TOP TEN ALBUMS
2010 was an exceptional year in which my cup ran far over for the top 10, with at least four additional LPs that richly deserved inclusion and even a year later I'm not sure I made the right decisions about which ones to leave off. This year was a different beast, and a more familiar one; one particular album eclipsed all others, the best thing I've listened to and reviewed in years, and while there were other wonderful records out (particularly #2-4 below, which would near the top of any year's list), nothing really stood a chance against the maverick that is Merrill Garbus, the kind of artist who makes everything else seem a little stale. By my count, in 2011 I listened to 81 new albums (the same as last year, weirdly), and ended up hearing nineteen I loved enough to add to the permanent collection. All those are listed below. Those numbers include remix albums and mixtapes.
10. Radiohead: The King of Limbs (s/r)
Back in the '90s, Radiohead rarely if ever got credit for their sense of humor, which lent Thom Yorke's sometimes oppressively maudlin lyrics a welcome hint of surreal levity. These days, now that they are the best they've ever been as a band and as a songwriting unit, they get called out for being overly cerebral and shapeless when in fact all they want to do is cut loose and have a sexy good time on the dance floor, even if it's with the caveat of an occasional ghostly ballad. So it is that Radiohead's club album, their nod to dubstep and to minimal R&B and (hell, why not) to Fleetwood Mac, somehow was sidelined as a lesser entry in their canon. To be frank, I'll take beat music this well-crafted and driving over Kid A any old time.
Best cuts: "Separator"; "Lotus Flower"; "Give Up the Ghost"
[Full review]
9. The Mountain Goats: All Eternals Deck (Merge)
John Darnielle's connection to his audience, direct and heartfelt and based entirely on the eloquently expressed hope and despair of his songs, is nothing short of remarkable. I witnessed this firsthand in May when we saw the Mountain Goats at Cat's Cradle and the mood in the room during the boisterous singalong to this album's opener "Damn These Vampires" was more or less the most electric thing I'd ever felt in a crowd. The Goats' Merge debut might initially come across as a bit of a hodgepodge; it reveals its meticulously maintained mood and its overriding theme of mortality slowly, each song given room to breathe in the band's most adventurous arrangements to date, including street corner doo wop and rip-roaring punk rock and some completely unabashed pop balladry. I don't know if it's their best album but it's likely their most listenable, and addictive.
Best cuts: "Damn These Vampires"; "High Hawk Season"; "Age of Kings"
[Full review]
8. Destroyer: Kaputt (Merge)
What makes Dan Bejar's eerie, phantasmagoric contribution to the '80s soft rock revival a cut above the mass chillwave of Washed Out and John Maus? Probably the feeling of surrender he gets out of these incongruous sax solos and the lush atmosphere, which he uses not as a force of nostalgia but an unsettling and beautiful harbinger of crushed dreams and lost, hopeless nights. It's not about the past, but the way we think of it. And it helps that the lyrics are works of dadaist, rolling-off-the-tongue genius in the vein of Dylan in the mid-'60s. You could live in Bejar's voice here as he tosses off whoppers like "Wasting your days, chasing some girls -- all right, chasing cocaine to the back rooms of the world all night"; many of us did so through the majority of 2011.
Best cuts: "Savage Night at the Opera"; "Kaputt"; "Bay of Pigs"
[Full review]
7. Wilco: The Whole Love (Anti-)
Everyone concedes that opening track "Art of Almost" is the most left-field Wilco track in many years, but the remainder of this excellent record offers finer, subtler pleasures -- as a melodicist, Jeff Tweedy is as assured as ever, maybe a little too much so. Whole Love is imbued with calm and even smugness that only periodically breaks through the expert fat-and-happy Dad rock populating this album; Tweedy clearly sees his adulthood diaries, though, as a chronicle of unrest. The cracks finally show and leftover mirror fragments of a broken heart burst through on the finale, "One Sunday Morning," a steady twelve-minute opus that never breaks the tension of its calmly repeated riff, one so lovely it can choke you up each and every time. The title's only appropriate; this is really the definitive album for a Sunday drive, early or late.
