Sub-Ed’s Tracks Of The Year 2019
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):
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1. Brutus – “Cemetery” (Post-Rock/Black-Metal)
Start to finish, there’s no more exciting track this year than Brutus’s blistering “Cemetery”. Launching headlong into face-melting guitars and Stefanie Mannaerts’ searing vocals, it’s a cut that pins you back in your seat immediately, cheeks flapping at the G-forces ripping past. Not quite metal, not quite post-rock, not quite punk, “Cemetery” is a magnificent hybrid that ticks boxes it shouldn’t and yet is all the better for the experience.
2. Have A Nice Life – “Dracula Bells” (Post-Punk)
Not all of Have A Nice Life’s [sic] magazine AOTY winning and post-rock leaning Sea Of Worry sounds like “Dracula Bells” (its variety is one of its many strengths), and that’s partially why the track resonates so forcefully. Its angular post-punk guitars are to die for, the fuzzier garage-rock intensity of the vocal delivery equally engaging, the vision to drop out and slash back in several times during the lengthy run-time a masterstroke, the closing exchanges outright terrifying.
3. Wy – “Tired II” (Indie/Synth-Pop)
Hand on heart, “Tired II” (there’s an earlier, lesser “Tired I” on the album) gets me every time. A fist-pumping, swooning indie anthem that has its Swedish creators’ nationality stamped through it as if it were a piece of Blackpool rock, it just couldn’t hail from anywhere else. It’s a massive listen too, way beyond the scale of regular indie music, a casting wide of all the best aspects of the earnestness of the genre, blown up to immaculately detailed fidelity.
4. Strand Of Oaks – “Visions” (Heartland Rock)
Quite where Timothy Showalter has been keeping the tracks on his unbelievable album Eraserland is anyone’s guess, but “Visions” is an accomplishment by any standard. It’s hard to get over the scope of it, tracks like this conjuring images of the vast expanses of tremulous prairie badlands as much as they do the flickering neon of blue-collar dive bars. 2017 may have been the year that tried to break him, but 2019 is the year that made him.
5. Big Thief – “Not” (Indie-Rock/Alt-Folk)
Not only the crowning jewel in Big Thief’s second album of the year, Two Hands, but also their best song to date from a four-album catalogue, the rumbling indie-folk of “Not” makes it case with emphatic twists on the same phrase and yet the Brooklyn band makes “not winning” sound just the opposite. It’s impassioned and urgent – a track that burns out of Adrianne Lenker like it needs to exist way beyond its purely artistic sentiment.
6. Deli Girls – “I’d Rather Die” (Experimental/Hardcore)
For the sake of easy comparison, what do you get if you cross similarly named experimentalists The Body with Show Me The Body (see below for both)? An absolutely infernal racket is what, Deli Girls only too happy to oblige with a uniquely listenable variant. Blend blunt-force drum beats, buzz-saw guitar parts and Danny Orlowski’s maniacal turn as screeching, death-metal roaring, vomiting vocalist and stand well back. This one’s gonna blow.
7. DIIV – “Blankenship” (Dream-Pop/Shoegaze)
Hiding amongst the long grass towards the end of DIIV’s stealthy Deceiver is “Blankenship”. You may even miss it for the first couple of spins, but there’s only so long those choppy guitar parts and surging distortion are going to stay camouflaged. Already very capable of making excellent ‘gazy indie-rock, “Blankenship” thus steps out from the shadows to smash and grab during the album’s final moments, leaving its mark like a branding.
8. Patio – “Boy Scout” (Indie/Post-Punk)
If you’re going to write scrappy 90-second indie tunes in the most DIY way possible, make them all sound like “Boy Scout”. Foremost scientists even may be unable to pick out what precisely makes it such a good song, but knowing references to other cult-ish NYC bands helps, stunning spoken turns and throwaway lyrics that mean EVERYTHING certainly. Somehow Patio have cracked out the crucible and condensed cool to its essential elements.
9. FKA Twigs – “cellophane” (Alt-Pop/Downbeat)
Tahliah Barnett, AKA FKA once upon time Twigs, has one of those voices you could listen to singing a shopping list, her hyper-fragile whisper as mesmerising as it is ASMR sexual. And when twinned with the breath-taking minimalism of a track like “cellophane” it’s an almost elementally effective technique. Witness as it swoops around her slo-mo drops in awe. Bathe in its riches and, giving in to its beauty, let it subsume you entirely.
