My Year in Music, 2025
A generally shitty year made better by music.
Looking back at 2025 has not been an enjoyable experience, as it did not treat me very well. My personal life was boring and sad, my professional life was nonexistent, and the people in power seemed determined, each and every day, to make the world worse for as many people as possible. On top of it all, for most of the year I felt like I could not access the ability to think critically in the ways that allow me to write this newsletter, hence this being the first one in about seven months. (The ‘Thinking Problems’ title has unfortunately never been more apt.)
The best part of 2025 was the music. Week after week phenomenal new albums were released in seemingly every genre (if genre is even a reasonable way to categorize music anymore, which it’s probably not). Music is what got me through the year, both the constant stream of new music and an endless supply of music I’ve long loved.
Below are brief writings of some of the music I loved most that was released this year. Additionally, there’s a list of albums released this year that I loved but were released too late to allow me to dig in the same way, or that I loved but didn’t impact me the same and still deserve a mention, or that I didn’t discover until more recently, i.e. honorable mentions. At the end, there’s a list of music released prior to 2025 that comforted me this year, which includes stone cold classics (like Talk Talk’s Laughing Stock, Surf’s Up by The Beach Boys, and D’Angelo’s Voodoo) and some new to me albums (like ML Buch’s Suntub and Gavin Bryars’s After the Requiem). Enjoy.
(As a final note before the goods, I’m rethinking my approach to Thinking Problems and what it may look like in 2026. I have some ideas but need more time to see how they sit and what I feel capable of doing. So sit tight, there is more to come. And to those handful of paid subscribers, fret not, your money has not been wasted these last seven months. All paid subscriptions have been on pause since early June and will be reactivated once Thinking Problems is back on more solid footing and I can offer something worth paying for. Thank you all for sticking around, your support means a great deal.)
(Also, this is a long one and if you read this in your email inbox, your provider likely won’t be able to show the entire newsletter, so hit the ‘View Entire Message’ button or read this on the Substack site or app.)
My Favorite Albums of 2025 (in no particular order)
caroline 2 - caroline
When caroline 2 was released, other imminent releases had my attention (see: Turnstile’s Never Enough), but my inattention turned to rapture upon first listen. Every song is imbued with purpose and vision, understated experimentation, and an aching melancholy that somehow still feels hopeful. ‘Total euphoria’ starts the album with a quickening vamp that never settles neatly into the drums — which serves as a mooring if only to show off the syncopation — and neither does any other instrument. ‘When I get home’ takes a barely there, yet throbbing, bass drum and lets singly strummed chords create massive amounts of space. ‘Tell me I never knew that’ delivers delightful harmonies and multiple vocal lines, and features Caroline Polachek, over a simply picked guitar line that stays consistent as the band builds the song into opulence — until background fades away and we’re left with the same guitar line and new melody. Every time I listen to caroline 2, I seem to move through the entire range of emotions at a delicate pace that allows me to savor every moment, never feeling rushed, never too long. No wonder this is my most listened to release of 2025.
NEVER ENOUGH - Turnstile
Never has a hardcore band gotten so much attention as Turnstile. Rightfully so. GLOW ON, their 2022 album that brought them into the mainstream — or at least the most mainstream a hardcore band can find themselves — upturned any and all expectations anyone may have had of the band and was a perfect distillation of the band, blurring and blending genres while more firmly positioning themselves as the standardbearers of harcore. GLOW ON was an absolutely monumental achievement, an undisputed magnum opus, so any followup was surely to be a step down. Plus, the lead up for NEVER ENOUGH was tremendous: features in The New Times and Pitchfork led the hype, with seemingly every major outlet writing about the band once the album was released. Nevertheless, Turnstile delivered. Never Enough is an evolution, which was always going to upset some fans. While some songs, like ‘DULL’, ‘BIRDS’, and ‘SLOWDIVE’, are filled with heavy riffs, nasty breakdowns, and blistering drums that would feel just as at home on GLOW ON — and will keep fans moshing at shows — there are ever more examples of their expanding palette and growth. The guitars on the verses of ‘I CARE’ could have been pulled from a song by The Smiths. ‘LIGHT DESIGN’ leads with a synth more likely found on an ambient album but leads into a riff that is pure head bopping heaven. Turnstile remains in a league of their own that they seem intent on redefining constantly, which I’ll always tune in for.
