This November was much better than last year, where I struggled to even make a post with November and December combined. Some really good stuff this month, including my space queen Björk. Still trying to unpack her record, but it’s still yielded some goosebumpy listens. I cannot recommend SASSY 009 and Yaeji enough – two EPs that pair nicely together.
Angel Olsen – Phases [Jagjaguwar]
A box of old things found while going through your childhood home.
Björk – Utopia [One Little Indian]
Like eating a really, really spicy pepper and experiencing a euphoric spectrum of overwhelming stimuli and blistering heat.
Call Super – Arpo [Houndstooth]
A rollercoaster made out of really nice office chairs.
Charlotte Gainsbourg – Rest [Because]
Driving down a winding, tree-lined road at night with a bouquet of roses, a knife and a one-way plane ticket in the passenger seat.
DJ Seinfeld – Time Spent Away From U [Lobster Fury]
Getting emotional in the club, or maybe in a step aerobics class.
EERA – Reflection Of Youth [Big Dada]
Your house is steadily filling up with sand and the sounds of birds.
Gunn-Truscinski Duo – Bay Head [Three-Lobed Recordings]
Two best friends, competitors, rivals, partners, equals, duel for the fun of it to delay the end of the world.
SASSY 009 – Do you mind EP [Hard Up / Luft Recordings]
Getting crushed by a giant LED screen that’s showing a live feed of you getting crushed by said LED screen.
Yaeji – EP2 – [Godmode]
“When the sweaty walls are bangin’, I don’t fuck with family planning. Make it rain, girl, make it rain.”
Various Artists – Diggin’ In The Carts : A Collection Of Pioneering Japanese Video Game Music [Hyperdub]
A hidden cavern filled with dusty treasures.
Haven’t posted in a while, but I’m going to be posting A LOT of list content soon so I wanted to get something I’ve been jamming on before all that comes out.
SASSY 009 is one of the few new groups this year that have actually excited me and got my musical obsession juices flowing this year. They’re truly something special and I can’t wait for you all to start listening to them. My favorite song off their debut EP, “Feel me,” is nowhere on the internet besides Spotify, so go listen to it there. For now, listen & watch the video for “Are you leaving”, which features a great flute and some bit-crushed drums.
“Intimidatingly euphoric” rave track from True Panther duo SoulMates. The press releases hint at bigger names behind the music here, but for now they’re going under the aliases of Adaron and Nico, a corgi and gecko, respectively. This track is a major banger and I’ve been listening to it over and over. I listed it in my favorite songs of October post, but thought it deserved its own little shout out here. Hope you enjoy.
October yielded some really, really great albums. Some things that had me reach outside my comfort zone and pull back remarkable things I probably wouldn’t have listened to otherwise. I highly recommend anyone listen to the things I’ve listed here. You can do it! You’ve earned it! Enjoy your life and reap its benefits!
CCFX – CCFX EP [DFA]
The oldest car in the Kroger parking lot has a shoegaze mix stuck in its CD player and a copy of Silence Of The Lambs on laserdisc, wrapped in a down coat, laying in the trunk.
Circuit Des Yeux – Reaching For Indigo [Drag City]
A cowboy hat and a bouquet of blue roses are launched into a multi-dimensional rift.
Colleen – A flame my love, a frequency [Thrill Jockey]
A series of recurring dreams in which the clouds and stars and planets and waves and snowflakes and dead leaves become emotionally dependent on one another.
Destroyer – ken [Merge Records]
Otherwise mundane and common occurrences are overplayed to a theatrical, over the top degree by assorted pedestrians that it charms many into a state of euphoric fatigue.
Fever Ray – Plunge [Mute]
A human trapped in alive ice for the past 80 years is thawed and experiences culture shock upon viewing the hedonistic behavior of today’s society, eventually succumbing to the overwhelming carnal pleasures.
Kaitlyn Aurelia Smith – The Kid [Western Vinyl]
Deep analyses of a dense, murky swamp and all of the complex, intertwined relationships of the organisms that thrive there.
