The 2010s will be remembered primarily for the dramatic and significant changes in our music consumption habits. Streaming became an unstoppable force as almost all music became readily available at the touch of a button, threatening to hurt many mid-sized or smaller acts due to paying a pittance for millions of streams. That being said, the vinyl revival highlighted that music lovers still desire to listen to full albums, and that very phenomena provided me with a job at a record store!
Genre-lines blurred, SoundCloud shaped many a career, the taste of the public and major publications shifted, and major artists have come and gone. Trendy contrarians threw away their noise tapes and garage rock vinyl to listen to supposedly “subversive” mainstream pop, hip hop and electronic dance music continues to excel and innovate, and gig tickets began to price many music lovers out of seeing their favourite acts perform.
The 2010s was the decade that I’ve listened to the most music from, though I’ve found it a largely disappointing era. This may seem like a negative start to an article, but that’s how I’ve felt about the decade overall. There’s been great records here and there, hence why I’ve written this piece to highlight the best from a patchy decade. Here you go!
25. Björk – ‘Vulnicura’
Björk pretty much soundtracked the entirety of my 2019, with albums such as ‘Homogenic’ and ‘Vespertine’ becoming firm favourites which are constantly on repeat. Her 2015 record ‘Vulnicura’ is an underrated gem that rivals ‘Post’ and ‘Debut’; though it’s not as diverse or innovative, the album excels as it works so well as a singular piece. Marrying the icy, crystalline electronics of ‘Homogenic’ with the raw sentimentality of ‘Vespertine’, ‘Vulnicura’ is heart wrenching art pop at its finest. Utilising a chamber orchestra, the melancholic strings mirror post-classical complexity and augment Björk’s inimitable vocals wondrously. The opener “Stonemilker” dissects stubborn discussions between partners, whilst the epic “Black Lake” (her longest song to date) shuns her former lover and father of her child. ‘Vulnicura’ is a tough listen, but its solemn beauty, incredible production from Arca, the intricate string arrangements from The Haxan Cloak, and her potent vocal performances make it one of Björk’s finest hours.
24. Cloud Nothings – ‘Attack On Memory’
Cloud Nothings released this beast early in the 2010s but have never been able to capture the same vigour and songwriting quality. A relentless mix of indie rock, post-hardcore, noise rock and emo, ‘Attack On Memory’ mixes melodic pop tracks with dense and heavier numbers to provide a tasty pick’n’mix of modern guitar sounds. I’m more of a fan of the tuneful songs here; “Cut You”, “Fall In” and “Stay Useless” have been played hundreds of times since I heard this record. Steve Albini produces the album, so expect dense drum sounds and raw immediacy.
23. Freddie Gibbs & Madlib – ‘Piñata’
I absolutely adored ‘Bandana’ from 2019, but this one’s been out six years so it’s had time to steep in our collective minds more. Touted as unlikely bedfellows, gangsta rapper Freddie Gibbs paired up with experimental hip hop producer Madlib for one of the most enjoyable and exciting collaborations of the decade. There’s something here for all the family; you’re blessed the jazzy, psychedelic beats of Mad which fall like candy on your ears, matched with the gritty, thorny misdemeanour rhymes of Gibbs. Would you look at those guest spots too! Seeing Danny Brown, Raekwon, Earl Sweatshirt and Scarface on the track list is unreal, it’s like a greatest hits of the finest MCs from the 90s plus the best of the new school. More crossovers like ‘Piñata’ in the 2020s please!
22. FKA twigs – ‘MAGDALENE’
The only record from last year to gain a spot on the list is UK art pop sensation FKA twigs’ ‘MAGDALENE’. I just know this one is going to get spun for years to come, I’ve probably listened to it around eight times already, and it was only released in November! Marrying post-dubstep instrumentals with graceful yet gripping vocals, ‘MAGDALENE’ is a truly gorgeous record of cinematic scope. I named this my Album of the Year for 2019, so catch me waxing lyrical about twigs’ best album to date here.
21. Godspeed You! Black Emperor – ‘’Allelujah! Don’t Bend! Ascend!’
Behind their magnificent debut album, ‘’Allelujah! Don’t Bend! Ascend!’ is my second favourite from the enigmatic post-rockers. It’s a sort of concoction of their first three albums; the apocalyptic atmosphere of ‘F♯A♯∞’, the gorgeous instrumentals of ‘Lift Yr. Skinny Fists Like Antennas to Heaven!’ and the drone rock of ‘Yanqui U.X.O.’. It’s just a monster of a record, all heavy walls of sound, whirring strings and crushing dynamics, all rounded off with an unshakable mood. The 2010s was an absolute shitstorm for politics across the globe; what better way to soundtrack it then a bunch of Canadian anarchists whose music influenced ‘28 Days Later’?