Getting Killed - Geese
Geese have performed a miracle: less than a year after their frontman put out a masterwork containing some of the best songs of the decade, if not the century so far (see Heavy Metal by Cameron Winter and ‘Love Takes Miles’, ‘Nausicaä (Love Will Be Revealed)’), they released an ambitious album that surpasses any and all expectations. They’ve taken their disparate influences and created something wholly their own. It’s already been noted but must be repeated, Getting Killed doesn’t sound like anything else. It doesn’t take long for Winter to yell ‘There’s a bomb in my car!’ and set the scene ablaze, and his howling croon takes every possible turn to any number of illogical ends, with many lyrics seeming in competition to be more absurd than the last. (Seriously, who else could make lines like ‘I was a sailor but now I’m a boat’ or ‘There were 100 horses dancing/maybe a 124/All the horses must go dancing/There is only dance music in times of war’ feel gravid with meaning while grooving so hard? OK, maybe Dan Bejar, but that’s a different conversation.) Emily Green subtly shreds through this album, at times her guitar sounding like a vessel for god. Dominic Digesu and Max Bassin, respectively on bass and drums, keep things grounded, if only, at times, tethered to Earth by a fraying string. There are only highlights on this album, so it almost feels unfair to single out any song, but I must. ‘Bow Down’ grooves so hard it feels impossible to stay still listening to it. ‘Au Pays du Cocaine’ keeps things at half time while Winter pleads ‘You can be free and still come home/It’s alright/I’m alright.’ Only in their early 20s, it seems like Geese still have infinite potential, and while I can’t wait to witness all that is to come, Getting Killed will keep me satisfied until they’re ready with whatever is next.
choke enough - Oklou
Probably it’s no surprise, but pop albums usually don’t do it for me. choke enough is one of the exceptions that prove the rule. Late to the party, I first heard Oklou when her Tiny Desk Concert came out at the end of October, and by the time she started singing I was crying. The entire album is just as potent, with each new sound and texture pulling from surprising wells of emotion. These songs are crafted with a kind of care rarely heard, regardless of genre. The blending of emotional depth and texture with party thumpers makes me think of ‘Tears in the Club’ by FKA Twigs, with whom she collaborated on the deluxe edition of choke enough. There’s a kind of magic that some non-native English speakers can conjure by combining words in ways native speakers would never consider (my favorite example is Kings of Convenience, Riot on an Empty Street is full of examples), and choke enough is full of these types of phrases (Oklou is French). ‘I need the answer/It’s in the flavours/And you’re the keeper of it all’ from ‘ict’ is the joy an ice cream truck delivers in summer, and the chorus of ‘harvest sky’ seems to gain new meaning upon each repetition, each new emphasis, ‘In the night, slow dance for a harvest sky.’ The joy and catharsis this album has brought me was a surprise in every way and I’m certain future listens will draw more from me each time.
I’ll Be Waving as You Drive Away - Hayden Pedigo
Is it possible to have too much beauty in life? I’d guess that Hayden Pedigo doesn’t think so, and if he does, he’s trying to get us all to O.D. He plays his guitar like his life depends on creating a musical David or Mona Lisa or any number of Caravaggio’s paintings. Each note evokes feelings new and unfamiliar and comforting and natural and devastating and uplifting. Each listen feels surprising, if only for gaining a slightly new angle, recognizing how he turned a phrase slightly differently than you’d heard previously, or suddenly grasping how a song’s theme came back in a new context, changing its meaning entirely. This year I earnestly got into instrumental guitar music (see Julian Lage, Bill Orcutt, Cyrus Pireh, and Joe Pass, among others) and Pedigo is one of my favorites. With I’ll Be Waving as You Drive Away, he incorporates touches of piano, guitar effects, light synths, and strings to further the mood and tug on the emotional threads that he generously revealed to start each song. The open track, ‘Long Lilly Pond’, feels like discovering a watering hole after wandering tracts of Oklahoma prairie and ‘Houndstooth’ beckons the listener close with a slow tempo that allows Pedigo to show a new depth and beauty with each new melody and chord.