Kelela – Take Me Apart [Warp Records]
A break-up leads our protagonist to a full-bodied metamorphosis into a truly superior, elegant and groove-based individual that effortlessly glides through analyzing and accepting trauma and kindles a new love within themselves.
King Krule – The OOZ [True Panther Records]
A previously charming man who’s spent too long laying in a gutter, covered in mold, shambles around an urban landscape in the dead of night, searching for stimulants.
Kllo – Backwater [Ghostly]
Warm lights bob and pulsate around and against two stainless steel sculptures of lovers.
Nai Palm – Needle Paw [Sony Masterworks]
A room full of candles melt wax into the form of a multi-colored snake, which majestically slithers into the starry heavens.
GR8 SONGS OF OCTOBER::
Listen to all these songs plus at least 150 more from 2017 on this Spotify playlist.
Blue Hawaii – “No One Like You”
CCFX – “The One To Wait”
Circuit Des Yeux – “Black Fly”
Colleen – “A flame my love, a frequency”
De Lux – “875 Dollars (Juan MacLean Remix)”
Deradoorian – “Mountainside”
Destroyer – “Sky’s Grey”
Fever Ray – “To The Moon And Back”
Fever Ray – “Red Trails”
Foodman – “Oyaji Voice”
John Maus – “Touchdown”
Kaitlyn Aurelia Smith – “Who I Am And Why I Am Where I Am”
A man in a suit of mirrors walks down a dark highway, reflecting the light of passing headlights into a pitch-black sky.
Reduction Plan is the main venture of CT musician and friend of the blog Dan Manning and is often joined by similar friend of the blog Luis Durango onstage (and potentially in the studio? Who knows! I’m working on a Reduction Plan exposé to answer these questions, so stay tuned). Solo or together, Reduction Plan makes dark rock songs heavily based upon guitar and drum machine work with the occasional flash of synth and loop-based noise interludes. Their newest record, Somewhere, was released this summer.
Buried beneath the 80s-inspired guitar and standoffish, gothic flair lie the architectural basis of great pop songs, learned from years of practice and listening. Dan and I have bonded over many bands that I feel have keys to the basement of Reduction Plan’s foundation, from basics like The Smiths, Echo & The Bunnymen and New Order, to contemporary favorites like Have A Nice Life, Merchandise, and Black Marble. So going into it, I knew the influences were there. All these groups have made obviously incredible pop songs with varying shades of darkness etched into them. There’s no doubt those pop sensibilities would also carry over with the overall aesthetic that Reduction Plan drapes over their own work. The guitars shimmer, shake and smash, the drum machine plods along with a minimal, yet necessary accompaniment, and Dan’s droning vocals keep the nihilistic goth feel alive and well. What I’m trying to say is that Somewhere falls in line with the dark, post-punk lore that has stretched for years before this, marking itself a worthy addition to the catalog.
“Dreams In Blue,” is the first track that really stuck out to me, since it’s the best overall “guitar”song on the record. It also adds another player into the RP lore, Ryan Kalentkowski, who adds guitar work to the track. Thanks Ryan! The melody ebbs and flows like a rough patch of sea, arcing into a high register before quickly dipping down to a crushing, resolving chord. It’s a moving melody, one that takes the listener on a journey and sets it apart from other murky tracks that populate the rest of the record. It has a steady tempo (not too fast to slam, not too slow to stifle), a big resounding “for whom the bell tolls” / “clock strikes midnight” dirge stomp joins a muted drum machine to keep time, and the ghostly vocals in the back add more ambiance than anything. Definitely a great rock song for when you’re in the mood to light candles and sit alone in a nice chair.
I meant to write about the record here sooner, but it honestly didn’t feel right to write about something like it at the time of release. The music of Somewhere is not fit for light summer listening, at least not for someone of my stature. Projects from Vince Staples, Washed Out and Kirin J Callinan had just come out. I was listening to Japanese city pop. Not now, Reduction Plan. Catch me with the candles and nice chair later.