Best cuts: "One Sunday Morning"; "Art of Almost"; "Dawned on Me"
[Full review]
6. Cut Copy: Zonoscope (Modular)
Like Hot Chip, Cut Copy mark the ideal evolution of synthpop and disco as artforms -- not merely about slamdown beats and frenetic pacing, Zonoscope is a genuinely trippy and surreal collection of songs. It occasionally recalls My Bloody Valentine and fellow Aussies Tame Impala as much as Pet Shop Boys or Human League, who of course are here in spades. The pop smarts are breathtaking, especially on the mindbending "Down Under" / "Gypsy" hybrid "Take Me Over," but the key moments on songs like "Hanging On to Every Heartbeat," "Corner of the Sky," and fifteen-minute climax "Sun God" are when the band lets completely loose and the songs open up to Cinemascope flights of expansive fancy that seem to embody their buried romantic tendencies. And not that you care while you're dancing, but the lyrics are outstanding too. "Do you hear that voice inside your head whispering to live your dreams instead? Some people cling to what they know, but I woke up. Now it's time to go."
Best cuts: "Take Me Over"; "Corner of the Sky"; "Need You Now"
[Full review]
5. PJ Harvey: Let England Shake (Island)
A masterpiece of mood, Polly Jean Harvey's sober but oddly playful war album feels like some great piece of cinema. The same way something like Full Metal Jacket once recontextualized "Paint It, Black" and "Surfin' Bird," this record paints "Istanbul (Not Constantinople)," "Summertime Blues," "The Bed's Too Big Without You," and Niney the Observer's "Blood and Fire" as the soundtrack to a gray-tinted series of stark images dating from WWI to Iraq. It's morbid, sure -- bodies falling everywhere, dear friends dying, men longing to see a woman's face -- but it's also a remarkably accomplished work of thematic consistency and restraint, not to mention genre snowballing (European and African folk, reggae, '50s rock & roll). Harvey's calculation of concept pays off with something movingly harsh and beautiful.
Best cuts: "Hanging in the Wire"; "The Words That Maketh Murder"; "In the Dark Places"
[Full review]
4. Atlas Sound: Parallax (4AD)
Bradford Cox doesn't sound terribly happy these days. I don't like to say things like this, but perhaps that's good for us. In interviews, he audibly strains to overcome to pervasive sense of loss that overwhelms not just the individual songs of this LP but its entire sound. And yet, as with Harvey's album, there is a sense of pop tweak and trickiness everywhere, resulting in the most accessible record to date under either the Deerhunter or Atlas Sound name. Cox's self-medication and the loveliness of his confessional voice, even just the sheer sense of private sadness the record brings forth, are worthy of Plastic Ono Band.
Best cuts: "Doldrums"; "My Angel Is Broken"; "Mona Lisa"
[Full review]
3. Shabazz Palaces: Black Up (Sub Pop)
Not just the most purely beautiful hip hop record of the year but of the last several, the debut album from Butterfly's new project (you'll remember him from Digable Planets, if you love great rap music) is also the rare modern LP in the genre that feels like both a strongly populist effort and a genuine advancement. Individual songs don't stick out, but individual tangents do; the entire record, a slow unveiling of funk and bliss, must be heard complete. Oh, and loud. These beats and rhymes insist on taking over a room and have no use for you if you'd prefer they didn't.
Best cuts: "Endeavors for Never"; "Recollections of the Wrath"; "Are You Can You Were You"
[Full review]
2. Das Racist: Relax (Greedhead)
On last year's "hahaha jk?" Das Racist laid out their manifesto: "We're not joking / Just joking, we are joking / Just joking, we're not joking." The bizarro hybrid of good, bad, dumb, and insightful jokes on their two mixtapes of 2010 and the sheer virtuosity of Heems and Kool AD's rapping lent the trio a cult following far beyond what their novelty hit "Combination Pizza Hut and Taco Bell" once suggested. So on their debut commercial album, they pull out all the stops and issue a jaw-droppingly proficient hybrid of a truly great LP of real and terrifically engaging hip hop and a parody of a truly great LP of real and terrifying engaging hip hop. But look, "Booty in the Air" is probably a gag on those moments when intellectuals like Lupe Fiasco and Pusha T try to sell themselves as temporary party rap icons -- and yet, it's a monster groove with hysterical lyrics ("She got her booty in the air / Like her booty was a cloud") so can you entirely dismiss it? Such is the eternal conundrum, this being the band that frequently asks all the white members of their audience to leave and gleefully watches the reactions of people not sure whether to take them seriously. That stuff irks some, but those who relish that tension and discomfort (Todd Solondz fans, and people who love the Magnetic Fields' ballads because they can't decide whether they're tongue-in-cheek or achingly sincere kitsch) will find soulmates in Das Racist. And on Relax, the gang leaps forward on production and hooks while paving the way forward for an increasing willingness for political and socioeconomic straight talk, which they do better than almost anyone. Unless, of course, they're jerking us around.