Private Music - Deftones
It’s rare for a band to last for 30 years. It’s even more rare for a band to be putting out some of their best music after that much time. But here are Deftones anyway, doing it their own way, as they always have. While the 90s lumped them into nu-metal with the likes of Limp Bizkit, Deftones have always been beyond that, a melodic and heavy juggernaut tied down by no label. They’ve been one of the most reliable, consistently great bands since they formed, whether in a genre or in general. As their tenth album, Private Music continues their journey staying true to their sound and simultaneously pushing themselves to every limit they can find. Beautifully distorted extended chords (‘cut hands’), odd time signatures (‘locked club’), blistering riffs so heavy they could sink a whale (‘my mind is a mountain’),, harmonic riffs on a seven string guitar (‘infinite source’) fill the album. At the same time, Chino Moreno’s airy vocals often provide a sense of being in an open expanse with the space to go anywhere, do anything. How lucky to exist at a time to bear witness to such enduring greatness.
Blurrr - Joanne Robertson
A first, less than attentive listen of Blurr might give chill singer-songwriter vibes and a ‘yeah, that was nice’ kind of reaction, which isn’t completely wrong, but it’s also not right. Joanne Robertson is a singer-songwriter and the music is chill and yeah, it’s quite nice. AND Blurrr is full of achingly gorgeous chords, intricate guitar work, haunting cello work from Oliver Coates, a soul laid so intensely bare that it becomes an apparition (I mean, the first song is titled ‘Ghost’). Robertson’s voice is often laden with reverb but still soft and gentle. She sounds like she’s whispering in your ear, but when you turn to look you see she’s actually clear across a cathedral. It’s hard to tell what Robertson is singing, but like other great unintelligible singers (Justin Vernon of Bon Iver and Matt Berninger of The National come to mind first) she imbues each note, each syllable with the intended meaning, which allows the listener to have an even more personal experience with these songs.
Essex Honey - Blood Orange
Whatever genre you might be inclined to try and fit Blood Orange into, it’s very much that and definitely not that. Pop, R&B, experimental, alternative. Yes, no. Thumping club beats pulse underneath chamber pop vocalists, funky slap bass pairs with shimmering guitar tones, contemporary classical piano is the foundation from which virtuosic vocal runs are summoned, woozy guitar underlies a slow rap. With Essex Honey, Dev Hynes further expands his vision. The majority of the songs feature other artists, a veritable who’s who of avant garde musicians, including Mabe Fratti, Tariq Al-Sabir, Charlotte Dos Santos, and Caroline Polachek, among others, all of whom fit into Hynes’s vision seamlessly. More than most, Hynes knows how to let his compositions breathe when needed, every sound purposeful, imbued with a human touch, at the time and pace most appropriate, like in ‘Thinking Clean’ and ‘The Last of England.’ Sometimes, like the guitar in ‘The Train (King’s Cross)’ that continues, slightly changed, into ‘Scared of It’, instruments are used to fill the space completely. ‘The Field’ shows off Hynes’s studio prowess, featuring an incredible sample of The Durutti Column’s ‘Sing to Me’ as the centerpiece, with the track expanding around it like lungs with air. Dev Hynes is one of those artists with the talent and ability to do anything he wants, which is why he is an in-demand producer for so many artists. Lucky for us, he commits to his own vision often, giving the world powerful music, for which we should all be grateful.
New Threats from the Soul - Ryan Davis and the Roadhouse Band
When I saw New Threats from the Soul had received Pitchfork’s Best New Music and Davis described as ‘an essential new voice in American indie rock,’ I rolled my eyes and moved on with my day. A friend texted a few days later saying it was quite good and that I should give it a go, so I figured I’d do my duty and give it at least one listen before dismissing it. And good thing! I ended up listening to New Threats from the Soul constantly, often on repeat. Davis’s writing is phenomenal, teeming with characters making questionable decisions and unreliable enough to not want to hang out with, but charming enough to love hearing about, and every story reveals something vital about being human. I could quote every lyric — they’re all that good, really — but that’s impractical, so here are a few I love: ‘Perhaps the love we had was not what made the globe turn/but more akin, in fact, to what made the cows lay down’; ‘Jesus Christ is trying out some new material on you and me tonight/he has not nailed the crowd work but vice versa’; ‘I thought that I could make a better life with bubblegum and driftwood/Her sweet nothings were nothing more than debts I would owe/She once said that nothing could make her feel quite as loved as one early morning kiss could/But I’ve been up too late one too many nights/Why I let myself let her go and for who I’ll never know.’ But for my money, the star of the album is the Roadhouse Band. They sit comfortably at home, venture through space and time, and take new routes through familiar territory while making it sound effortless and natural. I’d never heard a breakbeat with flute close an alt-country track, or plucky early 90s video game synths lead to such heartfelt singing over strummed guitar, or a twangy acoustic guitar joined so easily by atmospheric synths. Each listen feels like a revelation of what is possible in what has historically been a fairly straight-forward fusion of genre. This one is going to stay in my rotation for a long time.