Going back to the draft of this post now was natural. It’s in the waning days of October and despite the weather on the East Coast being unusually humid and rarely dipping below 60º, it feels infinitely more appropriate to start getting people talking about Reduction Plan. This is music made for fast-approaching evenings, deep shadows, great sunsets, central heat getting fired up, layered clothing, the whole fall package. Just check out the song “Autumn,” the most upbeat and pop-leaning song on the record. Doesn’t that make you wanna ride a bike down a leafy path at sunset, racing against the clock? I sure can.
September was a breath of fresh air after a stale summer of music. Plenty of great albums are included here, none of which have cracked my Top 10 overall yet, but a few are chilling in the Top 20 for sure 😉 There were also plenty of other notable records that I didn’t even have time to get to, so if you see any glaring omissions, it’s likely because I just didn’t get to it! Or it’s just bad – your call. Things are listed in alphabetical order as always.
Alvvays – Antisocialites [Polyvinyl]
A group of teenage friends live out the last weeks of their final suburban summer break in flawlessly attractive fashion. All of them have incredibly complicated relationships with each other, ones that are like, completely believable and real, but we just can’t get into that detail right now, okay?
Ariel Pink – Dedicated To Bobby Jameson [Mexican Summer]
An out-of-town ghoul breaks into a recording studio to make a record based off sounds they’ve heard on the retro radio transmissions coming from below the graves they sleep on top of every night.
The Caretaker – Everywhere At The End Of Time – Stage 3 [self-released]
A tube television in the middle of an abandoned, velvet-laden smoking room struggles to play the hits to no one in particular, despite having one lone, decaying participant sitting comfortably in front of it.
Chelsea Wolfe – Hiss Spun [Sargent House]
A man is lost in a never-ending, pitch-black maze, continuously being called by a female’s voice from around every corner. His search instead yields new horrors at each turn him, immersing him in the eternal macabre while the voice wails away in the darkness.
Faith Healer – Try 😉 [Mint Records]
A roller derby team’s star goes through crisis after a crippling injury, resorting to consultations with the occult to help heal themselves before the next big match.
Four Tet – New Energy [Text Records]
Only on the descent to reach 10,000 feet beneath the ocean, amongst the pulsing lights of angler fish and cuttlefish, can you find your truest, most organic peace.
Giant Claw – Soft Channel [Orange Milk Records]
The recording of a symphony written and performed in the room where the Eyewitness intro was filmed has fallen down a flight of stairs.
Hundred Waters – Communicating [OWSLA]
A group of scientists observe a collection of crystalline matter growing at the bottom of a lake that slowly breaks apart and floats into space.
Iglooghost – Neo Wax Bloom [Brainfeeder Records]
Playing every video game at once while hurtling down the side of a mountain in a wingsuit.
Nosaj Thing – Parallels [Innovative Leisure]
Every lost thought or sound unnoticed from the daytime bubbles back up and out from sewers and street lights at night, providing an ominous yet organically rhythmic soundtrack for processes after dark.
Omni – Multi-task [Trouble In Mind]
A cowboy, an Elvis impersonator, a librarian, a priest, a skeleton, a bullfighter, an astronaut, a beauty queen and a butler all walk into a bar.
Phoebe Bridgers – Stranger In The Alps [Dead Oceans]
Meeting up with a friend you haven’t seen since high school at the small town bar and hearing their tragic & dramatic stories since the two of you parted ways.
Susanne Sundfør – Music For People In Trouble [Bella Union]
The last human on Earth reflects on their past encounters of human contact and tries to engineer the next generation of living beings to inhabit a nature-reclaimed Earth.
Trio Da Kali & Kronos Quartet – Ladilikan [World Circuit]
A giant heart beats below the soil, shaking layers of sediment free and allowing nature to flourish amongst a rather uptight environment.
Zola Jesus – Okovi [Sacred Bones] An immortal, emotionally-tortured vampire tries & fails to resurrect a lost friend in a series of dark magic rituals.