10. Lana Del Rey – “Hope Is A Dangerous Thing For A Woman Like Me” (Singer-Songwriter/Pop)
Kleenex at the ready (not like that), because dangerously sad enigma Lana Del Rey is on wholly miserable form here. Her much-lauded album was a touch overwrought and overlong for these tastes, but there’s no denying the tear-jerking power of her simple piano chords, this song’s bleak lyrics modern and yet ancient, her worries and frailties universal, the pin-drop ambience around her barely-there song-writing never failing to raise a lump in the throat.
11. HEALTH – “Feel Nothing” (Electro-Noise/Dream-Pop)
Huge doesn’t even cover the enormity of “Feel Nothing”, a staggering giant of thudding electro-noise, Jake Duzsik’s ever dreamy vocals trying in vain to calm the titan back into the unholy ground from whence it came. We said the same when covering the album, but songs like these are finally the deserved successors to those on the band’s incredible Get Color. A pity it took ten year when you think about it, but it was worth the wait.
12. Zig Zags – “Fallout” (Thrash Metal)
Cramming ridiculous levels of excitement into every (and there are many) crunching riff, “Fallout” is the stand-out juggernaut from an album full of them. Obliterating all before it with hulking bass, rousing tempo switch-ups and Jed Maheu’s crazy machine-gun trilling of consonants, you can trust the LA trio when they say they’re gonna make everything faster than everyone else – the 100mph drumming on here worth the entrance fee alone.
13. Show Me The Body – “Camp Orchestra” (Hardcore Punk)
Our love of Show Me The Body is no secret to regular readers of these pages; they’re one of, if not THE most important experimental hardcore bands out there. They’re refreshing the blueprint, becoming the reference for the copycats to come, burning bridges, creating new ones and dropping jaws from one side of the planet to the other. Slobber job over, the visceral “Camp Orchestra” just rules, demanding to played over and over.
14. The Flaming Lips – “Electric Fire” (Psych-Pop)
Many of the songs on The Flaming Lips’ really very good latest album, a concept LP about a baby with a massive head who becomes king (natch), don’t stand up to extraction from the concept, but “Electric Fire”, simultaneously its strongest cut musically and also its loudest, does despite Mick Jones’ narration. While Wayne Coyne gibbers on about space, a veritable orchestra backs him up as drones start to take hold, his vocal harmonies becoming a celestial choir.
15. Cold Showers – “Faith” (Post-Punk/New Wave)
Much of the Cold Showers canon blows hot or cold and you’re unable to guess from track to track which incarnation of their sound you’re gonna get. “Faith” tips the scale positively back toward industrial-led, shoegazy New Wave, incessant keys bubbling through a graunching undertow, Jonathan Weinberg’s yelping coming from a place half-buried in the mix, the glorious climax throwing it all together in such a way as you hope it never ends.
16. King Gizzard & The Lizard Wizard – “Self-Immolate” (Thrash Metal)
A bit of fun this one. King Gizzard know it and you know it too, so just drink in the cartoon riffing and take it for what it is. It’s fair to say this isn’t your usual KG&TLW fayre all round, razor-sharp soloing the psychotic knifeman to the marauding drums’ hired muscle. Even the authentic guttural roar emitted from frontman Stu Mackenzie is a noise to behold. Resolutely not as dumb as it sounds, these are nevertheless some cheap, dirty thrills.
17. Kim Gordon – “Sketch Artist” (Art Rock/Electro-Punk)
There are many wow moments on Kim Gordon’s incredible new album, but this crumpled missive, buzzing with filthy bass tones and whipcrack drum programmes just about shades it as best IMHO. Gordon’s sensual whisper treats these robotic, industrial sounds with the same reverence JG Ballard does architecture. Slightly creepy sure, but entirely in her favour, “Sketch Artist” really is cooler than you’d ever think possible from a 66-year-old.
18. Föllakzoid – “I” (Krautrock)
At 17 minutes in length, Föllakzoid’s “I” isn’t going to win you many friends at most parties, its Teutonic precision and endurance-length kraut stretched out to techno-esque proportions unlikely to seal the deal with the normal crowd either. But drop this in the right, definitely dank environment and its insistent piston groove will downright slay amidst the meat hooks and cold machinery of industry. Pick your moment wisely.
19. Tempers – “Capital Pains” (Darkwave)
A morose sway holds court over “Capital Pains”, reverbed guitar parts hanging in suspension at mid-distance, Jasmine Golestaneh presiding over affairs with a downbeat sigh. The NYC duo are making waves with their atmospheric sound and it’s easy to hear why, a strong melodic flow pulsating at the heart of this one, its dark allure made all that more appealing as it goes. Look for Tempers with search terms including “new favourite band”.