Best cuts: "Michael Jackson"; "Happy Rappy"; "Girl"
[Full review]
1. tUnE-yArDs: w h o k i l l (4AD)
At bottom, this is a singer-songwriter record; that's clearer if you keep in mind that, technically, Prince was a singer-songwriter. Merrill Garbus' tUnE-yArDs project still isn't so much a band as a tornado with a backdrop. I stood inches away from Garbus at a show in October and have never felt so much like I was witnessing some sort of a master at work. She hammers on her uke and pounds on her sticks and dances with her sax players but most of all, she sings, and her voice is a sometimes guttural, sometimes bracingly wild-scary-sexy instrument that rings out and pleads for others to share its curiosity and assurance. The mountains of people dancing like maniacs at that show suggest she's finding plenty of folks willing to participate. w h o k i l l is an oddball but direct, precise series of nine pounding body-music pieces, many of which toy with pop conventions before (or while) veering off in half-crazed directions, plus one creepy-crawly ballad. Every track is brilliant, a revelation, the most instantly lovable album for me since Yo La Tengo railed out with I Am Not Afraid of You and I Will Beat Your Ass. It's a portrait of an artist with confidence, joy, worry, despair (on the glorious "Doorstep"), all with the highest of ability. I really can't remember the last time I connected so intensely with a performer; I have to agree with Yoko Ono, who brought Garbus on stage with her a couple of months ago then turned to the audience after they collaborated on a cover of "We're All Water" and said "She's great, isn't she?" tUnE-yArDs demand and deserve attention, and Merrill Garbus is doing everything I want music to do, in the finest of traditions but while releasing material that's thoroughly unique. Can't wait for more, lots and lots more.
Best cuts: "Doorstep"; "Powa"; "Gangsta"
[Full review]
HONORABLE MENTIONS
(Others I loved in 2011)
TV on the Radio: Nine Types of Light (Interscope)
The first half of this intensely romantic, sensual fourth TVOTR album is so start-to-finish brilliant it's a bit difficult on first pass to appreciate the more obvious and traditional second half. All the same, "You" is the slowdance masterwork of the year, "Second Song" the best job anyone's ever done of marrying Prince to stark folk-rock, "Killer Crane" an extraordinary Brian Wilson-like ballad that sounds like the eulogy it turned out to be (for bassist Gerard Smith, who died just after the album's release). Even if it's the weakest of their LPs thus far, Nine Types turns the way forward for this genuinely great band.
Best cuts: "You"; "Will Do"; "Killer Crane"
[Full review]
Nicolas Jaar: Space Is Only Noise (Circus Company)
You don't have to be a lamenter of modern music, which I am not, to concede that very little of what we hear today feels truly identifiably new; I'm too much of a pop guitar stalwart to believe newness is what finally matters about music. But Space Is Only Noise carries more wisps of the new than anything I've heard in some time. And what's most bracing about it is its sheer accessibility; along amongst the wave of dubstep and electro-jazz breakthroughs of these past few years, it holds that proto-legendary vibe of the rare electronic record that any pop fan, especially any alt-pop fan, will understand and love. My Life in the Bush of Ghosts, Dig Your Own Hole, Play, and Since I Left You -- it's a short list but a profound one, of records that soared far beyond their target audiences and became a part of more lives than their creators likely imagined possible. As at so many other points when techno and electronica almost became mainstream, never before with a recording this subtle and quirky, I find myself on hearing Space Is OnlY Noise engaging in an undetached cry of joy for the future. It deserves to be as a communal as it feels, so make that happen, please.
Best cuts: "Problems with the Sun"; "Space Is Only Noise If You Can See"; "I Got a Woman"
[Full review]
Cults (Columbia)
At one point in that half-hour, Cults come out completely from behind the veil of irony for the stunning "Oh My God," a deliberate lyrical recasting of the Supremes' "Love Is Here and Now You're Gone" and a passionately expressed paean to the fear of wasting one's life and youth, stuck in "the same ancient tradition": "I'm so tired of all these adult decisions / Oh my god, I'm ready to walk right out that door." Plenty of men have permitted themselves to express this claustrophobia; see The Graduate. But the way the vocal is complemented by the vibraphone, countered by the sludgy bed of guitars and bass, give us something resembling an anthem, not just about feminism but about breaking away, joyfully so, descending even into schoolyard chant at the "I can run away" mark. Fuck every self-regarding dismissal of this record -- the mastery of this track speaks for itself.