GR8 SONGS OF SEPTEMBER::
Alex Cameron – “Runnin’ Outta Luck”
Alvvays – “Dreams Tonite”
Alvvays – “Saved By A Waif”
Ariel Pink – “Kitchen Witch”
Bicep – “Orca”
Björk – “The Gate”
Black Belt Eagle Scout – “Soft Stud”
Burial – “Rodent”
Chelsea Wolfe – “The Culling”
Destroyer – “Tinseltown Swimming In Blood”
Faith Healer – “Sterling Silver”
Four Tet – “SW9 9SL”
Giant Claw – “Soft Channel 007”
Hercules & Love Affair – “Controller (ft. Faris Badwan)”
Hundred Waters – “Wave To Anchor”
Jessica Lea Mayfield – “Offa My Hands”
Kaleida – “Echo Saw You”
Kamasi Washington – “Knowledge”
Kedr Livanskiy – “Za Oknom Vesna”
Kelela – “Frontline”
Knox Fortune – “Lil Thing”
Madeline Kenney – “Uncommon”
Midnight Sister – “Shimmy”
Mount Kimbie – “Marilyn (ft. Micachu)”
Myrkur – “Ulvinde”
Nosaj Thing – “Sister”
Omni – “Supermoon”
Phoebe Bridgers – “Motion Sickness”
St. Vincent – “Los Ageless”
Superorganism – “Something For Your M.I.N.D.”
Susanne Sundfør – “Mountaineers”
Trio Da Kali & Kronos Quartet – “God Shall Wipe All Tears Away”
At last, we’ve reached the end of the marathon – the ninth concert in eight days. Granted, by the time I’m writing about this, I’ve gone to at least eleven shows in between, but that’s besides the point. I don’t get paid for this and I have many other things to do. If you’ve been reading all of these, I thank you dearly. It’s mostly something I’ve done on my own but it’s good to have a companion, you know? Onwards:
So the last show on the docket was Blanck Mass, the bludgeoning master of noise and sound hailing from the UK and is one half of the great experimental duo Fuck Buttons. I’ve been a casual fan of his music since his 2015 album Dumb Flesh, but things really started to perk up with his 2017 record, World Eater. This burst of attention was mostly due to two songs: “Please” and “Silent Treatment.” These two songs are hard-hitting angel wings, in that they’re loud, mildly disturbing, but so, so sweet to listen to. The mixture of thumping bass loaded into each track combined with their heavenly samples of voice is too much to comprehend at times. Most of the other songs on this new album are just straight up blasts of noise that wriggles around in the ear canal before slopping out of your mouth. It’s intense music, that’s for sure. I didn’t really know what I was in for in the live setting. All I knew is that it was going to be LOUD.
Lemme tell ya – loud it was. I was lucky / foolish enough to stand at the front of the stage at Rough Trade for the show: right in front of the monitors and speakers. It was one of those shows where the bass is so loud that the things in your pockets shake around. Your pant legs vibrate against your skin. Teeth perhaps chatter if you’re not careful. He started out with the noisiest, most abrasive material to start the show, as if to say, “oh hey there” in his own crazy, messed up world. There was very little semblance of rhythm or a steady beat going on, just thundering noise and blistering low end. When any high end at all came through, it was piercing, jarring, unsettling. All the while, there were breakneck visuals morphing over Blanck Mass via projector, which mostly consisted of glitched out commercials and cartoons, along with the average “noise show screensaver” type look.
Since I was at the front, I couldn’t really see what the rest of the audience was doing in response to this onslaught. I usually don’t know how to conduct myself at shows either, but this time I was especially curious. Were people bobbing their head to a beat that had not yet revealed itself to me? Were they standing still and marveling? Were they going wild, knocking into one another? I could have looked behind me and made this observation for myself, but I don’t think I ever did. Either that or I saw everyone standing still and watching, which is possibly the most boring and least-memorable thing ever. All of these options are possible. Choose whichever one you’d like to to make a scenario for yourself.