20. Moon Duo – “Eye 2 Eye” (Psych-Rock)
A change in direction from the otherwise liquid psych licks of recent material, “Eye 2 Eye” strikes it out alone with steely-jawed determination, a surprisingly abrasive guitar riff doing the aural damage, Ripley Johnson trying to put out fires with his syrupy, echoed drawl. Chuntering motorik keeps things ticking over as a repeato groove lays down roots, four minutes passing as if they were a blink of an eye, as if they were infinity itself.
21. Deerhunter – “Element” (Indie/Experimental)
Bradford Cox has officially still got it. He probably won’t hit the consistent highs of a decade ago any time soon but “Element” still proves him very capable of a decent tune. Woodblock percussion contributes a playful rhythm here, the melody bobbing around all over the place like usual, Cox himself the star of the show with a pleading intonation that croaks up from within him as a brusque counterpoint to a beautiful swelling of strings.
22. Methyl Ethel – “Ruiner” (Alt-Pop)
2019 was another year brightened by the madness of Methyl Ethel, who repeatedly makes inconsistent but sometimes entirely accidentally brilliant (or so it seems) pop nuggets like “Ruiner”. Two years back Jake Webb was bleating on about absurdist haircuts; this year what he’s on about is unknown to anyone but himself, but the way he sets about crafting his joyful compositions it’s a privilege to be a part of them.
23. Sharon Van Etten – “Seventeen” (Singer-Songwriter)
To the disagreement of almost every SVE groupie, Remind Me Tomorrow, her latest full length, was a step backward, and not one away from the limelight as perhaps could be understandable, but a step away from the sort of sterling song-writing she’d made her name with. Luckily not all was lost for “Seventeen” retains all that former brilliance, an arms-wide portion of opulence that’s as welcome as a bear-hug from a loved one when needed most.
24. Aldous Harding – “Pilot” (Singer-Songwriter/Alt-Folk)
Sadly, it didn’t really work live, but “Pilot”, an utterly unique effort, is full of delightfully weird simile when pressed to wax, Aldous Harding’s intimate alt-folk drawn out to all sorts of odd locations in the process. An exploration of isolation and futile attempts to reengage, there’s a real poignancy to the track too, which pulls on the heart strings just as much as it feeds the imagination. There won’t be another one like this possibly ever.
25. The National – “Rylan” (Literate Indie)
There’s a reason of course why “Rylan” sounds so familiar. A long-time live favourite and off-cut from earlier times finally deemed ready to make it to record, it is – quite straightforwardly – a throwback to a different era, an era when Matt Berninger’s blood buzzed with this sort of grandiose form of swooning indie. Although recent albums have pushed the template, there’s a reason why songs like these remain more popular still.
26. black midi – “Near DT, MI” (Math/Art-Rock)
It’s hard to know what to make of black midi’s clever, clever David Byrne bothering. Sometimes it snaps, sometimes it meanders. There’s obviously talent there, but the album felt rushed, throwing up rather than offering up this choice cut. The heaviest of the lot, it brims with post-hardcore focus and strained vocal cords for its all-too-brief 140 seconds, a cauterising demonstration of what the band are capable of when unfettered from the hype machine.
27. Jambinai – “Sun. Tears. Red.” (Post-Rock/Metal)
From its opening repeats and shamanistic incantations, to its explosive middle that hums with plugged-in menace, to the snarling Korean language vocal when it does come, “Sun. Tears. Red.” is a monumental achievement. Traditional Oriental strings slashing through the tension, its fascinating six minutes seem much shorter, a breathless encounter with an old-world demon, one you know could strike you dead, but doesn’t … today.
28. Jakuzi – “Sana Göre Bir Şey Yok” (Synth-Pop/Darkwave)
Translating to “Nothing For You” from their native Turkish, “Sana Göre Bir Şey Yok” trawls the depths of moody synth-pop to heave this trancey dark-waver out of the frozen waters. Sure, there’s a hint of Future Islands about it (not as strong as on the rest of the LP in fairness), but the otherworldliness of those vocals, unless you happen to speak the local lingo of course, twinned with the ravy undercurrent stand this one apart.
29. Temples – “The Howl” (Indie/Psych-Rock)
This is a pretty good song. There, it’s done. Its’s out there. Many people, some of you perhaps, thought the new album wasn’t a patch on the early Temples indie/psych sound and you’d be right, but don’t write the whole endeavour off early though, especially if you’re a Tame Impala fan, because “The Howl” is a big, bouncy stomper that can’t help but put a smile on your face. File just next to guilty pleasure: the folder marked “pleasure”.
