Alan Sircom reviews the QKORE for Hi-Fi+

Review Banner-QKORE_wideLast month, Nordost debuted the newest addition to its QRT range: The QKORE Ground Unit. In anticipation of this launch, Hi-Fi+ published a brilliant review, written by Alan Sircom. In his article, Alan touts the “instant, obvious, and profound” effects that the QKORE has on a sound system:

“The main effect was in the bass, which sounded significantly tighter, deeper, and more authoritative. More significantly, QKORE was like a quick lesson in ‘time coherence’, giving any sound (even speech) a more accurate sense of rhythmic beat and metre (we often just lump this together into saying it ‘times’ well). There are other benefits, too; the almost clichéd ‘darker backgrounds’ and wider soundstage with better separation of images applied here, too. The treble seemed to integrate slightly better with the midrange and bass as well, but it’s that bass and temporal correctness that wins you over. It’s like your system no longer has to apologise for itself, even if it had little to apologise for before you QKORED it!”

Alan’s QKORE review is now available to read on the Nordost website here:  Nordost QKORE ground units

You can find more great Nordost reviews on our Reviews Page.

Questions and Answers (QKORE)

Our product specialists receive questions on a daily basis about Nordost products, their application, and hifi in general.  With the introduction of our new QKORE Ground Units last month, we received an influx of great questions from customers.  We thought that we would take a minute to answer some of our QKORE related question here so that everyone can get the answers they are looking for!


Q: Hello, I have recently purchased one of your new QKORE Units (1 outlet to QB). I was wondering whether there is any suggestion about placement on/around the stereo rack. More specifically, does it have to be in the middle of the rack, like QX4, or can it be placed outside the rack on the floor? Since I also own a QX4, can the QKORE and the QX Unit be placed side by side?

A: QKORE units can be placed pretty much anywhere within your system; they don’t have the same placement needs as the QX Units. However, they do benefit from being on a proper shelf in your audio rack, or on Sort Kones, instead of sitting directly on the floor. To address your second question: Yes, your QKORE Unit can be placed side by side with QX4 or QX2 Units.

QKore_Front and Back

Q: I am trying to determine which QKORE would work best for my system. Would I be able to connect my QBASE Unit to my QKORE Unit if I purchase the QKORE3?

A: Our QKORE6 Unit is designed with two Low Voltage Attractor Plates, so that it can address both primary (AC) and secondary (DC) ground. The QKORE3 Unit is only intended to address one aspect of ground at a time. Therefore, if you connect your QBASE Unit to your QKORE3 simultaneously with your electronics, you will not achieve the desired effects. The benefits to your system will be much greater if you use both a QKORE1 and QKORE3, or if you purchase the QKORE6.

02-QKORE 3 backs

Q: I have an external ground rod, can I still benefit from the QKORE?

A: While the QKORE1 is especially ideal for someone looking to ground their QBASE but who does not have the opportunity to install an external ground rod, you can absolutely gain additional benefits from using QKORE Units. It’s similar to the improvements that you will see when going from a designated ground for your system to an external ground rod. Adding a QKORE to this setup will be another step-up in performance. When adding the QKORE3 or QKORE6 to your system, you will see benefits that are not addressed by an external ground, since these products also improve the secondary ground, where the audio circuit is.

lg-QRT-QKore1_with wire

Q: I read that the QKORE either comes with one or two QKORE Wires in the packaging. Why would you not provide us with all of the cables we need to set up the QKORE in our system?

A: The QKORE1 includes a 2 meter QKORE Wire with Banana to Banana terminations, the QKORE3 includes a 2 meter QKORE Wire with Banana to RCA terminations, and the QKORE6 includes one of each. However, it would be impossible to foresee which lengths and terminations would be necessary in each individual’s system. There are 18 different termination combinations available, not to mention variations in cable length.

lg-qrt-qkore-wire

Marc Mickelson reviews the Valhalla 2 USB Cable for TheAudioBeat.com

Review Banner-V2-USB_wide

We are very pleased to share the latest review of our Valhalla 2 USB 2.0 Cable, recently published on TheAudioBeat.com. In his review, The Necessary Link: Nordost’s Valhalla 2 USB Cable, Marc Mickelson describes the improvements that Nordost’s precision-built, American-made USB cable brought to the reproduction of his digital music:

“Valhalla 2 USB mirrors my reaction to hearing Nordost Odin cables—in the form of a single phono cable—for the first time: the sense that I was not just hearing more of the music—the finest details and the largest master strokes, all expertly integrated into the soundscape—but less of a fine background scrim that I only noticed it once it was gone.”