Eventually his set drifted out of the mire and into more familiar territory. This started with “Silent Treatment,” which was just a treat to hear live. Its tornadoes of sound whipping everything around it and throwing it into the stratosphere is killer, along with the rapid-fire kicks. Such a propulsive song. Blanck Mass then started diving into the first steps of “Please,” which is debatably his most popular song. At this point in the show the projections change from rather nondescript images and videos to footage of pulsating colonoscopies, earwax extraction, cyst draining, and other disorienting bodily processes. The beginning of “Please” is rather slow as well, the audience was standing in silence watching these disgusting videos as the song starts up. I could tell other people in the audience are like taken aback by seeing these images, plastered right up on a big stage, while listening to the song that most of us came to see.
Part of me found this hilarious and a really great move to pull by Blanck Mass, whose sole goal is to uproot and disturb with his music. When the song no longer disturbs and uproots but actually brings people in, why not disturb them in another way? The other part of me was the naturally repulsed part – I have a history of not doing well from watching any sort of bodily release or manipulation video. Take the time I almost passed out in a psych class from a video of a doctor poking an actual brain in an actual human body. I had to leave the classroom and got accosted for it by the professor. Or how about the actual time I passed out in eighth grade during a birthing video? Or the time I passed out on the bus in fifth grade when the radio station was sharing an interview with an open heart surgeon? The list goes on. Granted these images on screen aren’t as gory as the examples listed above, but the combination of extremely loud and intense music, mixed with the heat, mixed with the lack of sleep from seeing now nine shows in eight days – I had to get out of there. Or I was gonna be that guy that passed out in the front row of a Blanck Mass show at Rough Trade. I wonder if they’d let me go to shows for free then?
As I moved to the back and readied for departure, I had one more notable observation. While standing behind the soundboard, a person had placed their drink on the sound booth’s ledge and let it chill there. I saw the bass slowly but surely edge the cup off of the ledge, spilling everywhere outside the booth. To this, the sound guy cheered and clapped – clearly this was one of his objectives from the start of the night. I’m glad to have seen that little tidbit to end my night. After that I headed home and straight to bed. That was just nine concerts in eight days for one sleepy guy.
Morale Check: Happy I did it! One of the only reasons I like New York City is that I get to go to shows like these. I feel really lucky to be in such close proximity to all these artists coming through and acknowledge the fact that I probably won’t get the chance, or rather, a chance as easy as these to see them again. With Blanck Mass – who knows when I’d see him next? For an artist like Aldous Harding, whom I’ve seen four times now already, it’s all a matter of interest and convenience. Does that make sense? Either way, I live in NYC, might as well see some dang shows and support live music in this terrible hellscape of a world we live in.
If you’ve been reading through all these, I really want to thank you! You’re a real trooper and it means a lot that you stuck with me on this. Maybe I’ll continue to do some live reviews. But for now I’m gonna chill, I think.
Coming to the end of the streak of consecutive shows, but not the end of shows attended in September. Seeing Aldous Harding was my second most-anticipated show of the series, under Mount Eerie, despite seeing her three times already. She’s just that special of a performer.
If you haven’t seen or even heard Aldous Harding before, I’ll start this off saying that you really should do your best to accomplish both things on the quick side. There’s clearly a reason I’ve seen her four times within a year’s span at this point. Her songs are simple, yet carry the weight of the planets (yes, this is a nod to one of her new, unreleased songs). Her vocal style can shape shift to different caricatures of singers, like a lounge singer, a folk singer, but more importantly, back into an undefinable, completely unique form of her own. Combined with her lyrics and voice is the performance aspect, which is also up to par with the talent of the two former. She definitely gets into her performances: making faces to match the intensity, making prolonged eye contact with members of the audience, making slightly self-deprecating comments about the set, etc. It’s a complete package.