30. Nation Of Language – “The Motorist” (Post-Punk/New Wave)
With some serious New Order vibes going on from the miserable synths and drum machine, “The Motorist” is another pretty great Nation Of Language song. The only problem is there’s no album yet, a nice problem to have in many ways as it makes that album even more highly anticipated, not that the band sound up for it of course, the heavy-hearted drizzle of vocals struggling just to get out of bed. We’ve all been there guys.
31. The Twilight Sad – “Let/s Get Lost” (Indie/Post-Punk)
Playing fast and loose with punctuation (that slash is supposed to be there, apparently) as well as with ever bombastic, stadium-sized gloom, The Twilight Sad still do a pretty great job at what they’ve always done and “Let/s Get Lost” is the proof. It’s a shade more commercial than what’s gone before but that’s forgivable at this stage of their career. You’d have to be Scrooge to say otherwise in fact and this lump of coal’s a bit of a diamond.
32. Better Oblivion Community Center – “Didn’t Know What I Was In For” (Singer-Songwriter/Alt-Folk)
The inevitable Conor Oberst and Phoebe Bridgers team album comes under the name Better Oblivion Community Center and, a little hit and miss, it’s still much better than most, the hits, like the fantastic “Didn’t Know What I Was In For” another string to both of their burgeoning bows. Imagine your dream Oberst and Bridgers duet. This is it. Let’s not overdo the superlatives – the melodies all his, the words nearly all hers.
33. SASAMI – “Turned Out I Was Everyone” (Synth/Dream-Pop)
The surges that Sasami Ashworth manages to pull on in the impossibly pretty “Turned Out I Was Everyone” are deceptive, an innocuous little potion that’ll knock you down no matter your size. That’s the secret weapon throughout her self-titled debut truth be told, but here the trick is somehow doubled, the dose hitting twice as hard and the track somehow growing in stature in proportion. That’s why they call it magic!
34. These New Puritans – “Inside The Rose” (Art Rock)
Don’t go telling me it’s not thrilling to hear those familiar chimes once again. Sure, they may be a little more mute than they were a decade ago, but the new TNP album is a majestic return full of highlights like the mournful “Inside The Rose”. Undercut by delicious bass tones and a skitter of percussion, it’s a track that keeps its distance but seems desperate for acceptance. And if that’s not #relatable, then what is?
35. Dreamtime – “Tidal Mind” (Psych-Rock)
Tidal Mind the album is a mysterious listen, the Brisbane band’s more exotic ragas left behind in favour of a consistently liquid form of psychedelic expression, “Tidal Mind” the track a heavyweight anchor towards it end, its destructive percussion cruising into view like a pirate war-party, a Gothic vocal blackening the skies further before the album enters calmer waters to close. Now, about that whale song that features earlier down the track listing …
36. Amyl & The Sniffers – “GFY” (Punk/Rock)
Just in case you didn’t know, “GFY” stands for “Go Fuck Yourself” and that’s pretty much all you need to know about this short and sweet, snotty punk blaster. More? Oh, go on then. It’s Christmas after all. Amy Taylor is as always – how to put it politely? – a bit of a character in her role in as firebrand frontwoman, and in this environment she gives in to that role’s wildest excesses and it’s impossible to tear your eyes and ears away from her.
37. Control Top – “Covert Contracts” (Post-Punk/Punk)
Winding themselves up so tightly on “Cover Contracts” with quickfire guitars and an even speedier vocal delivery, there was only ever going to be one way the track was going to develop and, as expected, the hurtling body comes to a climax in the same way a missile does when it hits its target. More than making good on their minimal early presence, this Philadelphia band are making a bold claim as being ones to urgently keep tabs on.
38. Mannequin Pussy – “Patience” (Punk-Rock/Pop)
Enthusiastic outfit Mannequin Pussy really cut the brakes with this one, this two-minute bundle of energy careering over the edge with anything but “Patience”. The whole album’s strong in truth – drop the needle wherever you want, but Marisa Dabice steers this title-track over the point of no return with a smile on her face and the wind in her hair. What’s best too is that it’s just the gateway to all the pogoing fury that lies beyond.