System - Prewn
I knew nothing of Prewn, save what I had read in Josh Terry’s excellent No Expectations newsletter (I cannot recommend reading him enough — he’s got the pulse on seemingly everything good in the music world and is how I discover tons of new music), which is why I listened to System in the first place. Immediately, I was blown away. I’ve never consciously desired cello in my rock, but Izzy Hagerup not only makes it work but makes it essential. System is intense, dark, unnerving at times. There are moments when I expected a movie villain to walk through my door (like two minutes into ‘Dirty Dog’ or near the end of ‘Cavity’). Through most of the album, I found myself involuntarily nodding along, a ‘that’s naaaasty’ look having taken over my face for the duration. Hagerup’s songwriting and delivery are fresh, inventive, unapologetic and raw, most clearly heard on album closer ‘Don’t Be Scared.’ Hagerup/Prewn is my favorite artist I discovered this year and I’m excited to see where she takes her music from here.
Horror - Bartees Strange
The music of Bartees Strange is everything all at once: rock, punk, rap, hip hop, R&B, folk, electronic. In theory, there is too much going on, too many disparate influences to make sense of. In practice, Strange has deftly blended all the music he loves into something truly his own. No one is trying what he tries because they know they couldn’t pull it off, but this seems to be the only way Strange can make music, and thank goodness. With Horror, his third full-length, he continues to push himself past whatever limits he finds. Songs like ‘Sober’ and ‘Lie 95’ are introspective and vulnerable, balancing softer verses with loud, anthemic choruses. ‘Lovers’, ‘Norf Gun’, and ‘Hit It Quit It’ are perfect examples of Strange’s shapeshifting, so resistant to genre you’d look a fool even trying to label them — which is, in part at least, the point, as he sings on ‘Mossblerd’ from his superb debut Live Forever, ‘Genres/keep us in our boxes.’ Admittedly, I don’t think everything he does works, but that’s ok. I relate to him on many levels — most importantly, my music tastes are so eclectic and incongruous as to seem nonsensical to most, I refuse to be boxed in — so just the effort he puts into doing it all I find admirable. Plus, most of the time he hits the nail on the head.
Heavy Metal - Cameron Winter
Notable album releases in December are rare. Labels — and artists too, I’m sure — want their best releases to be included in year-end lists, which are typically released in early December. Heavy Metal came out on December 6, 2024, perfectly in time to miss out and fly under the radar last year. BUT! Cameron Winter’s Heavy Metal may be the most notable release of 2024 and 2025 (only a few others even compete, with Geese’s Getting Killed being the other maincompetitor, and Geese is the band Winter fronts, hence its inclusion in my 2025 list). At times, it’s difficult to make sense of just what’s happening on this album: various instruments simultaneously ramble and laze through passages, only a piano or keys to create structure, and often they don’t even do that; Winter’s warble goes places unexpected and surprising, if only because it didn’t seem like his voice could do that, or that he’d risk going there; taken out of context most of the lyrics seem absurd and context often doesn’t easily bring meaning to light, but it’s clear there’s something more to it all, even if known only to Winter. Maybe all that doesn’t read as an endorsement, but it’s praise of the highest order. Not all is so wild, though. ‘Love Take Miles’, easily one of the best songs of the decade so far (although a few other songs on Heavy Metal could stake that claim just as easily), sits comfortably in more standard instrumentation and lyricism, although nothing is truly standard on Heavy Metal. ‘$0’ does something similar, with piano and strings creating a gorgeous, lush backdrop, only for Winter to do some of his most outrageous (complimentary) singing, musically and lyrically, peaking at the finish with ‘God is real, God is real/I’m not kidding, God is actually real/I’m not kidding this time/I think God is actually for real/God is real, God is actually real/God is real, I wouldn’t joke about this/I’m not kidding this time.’ Few, if any, could pull off something as bold as Heavy Metal, and Winter does so with no sense of arrogance or pretension, it’s clear he just needed to continue along his creative path, a path along which I will undoubtedly follow.