Read Marc’s review in its entirety here.

(Many more great Nordost reviews can be found on the Reviews Page of our website)

Dealer Spotlight: Loud & Clear

This month, we focus on one of Nordost’s longest standing dealers in the UK, Loud & Clear, who recently celebrated their 20th Anniversary.

loud and clear logo

With a hugely experienced team of 18 across showrooms and demo suites in Glasgow & Edinburgh – Loud & Clear pride themselves on their system synergistic approach. They consider an audio or audio/video system as a whole – a system which should be greater than the sum of its parts. Rather than looking at individual components, a system is all about how products interact and complement each other to give a truly outstanding performance.

In the words of Allan Boyd, Glasgow’s MD, “We have all put together a system which, on paper, should sound amazing, but in reality is a touch disappointing. It’s all about knowing the strengths of each and every component in the chain and knowing what will work together.  It’s one of the great things about Nordost cabling and the QRT product – they add very little – they just let the system breathe and perform to its best.”

image3

“Demonstration is the key to what we do – we all have our personal preferences about the music we love and the way we listen. Both stores have unprecedented demo facilities – two hifi suites in Edinburgh, as well as a multichannel room, two hifi suites in Glasgow, a multichannel room, and a recently added private demo suite dedicated to the high end on the South side of Glasgow.” added John Carroll, MD of Loud & Clear in Edinburgh.

One of the things that sets the Loud & Clear team apart from their local competition is their prevailing attitude to only offer products that they truly believe in, rather than merely sell ‘the latest thing with a five star review’. This consistent philosophy is reflected by the fact that many of the key brands present in the store when they opened their doors back in 1996, such as Rega, Linn, NaimAudio, ProAc & Sonus Faber, remain integral parts of their business today. In contrast, the last 20 years have seen the closure of many other hifi shops in Scotland, that jumped from brand to brand, and review to review.

In addition to the company’s focus on performance audio – Glasgow is also the home of Loud & Clear Smarthome – a dedicated team of 5 who specialize in home theatre, multi room audio, lighting, and heating control— working on projects large and small throughout Scotland and beyond.

Product photogrpahy at Loud and Clear Hifi in Glasgow. The Edinburgh store extends its offerings into the esoteric high end. This is illustrated by having products such as dCS, Kef Blades, YG Acoustics and Moon Evolution on permanent demonstration. 

The reality is that the two stores complement each other perfectly! There’s probably nowhere else in Europe where you’d be able to compare the likes of dCS, Linn, Meridian, Moon and Naim alongside more specialist brands like VPI, Plato and Merging.

There are some clear product synergies with Nordost here - Moon and Nordost have partnered up at many hifi shows over the years in the USA, Canada, France, Germany, Sweden and the UK.  Similarly, VPI offers Nordost internal wiring as an optional upgrade in their tonearms. As a result, many VPI turntables are sold around the world with Nordost tonearm cables.

Not many hifi dealers can boast owning a record label, but Loud & Clear can! Groove Line Records was established in 2015, and specializes in the reissue of classic disco records. As you’d expect with all things associated with Loud & Clear, attention to detail is second to none, with every release taken from the master tapes, and the vinyl pressings being produced at one of the most renowned pressing plants in the world—Optimal in Germany.

image1

When you take into account all the diverse areas that the Loud & Clear Group operate in, you quickly realize that there is probably no other dealer like them in the world. A sheer love of music shines through in all the staff. When this is coupled with an unerring ability to extract the maximum potential & performance from all the products they sell, you can understand why they establish such enduring relationships with their customers—many of whom have spent the last two decades developing their systems with them.

If you’re ever passing through the great cities of Glasgow or Edinburgh, we highly recommend visiting our friends and partners at Loud & Clear!