Best cuts: "Bad Things"; "Oh My God"; "Bumper"
[Full review]
Smith Westerns: Dye It Blonde (Fat Possum)
And one can't overstate the importance of that ringing guitar sound all over this pop record in a period of indie rock that's become known for studio manipulation and synthpop worship -- the attempted duplication, rather than evocation, of bygone noises. No interest in that from Smith Westerns; they're young, they're eager, and this is the noise of youth as we have understood it to this point. Rock & roll, right? These boys have captured this moment
Best cuts: "Dance Away"; "Weekend"; "End of the Night"
[Full review]
A$AP Rocky: LiveLoveA$AP (RCA)
Those demanding to know why RCA paid $3 million to sign this guy are asking the question in the wrong way. Properly, it is: does A$AP Rocky use the opportunity of this coyly released free mixtape to prove exactly why he was worth that paycheck? The answer is yeah, absolutely and unequivocally. Rocky's debut tape is the most convincing act of self-proof by a young man since The College Dropout seven years ago. More than just promising, it's the most immediately striking and appealing mixtape to surface in many, many years.
Best cuts: "Trilla"; "Peso"; "Demons"
[Full review]
The Decemberists: The King Is Dead (Capitol)
It was such a relief to get this increasingly commercially successful and alt-ignored band back from the prog rock doldrums of The Hazards of Love that it's tempting to overlook the result's minor excesses: I mean, maybe "This Is Why We Fight" is a bit ridiculous and "Rox in the Box" is just plain too much artificial folksiness. But any unfussy surrounding for Colin Meloy's frequently gorgeous songcraft, even as he's still weirdly obsessed with war and death and apocalyptic imagery, is welcome -- the ballads in particular are amongst the best and slickest work this once-scrappy unit has ever done. The studio lushness suits them well, with Gillian Welch and Peter Buck adding a welcome touch of grit. The Decemberists are reportedly laying low for a while to dream it all up again, so to speak, making this a lovely bow out for now.
Best cuts: "Calamity Song"; "Dear Avery"; "January Hymn"
[Full review]
Twin Sister: In Heaven (Domino)
It's a bias talking, really; after somewhat bland material from Tennis and the fine but mildly abrasive debut from Cults, I was overjoyed to get such a straightforward record of sinister baroque pop. The palette of influences here is enjoyably broad, and each cut has enough hooks for a full-length album. In a year rife with constant throwbacks, this stands out for me as one of the strongest.
Best cuts: "Gene Ciampi"; "Stop"; "Kimmi in a Rice Field"
[Full review]
Curren$y: Return to the Winner's Circle (Datpiff)
In fact, Return to the Winner's Circle is so good -- such fresh, smart party music with clever lyrics and phenomenal, no-nonsense rapping -- you wonder why nothing else Curren$y did in 2011 quite stands up to it. But who gives a fuck? In the last year and a half, the guy's released more music than most rappers put out in half a decade. Can't wait to see what the hell he gets up to next year.
Best cuts: "Role Model"; "Trophy Case"; "Frost"
[Full review]
The Antlers: Burst Apart (Frenchkiss)
It seems rather appropriate that the Antlers' highest profile opening slot was for the National, whose more masculine moodiness seems an ideal complement to this Brooklyn band's equally beautiful but somewhat less stoic atmospherics. The treasure the two bands share is an unassuming knack for anthemic songs that sneak up from below -- tunes as adept at blending in gorgeously to a dark soul-searching night's background as to careful study and obsession. The best precedent for this kind of intricately detailed, sad but rewarding music might be "E-Bow the Letter"-era R.E.M., when that band was at their most confident in the notion of submerging catchy songs in many layers of deceptively muddy sonics. The tension this provides, the air of discovery that results, is more than a little addictive.