Nested in Tangles - Hannah Frances
On the whole, I find very little interesting in the world of folk — and admittedly, I don’t look particularly hard for it either, but that’s because I don’t think it’s good or interesting, which may be an Ouroboros of my own making. To my ear, the genre is full of the same chord progressions, singing that mimics another singer, terribly earnest lyrical cliches that could not be made fresh by the most gifted writers. Hannah Frances is nothing like that, not even close, and Nested in Tangles pushes her even further from that mediocre core of folk and into exciting territory. Songs like ‘Falling From and Further’ trick you into hearing something seemingly familiar before pulling back the facade to reveal something messier, more chaotic, more human. (Having Daniel Rossen, of Grizzly Bear and Department of Eagles, play on a couple songs certainly helps achieve that effect.) ‘Beholden To’ is another trick, with only a moment of focus on the lulling guitar, which stays in front of the mix, before the background is created by a mess of dissonant strings and birdsong and wind instruments hinting at something to come but never does. Even the more standard fare, like ‘Steady in the Hand’, only use a sense of familiarity to bring out deeper truths: ‘It takes living and losing to know what matters/the loving shatters the edges and softens me again.’ The album’s title is perfect, as the album is tangled and loose and fragile, like being in a bird’s nest, but nonetheless feels like home, and by living in the tangles, Frances both unties the knots and creates new ones.
SABLE, fABLE - Bon Iver
While SABLE, fABLE came out in whole last March, the first disc (or so it’s now labeled on the streaming service I use) was released six months earlier as an EP, SABLE,. At the time, it was considered a ‘return to roots’, as the three main songs are sparse, mostly guitar, piano, and Justin Vernon’s voice. That comma in the title turned out to be important and should have been taken as a sign. Now, with the entire album as context, SABLE, sounds more like a eulogy for the old Bon Iver, the one for which Vernon took his toughest, most intimate emotions and experiences and turned them into some of the most heartwrenching music imaginable. Understandably, that was exhausting for Vernon. So, the almost 20 seconds of silence between SABLE, and fABLE provides a reset, a deep breath before starting anew. There’s an unabashedly optimistic outlook on fABLE — if ‘Everything is Peaceful Love’ wasn’t a clear enough message — but it’s still unmistakably Vernon, reminding everyone that his calling card was never sadness but a deep commitment to innovation and experimentation, collaboration and openness to trying new things. (Sure, the first Bon Iver album was born of Vernon’s isolation and loneliness, but everything since has been born of deep collaboration with musicians Vernon loves, and he is insistent that Bon Iver is a team.) Vernon calls on some newer talent, like Dijon and Mk.gee, and old friends, like Danielle Haim, to flesh out the new vibes. ‘Day One’ and ‘I’ll Be There’ instantly feel like Bon Iver classics, with major chord piano setting the foundation for a lush full band, layered vocals, and heartfelt lyrics. The album finishes on two tracks that feel like one, ‘There’s a Rhythmn’ and ‘Au Revoir.’ Gorgeous keys and simple drums allow Vernon’s voice to shine, not in any particularly impressive way, but in a way that highlights the texture and warmth his regular singing voice has always had. Eventually, the song settles on a soft synth that works its way into ‘Au Revoir,’ in which a light piano delicately leads us to 15 seconds of silence. If this is the last Bon Iver album we get, what a lovely note to go out on.
The Passionate Ones - Nourished by Time
No amount of time would help me figure out a way to assign a genre to Nourished by Time or The Passionate Ones. But Marcus Brown’s vision is sharp, cutting through the haze that can accompany less skilled attempts at something genre-less. His tools are no different — keys and synths, drum machines, bass, odd samples — but the output could come from no one else. Brown uses danceable beats and fun rhythms as an access point to rebukes of capitalism — take the beginning of ‘ 9 2 5’, ‘You know he’s got a purpose/But he’s always working/Tryna beat the system/Manifest a vision/Working restaurants by day/Writing love songs every night’ — or a tale of his complex reaction to a psychic’s reading on ‘Idiot in the Park’. Of course, there are love songs, but nothing is straightforward for Brown — ‘Baby if you love me/Maybe I’ll surrender/When the war is over/Baby you and I’ from ‘The War is Over’ and ‘She’s not well put together/Yeah, I can’t wait for you to love me/’Cause girl, I already do’ from ‘Automatic Love’ make sure we don’t know where anything truly stands. It’s this ambiguity that makes The Passionate Ones so intriguing: we listeners are shown intimate parts of Brown’s world, and with any other artist we might feel closer to because of this, but here we are given unresolved conflict and complex love and life within an unwanted system, which is what life more accurately looks like under the surface.