Nelson Brill Reviews Two Bass-Centric Acts in Cambridge

Real music lovers can find the melody in everything. From the park to the concert hall, our friend Nelson Brill is always on the hunt for great sound. In this blog, Brill covers two bass-centric performances at the Regattabar in Cambridge, MA, featuring veteran bassist, Ron Carter, and newcomer to the scene, Linda May Han Oh .


 

TWO BASS-CENTRIC JAZZ BANDS SWING WITH PLAYFUL PURPOSE

By Nelson Brill

MAY 29, 2017

Unknown-1-1 The power of an acoustic or electric bass is limitless. It can, in the hands of an eminent string master, power a walking blues romp or, in the hands of a young bassist taking her first turn as a band leader, it can serve up a stew of gut-thumping colors propelling her original compositions.

roncarter.net

roncarter.net

As for an eminent master of the acoustic bass, there is no one like the impeccable Ron Carter, who celebrated his 80th birthday with his artful trio (Donald Vega on piano and Russell Malone on guitar) in a sparkling performance on April 28th at the Regattabar in Cambridge, MA. (www.regattabarjazz.com). Sporting a dapper suit (accented with a purple pocket square), the lanky, joyous 80 year-old immediately alighted on his bass with delectable bounce and rhythmic splendor. His nimble fingers tenderly flirted with his strings, creating buoyant and soulful song lines. The intimate setting of the Regattabar (and the superb sound that house engineer W.J. Edward Emerson was able to concoct from Carter’s small amplifier elevated on a stand) allowed for the capacity audience to lean in and hear every soft purr, fleshy pluck and pungent roll from Carter’s bass.

montrealgazette.com

montrealgazette.com

Carter and his sympathetic band mates swung heartily into music that paid tribute to some of Carter’s departed past colleagues: bassist Oscar Pettiford, guitarist Jim Hall and trumpeter Miles Davis. Their tribute to Hall, entitled “Brazilian Opus No. 5”, was highlighted by Carter’s extended solo in which he ensnared all the warmth of this slow-brewing bossa nova with nimble dexterity. He located notes down low (with gentle plucks and lingering harmonic holds) and then effortlessly slipped up to his highest register (with an elastic “portimento” or huge slide) grabbing a cluster of notes with his outstretched fingers. “Brazilian Opus” concluded with Carter’s trademark touch: a rigorous singular bass note struck on just the right note and pitch to sum up the arc of the band’s creative excursion.

pinterest

pinterest

Cushioned within all this alluring bass drama was Vega’s subtly eloquent piano. Throughout the concert, Vega displayed a plush keyboard attack that relied on understatement in his creative feel for the backbone of each melody. He twisted each strand of melody into creative braids of fleeting piano lines that always fell into satisfying patterns of light tension and release.

latinlife.com

latinlife.com

The Trio’s version of Pettiford’s “La Verne Walk” was a slippery, sliding delight that had all three musicians crackling with collective energy and virtuoso solo moments. All the sunshine in this tune was captured in Carter’s cavort: he pulled strings to bend them in elastic deep rumbles; he slid and slurped in playful bluesy holds and chased the melody with buoyant touches and spidery licks.

latinlife.com

latinlife.com

Carter’s ineffable bounce led the way into Malone’s gleeful solo in which Malone first created the delectable sound of a washboard by rapidly strumming his strings and lightly tapping his hollow body guitar to create a wooden percussive rush. He then found a perch on one note, repeating it for several seconds, only to flow into a rapid, funky descent that ended on the same one note perch. The crowd roared in approval as a smiling Carter took up this same one-note on his bass and threw it into his quiver of colorful declarations to send Pettiford’ swinging piece homeward.

motionbluejakarta.com

motionbluejakarta.com

The Trio ended their set on a version of Benny Goodman’s “Soft Winds” that showcased the Trio’s ability to hit prankish hard, with the lightest of touches. Vega’s piano solo was filled with undulant waves of blues chords rising from his depths to his highest registers; Malone dove in with his sly funk and crisp strumming and Carter added his penetrating undertow of walking bass lines. This thunderous action receded when Carter’s bass veered into the lightest of purrs and touches, sending Vega and Malone into peaceful curls of their own, high and sweet on their instruments. The final note (which Carter held serenely) sung out with regal force punctuating this great musical companionship.

alchetron.com

alchetron.com

Carter has been involved in more than 2,000 recording sessions. A few of his most recent recordings are recommended for their audiophile quality and their beautiful ensnaring of Carter’s spirited versatility.