20. Uncle Acid & The Deadbeats – ‘Blood Lust’
Uncle Acid & The Deadbeats’ ‘Blood Lust’ is slice of doomy retro rock that’s so brilliant that you forget just how much Sabbath worship is on show. They reveal their influences clearly on their sleeves but there’s enough variation here to keep things interesting thoroughout. As a huge fan of the Sab Four anyway, I couldn’t care less about originality as long as the music is banging. ‘Blood Lust’ is a Halloween horror tale set to the march of catchy doom riffs, acid-fried psychedelia and ominous vocals. Armed with the influence of The Beatles, Neil Young & Crazy Horse and Roky Erickson, and complete with an overarching occult atmosphere, ‘Blood Lust’ is leagues apart from all the other stoner rock of the decade.
19. Leon Vynehall – ‘Rojus (Designed To Dance)’
I’m going to start by saying this is my favourite house album of all-time. The UK producer and DJ Leon Vynehall really kicked things up a notch or two on ‘Rojus (Designed To Dance)’, a gorgeous deep house record with complex production, choppy rhythms and lush instrumentals. There’s an abundance of top-tier deep basslines, punchy drums, catchy melodies, and most importantly – it’s primed for the club dancefloor. ‘Rojus’ is perfect for those heady summer nights where the beers flowing and everyone’s in the mood to get their groove on and have a good time. It’s also perfect for home listening, as its intricate production draws from outside the house cannon to rival the complexities of any IDM record.
18. Kurt Vile – ‘b’lieve i’m goin down…’
The definition of a grower, Kurt Vile’s sixth record ‘b’lieve i’m goin down…’ remains hugely underappreciated compared to his two supposed masterpieces ‘Wakin on a Pretty Daze’ and ‘Smoke Ring for My Halo’. It takes a few listens before revealing its excellence, though the folk rock stomper “Pretty Pimpin” which kicks off the record remains his biggest hit and most well-known song to date. If you’re not familiar with Vile, then he’s basically a mixture of stoned 90s slacker indie (think Pavement, Dinosaur Jr. and Royal Trux) and twangy folk (Neil Young, John Fahey and Dylan). There’s bits and pieces of Americana, psychedelic folk and 70s rock featured in this slow burner of a record too. ‘b’lieve i’m goin down…’ features Kurt’s strongest and most diverse songwriting to date. It’s always a joy to revisit.
17. Panda Bear – ‘Meets The Grim Reaper’
This was my favourite album of 2015 and though I still adore it, I’d sooner turn to one of the many perfect records from the Animal Collective discography or stick ‘Person Pitch’ on, a record which could possibly be my favourite album of all-time. That may sound like a hugely negative statement to kick off my little write-up on the LP, but ‘Meets The Grim Reaper’ introduced me to so much more of Panda Bear’s music, transformed me into huge fan of AnCo, and turned me onto The Beach Boys. ‘Grim Reaper’ is a psychedelic stew of off kilter beats, squelchy acid house synths and dubby production. Read my initial thoughts on the album here.
16. The Hotelier – ‘Home, Like Noplace Is There’
The Hotelier showed just exactly how to make an emo album in the 2010s. It’s a genre where it’s near-impossible to re-invent the wheel, so great songwriting and charisma is the key to making a great record. The Hotelier boast heaps of charisma, notably in their secret weapon of a vocalist and lyricist Christian Holden. His voice is incredibly emotive, ranging from subtle, melodic croons to folk punk chants. It works with the ebbs and flows of their music perfectly, exemplified in the wistful and comical anecdote “Housebroken”. ‘Home, Like Noplace Is There’ is an album which has grown on me so much over the years. I rarely tire of it and its successor ‘Goodness’, and I’m really looking forward to another Hotelier record this year. Spin named this the greatest emo album of the decade and it’s entirely deserving of that accolade for sure.
