain waterfall give “Disarray” a much lighter tone than might perhaps be expected, the rhythm shifting too to consume every inch of stereo sound.

40. Sales – “White Jeans” (Indie/Pop)

The soft-focus synths here are just so satisfying. You can truly dine out on them, the otherwise seriously chill vibes of this track making it a forlorn memory of a summer when everyone was tipsy, tan and toned. Even if yours wasn’t quite like this, there’s a deceptive inner-strength to this one that has the power to transport you there all the same, its inherent simplicity another ace up its billowing sleeve.

41. The Limiñanas – “Istanbul Is Sleepy feat. Anton Newcombe” (60s Psych/Psych-Rock)

It’s an established fact that Perpignan duo The Limiñanas are deeply impressive, so it takes a certain kind of guest to stand shoulder to shoulder with them. Swelling with proto-punk strut and a vaguely Eastern groove, cue Anton Newcombe of The Brian Jonestown Massacre therefore, his drawling turn here partnered with the suitably sleepy and buzzed-out brilliance of a deceptively busy rhythm section.

42. Kaviar Special – “Run Away” (Garage-Psych)

The seeds of garage-psych were cast high into the atmosphere by the revival explosion a number of years back and, caught by the gulf stream, some of them came down to germinate in France. The Howlin’ Banana label does a cracking job of rounding up the local results and, a prize example, the poppy Kaviar Special certainly have a knack for fuzzy space-rock rippers such as this. Your inevitable smile is just a bonus.

43. Pinkshinyultrablast – “Find Your Saint” (Shoegaze/Dream-Pop)

Owing a debt to the Cocteau Twins’ “Sugar Hiccup”, everyone’s favourite Russian ‘gazers Pinkshinyultrablast hit all the high notes on the delicious “Find Your Saint”, a staggeringly beautiful and twinkling big-gulp of fresh, wintery synths and soaring vocals. An open sleigh ride under the Aurora Borealis, your only wish will be for it to have been longer. We won’t judge if you chose to put it on repeat instead.

44. High Sunn – “Freshman Year” (Indie-Rock)

With guitar jangles so full frontal they’d make your mother blush, 18-year-old Justin Cheromiah is downright infectious when he gets it as right as on “Freshman Year”. The scrappy Bandcamper is still finding his feet, but – apparently well-schooled in the early Cloud Nothings catalogue, as well as that of contemporaries such as Wild Nothing, Craft Spells and Beach Fossils – he may well graduate with distinction yet.

45. oOoOO & Islamiq Grrrls – “True Blue” (Noise-Pop)

Almost unrecognisable from his Tri Angle days, oOoOO has since hooked up with mysterious Bosnian/German artist Islamiq Grrrls and together they strike a varied partnership. The stand-out “True Blue”, away from the more obvious beats of elsewhere, prefers a ghostly piano motif, ticking drum machine and totemic guitar noise, the cooing male-female vocal even lending it a surprising and forlorn Raveonettes bent.

46. Hana Vu – “Crying On The Subway” (Synth-Pop)

Strikingly mournful, this slice of downbeat synth-pop bubbles along on subtle bass tones and dreamy guitar motifs, but it’s the heavy-hearted, heavily reverbed vocal that echoes prettily around the dizzying space that stands it out most. It’s easy to see why the Gorilla vs. Bear house-label Luminelle quickly hoovered Hana Vu up for an LP on the back of it; mixed blessings then, that it remained the best she had to offer.

47. Gang Gang Dance – “Young Boy (Marika in Amerika)” (Worldbeat/Future-Pop)

The undisputed highlight from a wishy-washy album, Gang Gang Dance – having set the bar so high previously – are now victims only of their own success. Stuttering beats are the order of the day, stereo scanning synth and percussive ripples being thoroughly seduced by Lizzi Bougatsos’s fluttering vocal. If only this really was being beamed in from the future, we could relax, knowing that music was still in good hands.

48. Mark Kozelek – “666 Post” (Singer-Songwriter)

A lot of the criticism levelled at Mark Kozelek’s recent output focuses on how monotonous it is, the minutiae of his days unworthy of being told. Immerse yourself in his world, though, and it slowly reveals itself as one of uncommon perception, observation and wit. True, he plays with his listeners with various levels of invention too, but that’s what’s keeps him from being boring. And he explicitly says so on his new LP.