I went with a friend who had never seen Aldous before, so I was really excited to see what she thought of her performance. She began the set with potentially my favorite song off the new record, “Swell Does The Skull,” a spare, striking song that slowly develops and whittles away at the soul with its lyrics. She sang it perched up on a stool, awkwardly cradling her guitar and occasionally slouching back so deep that she has to glance up with her eyes to look at the crowd. This is the Aldous that I’m used to seeing now, but one I’m not immune to. I’m not done getting goosebumped when she hisses out lyrics, or when she breaks the act and flashes a weird grin, or just like, whatever she does performing. I, along with most of the audience, remain bewitched despite potential overlap between shows.
The reason I know for a fact the audience was bewitched was because everyone was stone-cold silent. There was a bit of chatter near the beginning, but once Aldous got started on her set, Bowery Ballroom went deadly quiet. She seemed to be put off by these eerie silence, commenting on it multiple times. She wasn’t sure if she liked the silence more than the chatter, since she felt defenseless in this current state. There was a male audience member who tried to initiate conversation with her at this point, to which she kind of made a face at, shrugged and started her next song. Way to go, Aldous. That guy was weird.
In her band was Invisible Familiars, a fellow Kiwi musician who I’ve seen back her up multiple times now, along with Joan As Police Woman playing bass, a notable figure in the NYC music scene. Together they made a tight band that split duties between guitar, keyboard, synth, backup vocals and bass, while Aldous played guitar and sang.
The setlist comprised of all “new” songs: tracks that are off of her 2017 album Party, along with unreleased new material, all of which sounds extremely promising. Earlier in this review I mentioned “The Weight Of The Planets,” which is one of the new songs, one that I’m very excited to hear from the studio. She doesn’t perform anything from her self-titled record from 2014, which is a bit disappointing since there are some really great songs on that record, but they vary quite a lot from this new material, so I can definitely understand the decision not to tap that far back. I’m glad I got to see these older songs at least once – the first time I saw her back in October 2016 when she opened for Deerhunter. Check out one of them below.
One note about this show that deviated from the others I’ve seen is that she did not end the show with her self-appointed “best song of all time,” Paul McCartney’s “Single Pigeon.” This time she played a song I had never heard before and if I remember correctly, it was a song she had never played live at all. She switched over to playing the keyboards – another first. I’m looking forward to hearing the studio version!
In the end, it was another great show to add to her already long list of admirable performances. My friend loved the show and said that even though “Horizon” is probably her least favorite song on the record, she loved hearing it live here. This is for good reason too – “Horizon” is undoubtedly Aldous’ biggest and most bombastic song, so she pulls out the stops in performing it live. On record it kind of sticks out awkwardly if you don’t have any context in how she performs it, but once that piece of the puzzle locks in, I think it becomes a much more enjoyable track. One that is highly anticipated on an average listen-through as well as on the end of a setlist.
Morale Check: With one more concert to go in this daunting run of nine shows in eight days, I was still feeling determined and also very tired. This was the pick-up I needed to complete it though. Who could stop me? Nobody.
After over a two-week delay, things are continuing to move. Thanks to you if you’ve been keeping track. Not much to say on this since it was rather standard. No extreme breakdowns of emotions, just really, really solid rock music.
This show took place right after the last part in the series, which featured Gracie & Rachel. I scooted across the bridge to Brooklyn from Manhattan – a casual move. The most extreme two-show capers I’ve ever pulled off is going from Brooklyn Steel, a remote venue in Williamsburg, to Radio City Music Hall up in midtown, Manhattan. Did it, though.
Back to the show at hand – there was another opener that I missed named Really Big Pinecone. I got to catch Palehound though, a band I’ve been a casual fan of for the past four years or so. They played a pretty alright set, to be honest. I wasn’t and am still not familiar with their newer material (only really familiar with their 2013 EP) but they put a lot of heart in their set and a lot of people were into it. Also seemed like really genuine, sweet people! Can’t deny that!