15. Lil Ugly Mane – ‘Mista Thug Isolation’
There’s been a lot of talk surrounding ‘Soundcloud rap’ in the 2010s, the loose umbrella term to define DIY hip hop which became hugely popular worldwide through the Internet and social media. SpaceGhostPurrp may have started the trend, but Lil Ugly Mane and Denzel Curry typify its attitude more so than Purrp or the legion of awful MCs who followed. Ugly Mane is a personality created by Travis Miller to indulge in dirty, gritty rap songs which draw upon Southern hip hop styles like horrorcore, Memphis rap and chopped & screwed. His breakthrough album ‘Mista Thug Isolation’ is a nightmarish, psychedelic vision of violence, drugs, sex and crime. Looped pianos, heavy sub bass, snappy percussion, warped jazz and hazy synths make up the beats, whilst satirical braggadocio radiates from Ugly’s down-tuned raps. It’s a super dark record, though it’s goofy enough to not take itself too seriously. Ugly has successfully carved out his own absurd lane in rap music and remains an unsung hero of the scene who deserves a lot more attention. If you’re into DJ Screw, Kool Keith and Three 6 Mafia then don’t sleep on this one.
14. Yuck – ‘Yuck’
Yuck’s debut album is an incredibly important album to me as it introduced me to so many bands at a time where I’d just started to develop a keen interest in alternative music. Yuck’s fuzzy brand of guitar pop led me to the delights of Dinosaur Jr., Teenage Fanclub, Built To Spill, Yo La Tengo, Ride and other indie and alt.rock groups, acts who I still have on repeat to this day. Yuck’s sound is like a perfect amalgamation of those bands, though they alternate between bittersweet acoustic led numbers, noise pop stompers and droning shoegaze mammoths. Daniel Blumberg left the band shortly after this was released, and they’ve never managed to recapture the glory of this underrated indie classic.
13. Nails – ‘Abandon All Life’
Nails’ second album ‘Abandon All Life’ is a 17-minute long punch to the face. The very definition of all killer no filler, the Californian grindcore group get straight to the point with breakneck pace, meaty riffs, grooving rhythms and chaotic tempo changes. There’s ridiculously short snippets of powerviolence, old-school death metal riffing and huge breakdowns. ‘Abandon All Life’ is one of the most aggressive, evil and misanthropic records I’ve ever heard, though it remains strangely catchy with its memorable riffs and perfect production from Kurt Ballou. Alongside Oathbreaker’s ‘Eros|Anteros’, this record got me hooked on super-fast and heavy genres like crust punk, grind and powerviolence. Essential for fans of the heavier side of hardcore and extreme music.
12. Run The Jewels – ‘Run The Jewels 2’
It was incredibly exciting to see Run The Jewels rise to become one of the most hyped groups in hip hop. Underground icon El–P finally got the props he deserved following decades of creating some of the most innovative albums in rap with his unique production, whilst staunch socialist Killer Mike has been a force for social change as a Bernie Sanders advocate and creating politically charged records like ‘R.A.P. Music’. Oh and they gave all their music away for free! El-P’s huge sounding bass-heavy beats collide with rapid-fire verses traded between the pair, showcasing their unique chemistry and ability to lend insane rhymes to any beat. It’s worth buying this record alone for the triple punch of “Oh My Darling Don’t Cry”, “Blockbuster Night Part 1” and “Close Your Eyes (And Count to Fuck)”, three of the best rap tracks of the year which are sequenced into the album perfectly. Seeing Jeremy Corbyn introducing Run The Jewels at Glastonbury was also a major musical highlight of the decade.
11. Danny Brown – ‘XXX’
Danny Brown is yet another MC who deserves to get more props for his influence on hip hop. The Detroit born mad man was one of the first to add experimental music and industrial beats to his production, setting the tone for Death Grips and the ‘trap metal’ of XXXTentacion. ‘XXX’ details Brown’s struggles with finding fame and drug issues, but its satirical bars and hedonistic party tales sidestep Danny from being a one trick pony. Diverse, funny, innovative and surreal, Danny Brown is easily one of the artists of the decade.
10. Deafheaven – ‘Sunbather’
Deafheaven pissed a lot of people off with this album, but that just adds to its allure. Touted as “hipster black metal” by basement dwelling gatekeepers, ‘Sunbather’ inflamed the naysayers with its crossover of extreme metal, screamo, post-metal and shoegaze. They probably didn’t like the pink album sleeve either. Deafheaven sound like a mix of Envy, Mogwai, a whole host of atmospheric black metal bands, and of course the originators of the blackgaze genre Alcest. George Clarke’s ferocious screams fall on rapid blast beats, driving bass, and guitars which blend metal tremolos with shoegaze effects. Conceptually, ‘Sunbather’ dissects class privilege, personal trials and failures, alienation, and the lack of prospects many suffer from. ‘Sunbather’ is a strangely addictive album which gets better upon every spin. See these guys live if you get the chance.