Best cuts: "Hounds"; "No Widows"; "Every Night My Teeth Are Falling Out"
[Full review]
***
OTHERS I LIKED IN 2011
Over the Rhine The Long Surrender (Great Speckled Dog)
Gang Gang Dance Eye Contact (4AD)
Björk Biophilia (Nonesuch)
St. Vincent Strange Mercy (4AD)
Curren$y Weekend at Burnie's (Warner Bros.)
Gil Scott-Heron & Jamie xx We're New Here (XL)
Gang of Four Content (Yep Roc)
James Blake (A&M)
Wire Red Barked Tree (Pink Flag)
Lykke Li Wounded Rhymes (Atlantic)
The Bats Free All the Monsters (Flying Nun)
Jay-Z & Kanye West Watch the Throne (Def Jam)
Beastie Boys Hot Sauce Committee Part Two (Capitol)
Real Estate Days (Domino)
Iceage New Brigade (What's Your Rupture?)
Red Hot Chili Peppers I'm with You (Warner Bros.)
Okkervil River I Am Very Far (Jagjaguwar)
Oneohtrix Point Never Replica (Software)
The Pains of Being Pure at Heart Belong (Slumberland)
Sepalcure (Hotflush)
Wye Oak Civilian (Merge)
Male Bonding Endless Now (Sub Pop)
John Maus We Must Become the Pitiless Censors of Ourselves (Ribbon Music)
The Chemical Brothers Hanna OST (Back Lot)
The Field Looping State of Mind (Kompakt)
Times New Viking Dancer Equired (Merge)
The Weeknd House of Balloons (s/r)
Youth Lagoon The Year of Hibernation (Fat Possum)
EMA Past Life Martyred Saints (Soulterranian Transmissions)
Tennis Cape Dory (Fat Possum)
The Mountain Goats All Survivors Pack (Merge)
Yuck (Fat Possum)
The Strokes Angles (RCA)
OFF! First Four EPs (Vice)
Iron and Wine Kiss Each Other Clean (Warner Bros.)
EP'S I LOVED IN 2011
PAPA A Good Woman Is Hard to Find (Hit City USA)
Crystal Stilts Radiant Door (Sacred Bones)
EP'S I LIKED IN 2011
Colleen Green Cujo (Art Fag)
Darkside (Clown & Sunset)
Surfer Blood Tarot Classics (Kanine)
The Decemberists iTunes Session (Capitol)
The Decemberists Long Live the King (Capitol)
The Flaming Lips with Neon Indian (Warner Bros.)
Vampire Weekend iTunes Session (XL)
***
BEST SONGS OF 2011
Limiting to one song per album, but not per artist. Last year I posted this with few hefty revisions past initial impressions and I've regretted it since then, uncomfortable for instance that I chose "Take It Easy" over "Anchorage" and "Runaway" over "All of the Lights." I've done my best to be more fluid this year, approaching the evolution of my relationship with these songs over time.
1. tUnE-yArDs "Doorstep" [w h o k i l l]