51AD7kYvTUL._SY355_-300x300

One of my older favorites is Carter’s 2003 Entre Amigos SACD/CD recording on the (always reliable) audiophile quality label, Chesky (www.chesky.com). On this superb recording (suffused with the warmth and air of the recording venue), Carter’s bass softly entwines (from a layered rear position) with the expressive vocals of Rosa Passos and the acoustic glory of several other virtuoso musicians to mine the unfolding grooves of some classic Brazilian tunes. The relaxed feel of this session is fantastic with Passos’ lithe and expressive vocals crisply captured up front, meandering in and out of Carter’s probing bass.

51sGdieCeEL._SS500-300x300 Carter also showcases his versatility on his most recent recordings: he joins in a warm and simmering duet with saxophonist Houston Person on Chemistry [HighNote Records] and then joins forces with a boisterous band led by trombonist/composer Steve Turre on Colors For The Masters [Smoke Sessions Records]. Chemistry is a stellar recording and one of the last produced by the recently departed recording master, Rudy Van Gelder, at his legendary New Jersey studio. Although I would have liked more upbeat numbers from this swashbuckling duet, (slow ballads predominant), the session is a beautiful example of two masters conversing on an intimate scale where every curling breath of Person’s soulful sax is tactilely felt and where every one of Carter’s pungent touches is heard nimble and radiant.

71WAxVld6L._SX425_-300x270In contrast to Chemistry’s intimate session, Colors For The Masters takes off on the boundless energy of a stellar band in flight. The band is supremely assured with glittering pianist Kenny Barron, master drummer Jimmy Cobb and Carter leading the rhythmic charge in accompanying Turre’s resolute trombone and Javon Jackson’s brawny tenor sax. This vital recording packs a soulful punch as it veers from the raucous to the voluptuousness, delivering animated keyboard grooves, glowing horns and, underlying them all, Carter’s bracing bass lines.

Another bassist, (who may take a thing or two herself from the Carter playbook) is the intrepid young bassist, Linda May Han Oh, who brought her venturesome band (pianist Fabian Almazon; guitarist Matthew Stevens; saxophonist Greg Ward and drummer Rudy Royston) to the Regattabar’s intimate stage on April 15th to celebrate the release of their latest recording, Walk Against Wind [www.lindamayhanoh.com].

allaboutjazz.com

allaboutjazz.com

The band’s performance featured many of Oh’s original compositions from Walk Against Wind (her first recording as a band leader) and several of these pieces were commenced with Oh taking an extended solo on her acoustic bass. Her bass playing has this special quality of a wide-open, adventurous feel, where anything is possible. She combines long trailing runs (effortlessly spun up and down her flexible register) with angular, jostling isolated notes. She can stop on a dime; pluck big and resonant and then fall silent for a few seconds, mixing up her tempos with impeccable touch and a natural feel for the groove.

allaboutjazz.com

allaboutjazz.com

Her style fully complements the overall feel of her creative compositions: the slow bluesy feel of “Lucid Lullaby” (with her bass plush and swelling with resonant plucks and evolving colors) or the buoyancy of her Brazilian tinged “Fire Dancer” (where she combines dancing light notes and plucks to sashay with Royston’s delicate cymbal and wood rim hits).

jazzafterhours.com

jazzafterhours.com

The musical synergy  that was exchanged between Oh and her simpatico band mates at this concert was a delight. Royston, a propulsive engine of delectable lightness and  passion on his drum kit, always kept his eyes on Oh. He accented her every spontaneous string dip and soar (or surprising pause) with his own interwoven percussive glory – sometimes silvery and sometimes volcanic.

allaboutjazz.com

allaboutjazz.com

The Cuban-born Almazon, (who I have written glowing about in these pages before), also kept his eyes glued on Oh, ready to send his restless piano lines into the fray. On “Walk Against The Wind,” Almazon grabbed the heartbeat of the song and took off on a breathless piano solo. His exploration melded funk, blues and Afro-Cuban influences into a swirling crisp dance that was as unpredictable as it was radiant.