9. Alcest – ‘Écailles de lune’
If you like ‘Sunbather’, you’re probably going to like this one! Neige pretty much singlehandedly invented the blackgaze genre by merging his love of Slowdive and post-punk with his encyclopaedic knowledge of black metal. Alcest’s breakthrough album ‘Écailles de lune’ leaves a bittersweet lasting impression like few other albums can impart. It’s incredibly melancholic, yet simultaneously soothing and uplifting. It’s reminiscent of The Cure’s ‘Disintegration’ with its surreal gothic beauty, leaving the intoxicating impression of drowning sensation. That may sound odd to many, but ‘Écailles’ is an album where I have to put a piece of music on that’s cheery afterwards to reverse its depressing effects. Harrowing yet cathartic stuff indeed.
8. Kanye West – ‘My Beautiful Dark Twisted Fantasy’
Kanye West both hit his peak and a major slump in the 2010s. Not only has he become almost as bad as Morrissey with his ludicrous and attention seeking comments, he hit a major creative decline after this masterpiece was released. ‘Yeezus’ was “original” if you’ve never heard any industrial hip hop before, ‘The Life of Pablo’ was scattershot and entirely unengaging, then he released his two career worsts in ‘ye’ and the laughable ‘Jesus Is King’. I would have given up on the egomaniac if he hadn’t released this corker and supplied the production for Pusha T’s ace ‘DAYTONA’.
‘My Beautiful Dark Twisted Fantasy’ is a highly ambitious record where each piece of a complex puzzle came together. It feels like an overblown prog rock or art pop record, it’s so pompous and BIG but it manages to work so well. The samples from the likes of King Crimson, Black Sabbath and Aphex Twin hit ridiculously well, the guest-spots from Pusha, Raekwon, Jay-Z and The RZA are all expertly placed and enhancing, and Kanye pulls out many a memorable word of wisdom throughout.
7. Joyce Manor – ‘Never Hungover Again’
‘Never Hungover Again’ was the breakthrough third album for Californian punk group Joyce Manor. Following the experimental and lo-fi influenced ‘Of All Things I Shall Soon Grow Tired’, they changed up their sound to include more power pop and indie rock influence in their melodic take on punk and emo. It’s easy to see why this one got their name into the mainstream as its heavy on the immediately catchy hooks, original guitar-work, passionate vocals, and lyrics which resonate with many. Matt Ebert’s bass work here is incredible, channelling The Smiths’ Andy Rourke with the flowing, intricate riffs which often lead the music or fill the vocal and drum breaks. Just give “End of the Summer” a spin and you’ll see what I mean.
Pitchfork placed this as the highest ranked “punk” record of the decade. Man, it’s good to see a band I’ve been following for years get such an accolade!
6. Daniel Avery – ‘Drone Logic’
Daniel Avery’s ‘Drone Logic’ was one of the first electronic dance music albums I truly adored. I was super-late to the game with dance and club music, though I’d listened to a bunch of big electronic albums from ‘home-listening’ and album-centric genres like trip hop and IDM. Upon snapping up tickets to the sadly deceased Beacons Festival in Skipton, I checked out a bunch of the DJs playing and was immediately drawn to Daniel Avery. His productions are a mixture of techno and the heavier end of house, complete with acid, big beat, deep and minimal influences. The beauty of ‘Drone Logic’ is though it sounds like a techno album suitable for the heads and club shufflers, it isn’t afraid to dip into big name 90s acts like Underworld, Orbital, and The Chemical Brothers to give it a memorable, riffy quality. Varied, nocturnally primed and superb throughout, ‘Drone Logic’ is my favourite electronic album of the decade.