2. Cut Copy "Take Me Over" [Zonoscope]
3. Das Racist "Michael Jackson" [Relax]
4. Smith Westerns "Dance Away" [Dye It Blonde]
5. Wilco "One Sunday Morning" [The Whole Love]
6. PAPA "I Am the Lion King" [A Good Woman Is Hard to Find EP]
7. TV on the Radio "You" [Nine Types of Light]
8. Big KRIT "Rotation" [Return of 4Eva]
9. Big Black Delta "Huggin' and Kissin'" [Recordings EP]
10. Mozart Parties "Black Cloud" [non-LP single]
11. A$AP Rocky "Trilla" [LiveLoveA$AP]
12. Curren$y "Hennessy Beach" [Verde Terrace]
13. Stephen Malkmus & the Jicks "No One Is (As I Are Be)" [Mirror Traffic]
14. Jay-Z & Kanye West "Niggas in Paris" [Watch the Throne]
15. The Pains of Being Pure at Heart "Even in Dreams" [Belong]
16. Gil Scott-Heron & Jamie xx "My Cloud" [We're New Here]
17. Holy Ghost! "Some Children" [Holy Ghost!]
18. The Mountain Goats "Damn These Vampires" [All Eternals Deck]
19. Twin Sister "Gene Ciampi" [In Heaven]
20. Curren$y "On G's" [Weekend at Burnie's]
21. Azealia Banks "212" [internet-only]
22. M83 "Midnight City" [Hurry Up, We're Dreaming]
23. Cults "Bad Things" [Cults]
24. Lykke Li "Get Some" [Wounded Rhymes]
25. Björk "Moon" [Biophilia]
26. Chains of Love "Breaking My Heart" [non-LP single]
27. Atlas Sound "Doldrums" [Parallax]
28. Pusha T "What Dreams Are Made Of" [Fear of God II: Let Us Pray]
29. Feist "How Come You Never Go There" [Metals]
30. Radiohead "Separator" [The King of Limbs]
31. Destroyer "Savage Night at the Opera" [Kaputt]
32. The Decemberists "Calamity Song" [The King Is Dead]
33. St. Vincent "Cruel" [Strange Mercy]
34. New Build "Finding Reasons" [non-LP]
35. James Blake "The Wilhelm Scream" [s/t]
36. No Joy "He Cried" {Shangri-Las cover} [non-LP single]
37. PJ Harvey "Hanging in the Wire" [Let England Shake]
38. Heavenly Beat "Faithless" [non-LP single]
39. Danny Brown & Black Milk "Zap" [Black and Brown]
40. Depeche Mode "So Cruel" {U2 cover} [Q Magazine Achtung Baby tribute]
41. Male Bonding "The Saddle" [Endless Now]
42. Red Hot Chili Peppers "Did I Let You Know" [I'm with You]
43. Curren$y "Role Model" [Return to the Winner's Circle]
44. The Strokes "Machu Picchu" [Angles]
45. The Mountain Goats "Catherine Antrim's Kid" [All Survivors Pack]
46. Nicolas Jaar "Problems with the Sun" [Space Is Only Noise]
47. The Weeknd "What You Need" [House of Balloons]
48. J Mascis "I've Been Thinking" [b-side]
49. The Antlers "Hounds" [Burst Apart]
50. Radiohead "The Butcher" [non-LP single]
51. The Decemberists "Hey! That's No Way to Say Goodbye" {Leonard Cohen cover} [iTunes Session EP]
52. Over the Rhine "Soon" [The Long Surrender]
53. Colleen Green "Rabid Love" [Cujo EP]
54. Crystal Stilts "Frost Inside the Asylum" [Radiant Door EP]
55. The Mountain Goats "Thucydides II-58" [internet-only]
56. Shabazz Palaces "Endeavors for Never" [Black Up]
57. Wire "Please Take" [Red Barked Tree]
58. Azealia Banks "Grand Scam (Lyrical Exercise)" [internet-only]
59. Olivia Tremor Control "The Game You Play Is In Your Head parts 1, 2, and 3" [non-LP]
60. Real Estate "Green Aisles" [Days]
61. The Flaming Lips "Hillary's Time Machine Machine" [gummy skull]
62. Gang Gang Dance "Romance Layers" [Eye Contact]
63. Woods "Skull" [split 7"]
64. Bibio "K Is for Kelson" [Mind Bokeh]
65. Escort "Makeover" [Escort]
66. Darkside "A1" [Darkside EP]
67. Beastie Boys "Nonstop Disco Powerpack" [Hot Sauce Committee Part Two]
68. Charlotte Gainsbourg "Paradisco" [Stage Whisper]
69. Surfer Blood "Drinking Problem" [Tarot Classics EP]
70. Dom "Things Change" [internet-only]
71. G-Side "Look Up" [iSLAND]
72. The Weeknd "Lonely Star" [Thursday]
73. Still Corners "Cuckoo" [non-LP single]
74. Cass McCombs "The Same Thing" [Humor Risk]
75. Tennis "Tell Her No" (Zombies cover) [non-LP single]
Times New Viking "California Roll" [Dancer Equired]
Okkervil River "Piratess" [I Am Very Far]
Zola Jesus "Seekir" [Conatus]
Gang of Four "A Fruitfly in the Beehive" [Content]
Bleached "Electric Chair" [b-side]
John Maus "Keep Pushing On" [We Must Become the Pitiless Censors of Ourselves]
Old 97's "How Lovely All It Was" [The Grand Theatre Volume Two]
Race Horses "Benidorm" [non-LP single]
Casimer & Casimir "Anne Cherchait l'Amour" [non-LP]
Wye Oak "Fish" [Civilian]
EMA "Grey Ship" [Past Life Martyred Saints]
Yuck "Milkshake" [non-LP]
The Flaming Lips & Neon Indian "Alan's Theremin" [With Neon Indian EP]
The Bats "Simpletons" [Free All the Monsters]
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