51T7kXwtGEL._SS500-300x300 Take note that Oh, Almazan and Royston can be heard in all their triple threat glory on a recent recording that they made with alto saxophonist Jim Snidero entitled  Main Street [Savant Records]. This recording delivers great presence and up-front vitality to all instrumental timbres and textures. One highlight- “The Streets of Laredo” – delivers a full dose of what Oh, Almazan and Royston can do both individually (on each of their searing and elastic solos) and in collective presence with Snidero’s reedy, sharp explorations.Towards the end of the performance at the Regattabar, Oh took up her electric bass and she and her band hurled out some full throttle funk on Oh’s original “Perpluzzle”. The highlights here were Stevens on his searing guitar solo, (sending out some heady angular and off-kilter note bends and power chords) and saxophonist Ward pile driving the funk with his soaring sax holds. Oh smiled from behind her electric bass, content to pressurize the proceedings with the raw vitality of her playful bass lines.

vanityfair.com

vanityfair.com

 


If you would like to read more reviews like this one, visit Nelson’s blog at www.bostonconcertreviews.com.


Making Your Marque: The 12 Most Important Products in the History of High End Audio

By Anthony Chiarella


Here, at the dawn of the 21st Century, High End Audio has reached a remarkable state of refinement: the current crop of top-notch components offer performances which approach theoretical perfection, heirloom build quality, and a level of aesthetic beauty which elevate fine audio to the level of fine art. It wasn’t always this way. Half a century ago, most audio products suffered serious flaws, both sonically and operationally, which relegated the pursuit of performance to a handful of technically talented individuals who also possessed the time and patience to deal with temperamental components.

Among the thousands of products and hundreds of manufacturers and designers who developed HiFi in the second half of the last century, only a few fulfilled the promise of High End Audio. The dozen products selected here aren’t necessarily the best-sounding, nor are they the best built, the most reliable, or the most attractive; rather, these components are, in my opinion, the most directly responsible for the present-day state of the audio art.


 

stereo-70

audio-database.com

Dynaco Stereo 70: Introduced in 1959, the Stereo 70 combined the now-ubiquitous Williamson Circuit with high quality output transformers and highly efficient production methods to deliver an amplifier that created Dynaco’s legend as “The Poor Man’s McIntosh.” With 35 watts-per-channel—massive power for the time—it also facilitated consumer acceptance of less efficient acoustic suspension loudspeakers, which continues to impact the HiFi industry today. During the ST-70’s production run, the Philadelphia company sold over 350,000 units (both pre-assembled and in kit form), making it the Model T of tube amplifiers…and that’s A Good Thing!


 

Linn-Sondek-LP12

audiofil.me

Linn Sondek LP12: Of all the classic turntables, I have to confess that the LP12 is my least favorite, owing to its combination of blasé build quality, unjustifiably high pricing, the kooky group dynamic of its “Linnie” cult following and of course, its colored (if unfailingly musical) sound. Nor, with the exception of its single-point bearing, was its design innovative: its belt-drive motor system and three-point suspended sub-chassis had been advanced by Edgar Villchur’s Acoustic Research XA turntable in 1961, more than a decade before the LP12 bowed in 1972. What makes the Linn seminal has more to do with its marketing. At a time when loudspeakers were universally considered to be the most important determinant of sound quality, Linn pioneered the notion that turntables had a distinctive “sound” and that the source was the most critical component of a state-of-the-art audio system. Because it forever changed the way we view system-building, the LP12 earns my vote as the most influential turntable of all time.


 

tonepublications.com

tonepublications.com

Audio Research SP3: When it was introduced in 1970, the SP3 was, arguably, the best-sounding preamplifier available, and at $595 MSRP, something of a bargain too! All of which has nothing to do with its inclusion on this list. More than any designer of his time, William Zane Johnson succeeded in offering a commercially viable—and better-sounding—alternative to the marketing-driven transistor gear which dominated American audio dealerships. Having designed his first product—a three chassis Triode amplifier—in 1949, Johnson almost singlehandedly kept the ideal of high performance alive through the dark ages of HiFi, and is therefore more responsible than any individual for the High End Renaissance which began in the late 1970s.