5. Tame Impala – ‘Lonerism’
Man, who would have thought these psych revivalists would become one of the biggest bands on the planet? That being said, ‘Lonerism’ showcases Kevin Parker’s ear for melody, his sought-after colourful guitar palette, spaced-out production, and top tier songwriting skills tremendously. He’s clearly a talent and it’s easy to see why his band ended up in the public consciousness. Anyway, I fell head over heels with this album upon first hearing it. I loved the sound, the seamless track sequencing, the fusion of prog pop, space rock and psychedelic pop, the existential lyrics, and the juxtaposition of themes of seclusion and its summertime atmosphere. Many have mooted that Tame Impala are too revivalist, but they add enough post-flower power bite with the influence of heady shoegaze, Flaming Lips’ cosmic pop, electronic tinges, weirdo indie, and a fair share of Todd Rundgren here and there to keep it appealing. ‘Lonerism’ will always be a joy to listen to, no matter how many times I’ve listen to it.
4. Death Grips – ‘Exmilitary’ & ‘Bottomless Pit’
Death Grips have had one of the most interesting careers of the 2010s. Despite forming in late 2010, they’ve released seven varied studio albums, one of the most discussed mixtapes of the decade, several instrumental albums and a couple of ace EPs. The Sacramento trio have also worked with Björk and have influenced musicians including David Bowie, Skepta, Kasabian and Slipknot. Known for popularising the experimental style of hip hop known as industrial hip hop or ‘noise rap’, the group blend rap with punk, experimental, electronic music and each subgenre under these umbrella styles. As a fan of intriguing genre-bending music and hardcore punk, weirdo hip hop, bass-heavy club music and extreme metal, Death Grips tick every box for me.
These two releases hold the joint spot of my favourites from Death Grips. Their debut mixtape ‘Exmilitary’ is their most traditionally hip hop affair, recalling the dense productions of Public Enemy and the aggro-rap of early Beastie Boys. There’s so much classic Death Grips on here, making it an ideal starting point for a newcomer. Highlights include the Pink Floyd sampling “I Want It I Need It (Death Heated)”, the now iconic “Guillotine”, the nefarious intro “Beware”, and the warped rock ‘n’ roll of “Spread Eagle Across The Block”.
‘Bottomless Pit’ is their most consistent album to date which effectively displays a huge variety of the many styles of Death Grips, boasting bizarrely catchy hooks, big industrial rock riffing and breakneck tempos. This was my favourite record of 2018 at the time, so read my full thoughts on the LP here.
3. Sufjan Stevens – ‘Carrie & Lowell’
The 2010s saw the release of whole bunch of albums with a central theme of death and grief. Mount Eerie’s ‘A Crow Looked At Me’, Nick Cave’s ‘Skeleton Tree’, Touche Amore’s ‘Stage Four’ and Sufjan Steven’s ‘Carrie & Lowell’ were all massively acclaimed albums, a success which is easy to comprehend given grief effects every one of us.
Sufjan’s seventh album saw him returning to a stripped-down folk sound, with a concept surrounding his then recently deceased mother. Carrie had suffered from depression, schizophrenia and substance abuse problems for most of her life and was forced to abandon Sufjan when he was just a year old. Stevens recorded the album to come to terms with Carrie’s passing and to gain closure on his sporadic relationship with her. ‘Carrie & Lowell’ is one of the most devastating, heart-breaking and emotionally taxing listening experiences of any record in music. I have absolutely no idea how anyone can be as frank and revealing as Sufjan here; he puts his heart on the line and reveals almost too much. He details physician-assisted death, succumbing to cancer, the inevitability of mortality, his own suicidal fantasies, and coming to terms with his neglect. Musically, the album balances sparse yet melodic indie folk with lush ambient interludes and Stevens’ faintly whispered vocals.
Adjusting to loss and coming to terms with anguish is usually a life-changing experience, and Sufjan astonishingly managed to capture those sensations so accurately and perfectly in under 45-minutes of music.
2. Danny Brown – ‘Atrocity Exhibition’
Now this one is a complete package. Every aspect of Danny Brown’s ‘Atrocity Exhibition’ meticulously relates to the concept; even the album art and the music videos surrounding the release are pertinent to its themes. The central theme is that Brown is the exhibition. He questions his own artistry and challenges media and fan reflections, revealing thoughts on his public presentation which usually centres on his reckless lifestyle, drug use, and his criminal past in Detroit.
The production mirrors the concept with post-punk and industrial influenced beats which impart sensations of unease, anxiety and dissociation. Sample wise, the beatmakers pluck an array of obscure tracks from genres as far afield as krautrock, noise, no wave, psychedelia and Detroit techno. I enjoyed the sample choices so much I wrote a piece on it, a feature Danny himself ended up reading!