49. Firefriend – “Yellow Spider” (Noise Rock)

The title-track from these Brazilians’ newest album, here we have a very tidy line in New York aloofness led by Julia Grassetti’s peculiar, almost queasily accented English-language vocal. It’s all backed by a wonderful surge of guitar noise that’s just irresistible, the veritable sound of outsider cool coalescing before your ears to the point where, quite out of the blue, you begin to feel like an insider.

50. Mutual Benefit – “Storm Cellar Heart” (Dream-Pop)

We’ve all room in our lives, a soft spot if you will, for a band like Mutual Benefit. With a legacy that stretches back to the great Mercury Rev through to newer ensembles like Youth Lagoon, there’s something deeply soothing and satisfying about hushed, fragile dream-pop of this nature. “Storm Cellar Heart” is a modern lullaby, yet still adult enough for gleeful consumption at any time of the day or night.

The best of the rest (no particular order):

tUnE-yArDs – “Heart Attack” (Alt/Electro-Pop)
A Grave With No Name – “By The Water’s Edge” (Singer-Songwriter/Alt-Folk)
Chemtrails – “Wishbone” (Garage-Pop/Lo-fi)
Amorie – “Cold” (Electro-Pop)
U.S. Girls – “Pearly Gates” (Alt-Pop/Funk)
Haley Heynderickx – “Untitled God Song” (Alt-Folk/Singer-Songwriter)
Vundabar – “Tonight I’m Wearing Silk” (Indie/Rock)
Shopping – “Discover” (Post-Punk)
Loma – “Black Willow” (Indie/Slowcore)
Moaning – “Artificial” (Post-Punk/Alt-Rock)
Soccer Mommy – “Scorpio Rising” (Singer-Songwriter/Alt-Folk)
Cabbage – “Molotov Alcopop” (Indie/Punk)
MIEN – “Black Habit” (Indie/Kraut-Psych)
Hop Along – “How Simple” (Indie-Rock/Alt-Folk)
Iceage – “Hurrah” (Punk-Rock/New Wave)
Beach House – “Dark Spring” (Dream-Pop)
FACS – “Skylarking” (Post-Punk/Noise Rock)
Beach Skulls – “Ain’t Easy” (Indie/Garage-Surf)
Wooden Shjips – “Eclipse” (Psych-Rock)
No Age – “Cruise Control” (Garage/Noise-Punk)
Here Lies Man – “Fighting” (Worldbeat/Psych-Rock)
The Lavender Flu – “Leaking Past” (60s Psych)
YOB – “Original Face” (Sludge/Doom-Metal)
Ice Baths – “Replacer” (Post-Punk)
Gift Wrap – “Current Expulsion” (New Wave/Post-Punk)
Lice – “Love Your Island” (Indie-Rock/Punk)
Oh Sees – “Abysmal Urn” (Heavy Prog/Garage-Psych)
Claw Marks – “Magic Trick” (Sludge-Punk)
Lykke Li – “Deep End” (Pop)
Girls Names – “25” (New Wave)
Warm Drag – “No Body” (Electro-Garage/Noise-Pop)
Nest Egg – “Print – Process – Repeat” (Kraut-Psych/Post-Punk)
GØGGS – “Pre Strike Sweep” (Garage-Punk)
Lala Lala – “Destroyer” (Indie/Rock)
Slift – “Doppler Ganger” (Garage-Psych)
Bodega – “Truth Is Not Punishment” (Punk-Rock)
Mitski – “Remember My Name” (Singer-Songwriter/Pop-Rock)
Interpol – “The Rover” (Indie/Post-Punk)
Spider Bags – “My Heart Is A Flame In Reverse” (Alt-Country)
House Of Feelings – “Make It Over feat. NOIA” (Electro/House)
Kurt Vile – “Come Again” (Singer-Songwriter/Americana)
Echo Ladies – “Almost Happy” (Dream-Pop)
Straight Arrows – “Headache” (Garage-Psych/Punk)
Peaking Lights – “I Can Read Your Mind” (Electro/Italo)
BEAK> – “Brean Down” (Electro-Kraut)
Fucked Up – “Normal People” (Hardcore/Garage-Pop)
boygenius – “Stay Down” (Singer-Songwriter)
Ohmns – “Jocelyn” (Heavy Psych)
Thou – “Elimination Rhetoric” (Sludge-Metal)
Drahla – “Twelve Divisions Of The Day” (Post-Punk/Noise Rock)