39. Chelsea Wolfe – “Deranged For Rock & Roll” (Singer-Songwriter/Goth)
Strip back the doom and let Chelsea Wolfe’s stunning vocals bask under the moonlight. It’s a simple idea, of course, and has to come backed up with killer song-writing, but Ms. Wolfe is no nocturnal newb, “Deranged For Rock & Roll” scything down all before it as if an invading force. It’d be a leap to call her vulnerable in this setting, but the combined wallop of a building battery of instrumentation and her hushed performance makes for a deadly one-two.
40. Swans – “The Hanging Man” (Experimental Rock)
While by Swans standards their new LP was less hard hitting (it’d still send most scurrying for their mothers, mind), a lengthy track like “The Hanging Man” can still slither out from under some damp rock to bite you on the ankle. How you can initially hide a statement piece like this in such a running order is a trick only known to Michael Gira and co. Thankfully more don’t know the secret or the military would be after the formula.
41. Flat Worms – “Plastic At Home” (Psych/Post-Punk)
Whether this one has truly caught the Attenborough-endorsed demonism of single-use plastics is up for debate, its stance on petrochemical by-products not entirely clear, but where Flat Worms could have gone poppier from their catchy debut, their latest EP wisely went heavier, this choice extract a frenetic, flailing mass that just keeps coming. How measured every tight volley of guitar is though is what glues it all together.
42. Chasms – “Every Heaven In Between” (Darkwave/Dream-Pop/Dub)
An obvious album highlight, the atmospheric dub of “Every Heaven In Between” nevertheless manages to incorporate blatant dream-pop into its DNA, the little sheet metal left in the mix shimmering under the gorgeous vocal lights of Jess Labrador. It’s a comedown classic after a heavy-duty session, melting chimes and soft pads pulling you down under its dark waves as blurred street lighting and rain zip past the window.
43. Julia Jacklin – “Pressure To Party” (Singer-Songwriter)
Not as enamoured with the album as some, “Pressure To Party” is still a classy out-take from an album that hints at Sharon Van Etten-style greatness is places, albeit not too often enough. The liveliest and hence most ironic moment on the LP however, Jacklin is on stately form here, revelling in JOMO, the sarcasm dripping from her lips. When she irons out her inconsistencies there’s a very good chance Jacklin may be here for the long haul.
44. Priests – “Jesus’ Son” (Garage-Punk/New Wave)
There’s a bit of a punk scene going on in Washington, DC (see below) and the strength of Priests’ (not too be confused with real priests, obviously Internet) song-writing ensures they’re in the vanguard. There’s a dirty, blasphemous thrust to the stand-out “Jesus’ Son”, which is hard to ignore but difficult not to love; “Young and dumb and full of cum” he may be, but this is a smart song that bedazzles as much as it is stings.
45. Louder Than Death – “Born In 77” (Garage-Punk/Psych)
A trademark garage ripper from the new-ish project of lifer King Khan, “Born in 77” is pure ramshackle abandon. Served hot and wild, it’s simply two-and-a-half minutes of your life you just won’t want back, satisfied as you will be with the experience, but also such is the filthy state Khan would attempt to hand them back if he could. Go back for more here and you’ll end up needing a penicillin shot. Consider yourselves warned.
46. Hayden Thorpe – “Love Crimes” (Singer-Songwriter)
Most of the songs on Hayden Thorpe’s excellent solo album are stripped back mixes of piano and light electronics, but “Love Crimes” is the one that steps up to rise above the pack, the fullest of the material by some margin, demanding its own sound-board setting entirely when played live. His trademark falsetto is on luxurious form too, a velvety coo that rides the peaks of the lively instrumentation like a dove in flight.
47. The Murder Capital – “Green & Blue” (Post-Punk)
There’s an insidious, nagging quality to “Green & Blue” that worms its way into your affections, an almost post-hardcore intensity to its undisputed post-punk credentials, a rolling misanthropy doled out by that gloomy Irish brogue. And yet, as it develops over vicious floor-drum menace, it blossoms like a band who respect the Joy Division canon and yet have no intention of simply mimicking it. They make the sound their own and it’s an impressive one.
48. Uniform & The Body – “Penance” (Experimental/Black Metal)
Everyone’s favourite ear-bleeding collab are back at it, Chip King’s tortured scream whisked into the unholy churn of “Penance” as if making a cake, blossoming electronics corrupted and mutilated gleefully all around him. The detuned thrash of Uniform contorts into a sludgy form of doom in turn, the result again some of the most inventive, exciting and yet – again, crucially – listenable experimental music out there. If not now, then when?