The main attraction though, Big Thief, is a band that I’ve been wanting to see live since last year. My partner had seen them already so I was jealous. I need that extra level of connection between us – we’ve both seen Big Theif. Woah how cool? Their new album Capacity has some really great moments on it – I might like it more than their debut, Masterpiece. In the end, the band really delivered. They’re an incredibly tight live band, with each member keeping in a great sync with one another: making eye contact, signaling changes, etc etc. When a band performs all together, things succeed. Usually if everyone’s off on their own islands, things start to fall apart. This was a case of the former. All the songs sounded great and everyone stayed in line real nicely.
Lead singer Adrienne Lenker had a great, genuine stage presence that was mostly shy, but had some humor to it as well. The guitarist, Buck Meek, also peppered in some banter as well, a lot of which reminded me a lot of things a very good friend from college would say on a regular basis in their more flighty days.
Didn’t stay for the encore because I had just been to six shows in seven days, but it cemented that “Great White Shark” and “Shark Smile” are probably my two favorite songs off that new record. Go sharks. Shout out to Eva, if she’s reading this.
Morale Check: I was pretty doggone tired after this one, gotta say. Two shows plus the real late night of Mount Eerie from before was weighing me down – BUT – only two more to go from here. And they really excited me and got me raring to go.
So Stereogum has been running this segment for the past few years that’s essentially this same exact format – 10 songs from a specific artist, ranked. That’s cool or whatever, but it’s not by me. These 10 songs are ranked by me. These are MY favorites. So I get to write about them on my own time. That’s pretty exciting, right? So here’s the first installment in honor of their recently released record: Hundred Waters.
If anyone knows me personally or follows this blog at all, you know that Hundred Waters is very likely my favorite band of this decade. It all started with receiving their self-titled debut at my college radio station in 2012 and since then I haven’t looked back. Their seamless blend of organic and synthetic sounds have won me over again and again, and even though that balance of sound has dilated in focus a bit across their three albums, they’ve retained their core identity throughout.
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January 9: Dry Cleaning – Secret Love SAULT – Chapter 1 Winged Wheel – Desert So Green
January 16: A$AP Rocky – Don’t Be Dumb Jana Horn – Jana Horn Julianna Barwick & Mary Lattimore – Tragic Magic SASSY 009 – Dreamer+
February 6: Beverly Glenn-Copeland – Laughter in Summer Daphni – Butterfly Elori Saxl & Henry Solomon – Seeing Is Forgetting Fabiano do Nascimento – Aquáticos Joshua Chuquimia-Crampton – Anata Mandy, Indiana – URGH Puma Blue – Croak Dream Ratboys – Singin’ To An Empty Chair
February 13: Charli XCX – Wuthering Heights Colin Stetson – Nethering Danny L Harle – Cerulean KMRU – Kin The Olympians – In Search of A Revival
February 20: Altin Gün – Garip Apparat – A Hum of Maybe
February 27: Buck Meek – The Mirror Fabiano do Nascimento – Vila GENA – The Pleasure Is Yours Gorillaz – The Mountain Gus Englehorn – The Broken Balladeer Heavenly – Highway to Heavenly LB aka LABAT – Feel So Good Around U Maria BC – Marathon Mitski – Nothings About to Happen to Me Nothing – a short history of decay Shane Parish – Autechre Guitar
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March 13: Alexis Taylor – Paris In The Spring Colleen – Libres antes del final Crack Cloud – Peace and Purpose Cut Worms – Transmitter ELUCID – I Guess U Had To Be There James Blake – Trying Times Kim Gordon – PLAY ME The Notwist – News From Planet Zombie Ora Cogan – Hard Hearted Woman
March 27: Fcukers – Ö Holy Fuck – Event Beat José González – Against the Dying of the Light Robyn – Sexistential Snail Mail – Ricochet
April 3: Arlo Parks – Ambiguous Desire John Andrews & The Yawns – Streetsweeper Makthaverskan – Glass and Bones Sunn O))) – sunn O))) Wendy Eisenberg – Wendy Eisenberg
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