Joyce Manor – ‘Joyce Manor’
Before being introduced to Joyce Manor’s self-titled debut, I don’t think there’s been a record that I’ve immediately fell in love with upon first listen. It was like the album was made specifically for me. At its heart it’s a modern punk album, but there’s so much more to it than that. Hints of hardcore punk, indie rock, emo revival and garage rock crop up, and the Southern Californian group manage to pack so many incredible melodies and a unique youthful spirit into every nook and cranny of the 18-minute short record.
The band were plagued with Jawbreaker comparisons with this record, which is understandable as it’s crunchy punk with a twist of emo, but to me this sounds like if all the best parts of Weezer were condensed and hefty pace was added. Lyrically, the album is astonishingly memorable. These are words, phrases and laments that will stick with me for years to come, an amazing feat as I rarely take note of many artist’s lyrics. Select verses and lines could reveal novels worth’s of intricate details and tales. On ‘Derailed’ for example, Barry Johnson details a friend or lover with few aspirations or an inability to tackle personal problems, singing “So you ache through the days, ‘Cause you’ll never mend your ways”. That’s just an example of one of my favourite lyrics from the LP; I just love the simplicity of his introspection. Every other line pretty much impacts in the same way too.
I feel like I’m not doing this much justice in this write-up here. It’s one of those records I’ve listened to hundreds of times and never skip a song if it turns up on shuffle. It’s my current favourite album ever and I don’t think anything will change that for the foreseeable future.
- Joanna Newsom – ‘Have One On Me’
- Freddie Gibbs & Madlib – ‘Bandana’
- Tim Hecker – ‘Virgins’
- Janelle Monáe – ‘The ArchAndroid’
- Mastodon – ‘The Hunter’
- Julia Holter – ‘Have You In My Wilderness’
- St. Vincent – ‘St. Vincent’
- Tom Waits – ‘Bad as Me’
- Wand – ‘Golem’
- Wormrot – ‘Voices’
- Xiu Xiu – ‘Plays the Music of Twin Peaks’
- Gil Scott-Heron & Jamie xx – ‘We’re New Here’
- Thee Oh Sees – ‘Mutilator Defeated at Last’
- Title Fight – ‘Floral Green’
- Viagra Boys – ‘Street Worms’
- Parquet Courts – ‘Wide Awaaaaake!’
- Trash Talk – ‘Awake’
- Conan – ‘Monnos’
- Unknown Mortal Orchestra – ‘Multi-Love’
- Ought – ‘Sun Coming Down’
- A Tribe Called Quest – ‘We got it from Here… Thank You 4 Your service’
- Grouper – ‘AIA: Alien Observer’
- BADBADNOTGOOD – ‘III’
- Turnover – ‘Peripheral Vision’
- Ty Segall Band – ‘Slaughterhouse’
- Radiohead – ‘A Moon Shaped Pool’
- Little Simz – ‘Grey Area’
- Mac DeMarco – ‘2’
- Four Tet – ‘There Is Love in You’
- Open Mike Eagle – ‘Brick Body Kids Still Daydream’
- J Mascis – ‘Several Shades of Why’
- The Dillinger Escape Plan – ‘One of Us Is the Killer’
- Oathbreaker – ‘Eros|Anteros’
- Full of Hell & Merzbow – ‘Full of Hell & Merzbow’
- Flying Lotus – ‘Cosmogramma’
- King Gizzard and the Lizard Wizard – ‘Flying Microtonal Banana’
- Blanck Mass – ‘World Eater’
- Joey Bada$$ – ‘1999’
- Ceremony – ‘Rohnert Park’
- Kahn, Commodo & Gantz – ‘Volume 1’
- Goat – ‘World Music’
- Gojira – ‘L’enfant sauvage’
- Denzel Curry – ‘Imperial’
- Death Grips – ‘The Money Store’
- Iceage – ‘New Brigade’
- Martha – ‘Courting Strong’
- Om – ‘Advaitic Songs’
- Pity Sex – ‘Feast of Love’
- Caribou – ‘Our Love’
- Beach House – ‘Teen Dream’
- James Blake – ‘CMYK EP’
- Boards of Canada – ‘Tomorrow’s Harvest’
- Bongripper – ‘Satan Worshipping Doom’
- The Caretaker – ‘An Empty Bliss Beyond This World’