49. Dry Cleaning – “Viking Hair” (Post-Punk)
London’s Dry Cleaning, aptly enough, make a very dry form of post-punk, effortlessly cool frontwoman Flo Shaw basically talking her way through her various guy troubles (from the simple misunderstanding to the far angrier and more serious). “Viking Hair” is different though, her longing after the woman with the eponymous hair more a peak into her fractured confidence than a glimpse into the pansexual and it plays out like a diary confessional.
50. Gauche – “Running” (Post-Punk/Riot Girl)
Harnessing the itchy, danceable minimalism of one of the many strains of post-punk, Gauche can be tough to take in large doses thanks to the Washington, DC band’s squeaky singer Jane Regalado. A little bit Marmite, she and the rest of the five-piece get it all right on “Running” though, a delicious little DIY groove that pops out of the player to rush to the bar for shots just in time to get back for the inanely fun and funky chorus.
The best of the rest (no particular order):
Stephen Bailey – “Hyde” (Psych-Pop)
Cherry Glazerr – “Juicy Socks” (Indie/Dream-Pop)
NOV3L – “To Whom It May Concern” (Post-Punk)
Lost Under Heaven – “Come” (Indie/Art-Rock)
Cherry Pickles – “Elvis Exorcist” (Garage-Surf/Psychobilly)
Le Marina – “Bottles” (Pop)
A. Swayze & The Ghosts – “Suddenly” (Garage-Punk)
L. D. Moses – “Close As The Ceiling” (Post-Punk)
Los Mundos – “Apertura” (Psych-Rock)
MONK – “It’s You” (Electro-Rock)
Fontaines D.C. – “Roy’s Tune” (Post-Punk)
TR/ST – “Gone” (Darkwave/Goth)
Kevin Morby – “OMG Rock ‘n’ Roll” (Singer-Songwriter/Indie-Rock)
The Mystery Lights – “Thick Skin” (Garage-Psych)
Yohuna – “Dead To Me” (Singer-Songwriter/Dream-Pop)
Black Mountain – “Future Shade” (Psych-Rock)
Drahla – “Serenity” (Noise Rock/Post-Punk)
Institute – “MPS” (Punk-Rock )
Prettiest Eyes – “Nekrodisco” (Synth-Punk/Electro)
Titus Andronicus – “(I Blame) Society” (Punk-Rock)
Necking – “Big Mouth” (Punk/Post-Punk)
Lust For Youth – “Insignificant” (New Wave/Post-Punk)
Froth – “Department Head” (Shoegaze/Alt Rock)
The Tallest Man On Earth – “I’m A Stranger Now” (Singer-Songwriter/Alt-Folk)
Lingua Ignota – “Do You Doubt Me Traitor?” (Singer-Songwriter/Black Metal)
Stef Chura – “Sincerely Yours” (Indie-Rock)
Blue Tomorrows – “Sonoma Mt. Rd. (Deep Summer)” (Singer-Songwriter/Dream-Pop)
Here Lies Man – “Clad In Silver” (Rock/World )
HIDE – “Chainsaw” (Industrial/Noise-Rock)
Jay Som – “Superbike” (Indie-Rock/Shoegaze)
Clairo – “Closer To You” (Synth-Pop)
Sheer Mag – “Steel Sharpens Steel” (Rock)
KYŌGEN – “Somebody New” (Dream-Pop)
Holy Serpent – “Into The Fire” (Stoner Rock/Alt-Rock)
Girl Band – “Shoulderblades” (Noise-Punk)
Blackwater Holylight – “Motorcycle” (Doom/Fuzz-Rock)
Odonis Odonis – “Collector” (Darkwave/Industrial)
FACS – “Total History” (Post-Punk/Industrial)
Chromatics – “Closer To Grey” (Synth-Pop/Italo)
Bodega – “Shiny New Model” (Post-Punk/Punk-Rock)
Weeping Icon – “Ripe For Consumption” (Post-Punk/Noise-Rock)
Wilco – “Love Is Everywhere (Beware)” (Singer-Songwriter/Alt-Folk)
Launder – “Powder” (Indie/Dream-Pop)
Black Marble – “One Eye Open” (New Wave/Coldwave)
Cigarettes After Sex – “Heavenly” (Dream-Pop)
Vivian Girls – “Sick” (Garage-Rock/Lo-fi)
Dope Lemon – “Hey You” (Singer-Songwriter/Neo-Psych)
Lightning Dust – “Devoted To” (Singer-Songwriter)
L’Epée – “Dreams” (60s Psych/Psych-Rock)
Rose City Band – “Fear Song” (Psych-Rock)