Sinister Grift - Panda Bear
From its first moments, Sinister Grift gives a reminder: Noah Lennox LOVES dub. The heavily reverbed drums sound straight from King Tubby’s The Roots of Dub (honestly, it may just be a crisper recording of the intro fill from ‘Natty Dub’ that starts that album), a known favorite of his. As part of Animal Collective, this didn’t always come through but in his solo work as Panda Bear it’s loud and clear, literally. To my ear, the only more overt influence is Brian Wilson’s vocal harmonies for The Beach Boys. These songs feel timeless in a similar way to Wilson’s. That feeling is in part due to the straightforward songwriting, which has never been Lennox’s calling card, but he’s ridiculously good at doing. This album is full of great collaborations, but none better than on album closer ‘Defense’, on which Cindy Lee provides their now-signature guitar sound for some absolutely ripping solos. ‘Elegy for Noah Lou’ shows a darker, brooding side of Panda Bear, a side rarely heard, and it’s absolutely gorgeous. Closer listens show that most of these songs have a darker tone in the lyrics that is not obvious, as the music provides a sunny background to Lennox’s complex emotions surrounding lost love and grief. After dozens of listens, I’m still unsure if this is my new favorite Panda Bear album (it’s a close call!), but I’m letting myself be unsure. It’s no competition, and even if it were, Panda Bear releasing a slew of great albums just means that we, the listeners, are always winning.
Lonely People With Power - Deafheaven
Call their music what you will, but Deafheaven are among the best to ever do it, and Lonely People With Power only solidifies their position. Filled with blistering riffs, gnarly screams, and ridiculously precise drumming (just listen to Daniel Tracy’s insane double bass work), this might be the most Deafheaven have sounded like themselves, a perfect refinement of their identity as a band. These songs are equally suited for thousands of fans in a stadium screaming with George Clark as they are for small club mosh pits. While most songs are intense, songs like ‘Heathen’, ‘Amethyst’, and each ‘Incidental’, the third of which features Paul Banks of Interpol with some great spoken word, offer some balance to the fury. Occasionally, Clarke sings instead of screams, reminding us how lovely his voice can be (Deafheaven’s last album, Infinite Granite, solidified their shoegaze bonafides in part due to Clarke’s natural singing). It’s this mix of heavy and soft, intense and relaxed that keeps me listening to Lonely People with Power. It sounds like both a victory lap for everything they’ve accomplished and the next step in the evolution of their sound.
Honorable Mentions
Thank You, Guitar - Cyrus Pireh; Traveling Light - Rafael Toral; s h i n e - Tobias Jess Jr.; Balloon Balloon Balloon - Sharp Pins; Orcutt Shelley Miller - Orcutt Shelley Miller; Antigone - Eiko Ishibashi; Double Infinity - Big Thief; Hunting Season - Home is Where; Hell is an Airport - Liquid Mike; Music for Writers - Steve Gunn; Disquiet - The Necks; Let God Sort Em Out - Clipse; In the Earth Again - Chat Pile & Hayden Pedigo; Bleeds - Wednesday; Touch - Tortoise; The Foel Tower - Quade; Yell at Cloud - Plosivs; Wisher - Ben Quad; Twilight Override - Jeff Tweedy; Daylight Daylight - Steve Gunn; It’s a Beautiful Place - Water from Your Eyes
More Great Music from My Year
Suntub - ML Buch; Only by the Night - Kings of Leon; Sleep Well Beast - The National; Trouble Will Find Me - The National; The Greatest Generation - The Wonder Years; Music for Four Guitars - Bill Orcutt; Speak to Me - Julian Lage; View with a Room - Julian Lage; Crooked Rain, Crooked Rain - Pavement; After the Requiem - Gavin Bryars; Camoufleur - Gastr del Sol; Foxing - Foxing; Voodoo - D’Angelo; Swoon - Prefab Sprout; Travels in Constants - Songs: Ohia; To Be Kind - Swans; Laughing Stock - Talk Talk; Camoufleur - Gastr del Sol; Black Messiah - D’Angelo; Surf’s Up - The Beach Boys; Sketches for My Sweetheart the Drunk - Jeff Buckley; Virtuoso #2 - Joe Pass
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