 

marklev.com

marklev.com

Mark Levinson ML-2: In the early days of the transistor, solid state amplification was the sonically-second-class-citizen to vacuum tubes. All of that changed in 1977, when Mark Levinson introduced the ML-2. A 25 watt-per-channel, pure Class A monoblock, the ML-2 was heavy (nearly 70 pounds), ran hot, was ringed by sharp heat sinks, which sliced many an audiophile’s hand, and, at $3,600 per stereo pair, was among the most expensive consumer audio products of its era. It was also the first component to cure what had previously been considered unsolvable sonic shortcomings of transistor amplification, while simultaneously demonstrating the inherent—and previously unrealized—strengths of solid state; namely, transparency and speed.


 

sthifi.com

sthifi.com

Nordost Quattro Fil: The first line of cabling to incorporate all of Nordost’s core technologies, including cutting-edge materials, high purity OFC with silver plating, and, most notably, the use of “Micro-monofilament,” an innovation which, by helically winding a synthetic thread around the conductors, enabled a virtual air space dielectric, while maintaining the flexibility of the cable. The result was a series of cables whose sonics, after a monumentally long break-in period, simply embarrassed everything which came before. Of course, subsequent generations of Nordost Reference products have pushed the performance envelope even further, but as with the other components on this list, those “subsequent generations” might never have existed without the development of Quattro Fil.


stereophile.com

stereophile.com

BBC LS3/5A: Chartwell, Kef, Falcon, Goodmans, Harbeth, Rogers, Spendor…over the years, so many companies built—and continue to build—the LS3/5a, under license from the BBC, that audiophiles could spend an evening trying to conjure a comprehensive manufacturers’ list. Originally developed in 1975 for use in broadcast vans, the 3/5’s tiny cabinet panels barely vibrated, its waifish baffle virtually eliminated diffraction, and, with a woofer and tweeter so close they looked as if they were having sex, driver cohesion was, for its time, remarkable. One of the longest-lived—and, with over 60,000 pairs sold, best-selling—designs in audio history, the LS3/5A was a perennial “Best Buy” and served as a gateway drug, simultaneously making the wonders of High End Audio accessible to a larger audience and exposing the audiophile community to the glories of British Box Loudspeakers.


Continue to Part Two >


 

LA Audio Show 2017 – Recap

Coming off a successful launch at the Munich High End, the LA Audio Show was an amazing venue for Nordost to introduce our new ground unit, the QKORE, to the US market! The demonstrations that product trainer and Nordost sales rep, Mike Marko, performed left show attendees with a new appreciation of how proper grounding can transform a system. However, our room wasn’t the only place to see Nordost products featured! Thank you to our dealers and manufactures throughout the show, who chose to highlight their products with Nordost cables. If you weren’t able to make it to the LA Audio Show this year, here are some of our favorite photos from the show!


The new QKORE Ground Units were front and center in the Nordost room:IMG_1429IMG_1425IMG_1421IMG_1415 IMG_1427 IMG_1430


The Source AV highlighted Dan D’Agostino, Focal, and Nordost in their room:IMG_1461IMG_1458 IMG_1456IMG_1460


Mofi used Valhalla 2 Loudspeaker Cables in their system:IMG_1394


Hegel’s room sounded great using our Heimdall 2 and Blue Heaven cables:IMG_1469IMG_1463 IMG_1465 IMG_1466 IMG_1467


We always love to see Sonner Audio using Nordost cables.  This time it was Heimdall 2 and Tyr 2:IMG_1432 IMG_1433 IMG_1438


Questyle’s room used Heimdall 2 from Speaker Cables to Headphone Cables:IMG_1448IMG_1451IMG_1454


Nola always takes full advantage of their Odin 2 cables:IMG_1398 IMG_1405


Upscale Audio was spinning records in their room, which was outfitted with our Heimdall 2 cables:IMG_1447IMG_1440

 

Nordost Playlist – June 2017

Nordost is lucky to have a wonderful team of representatives and product trainers who travel around the world educating and demonstrating the effects of Nordost’s products. As part of these demonstrations, it is our job to find an interesting and diverse selection of music to showcase our cables, power devices, sort system and accessories. Whether at shows, visiting our dealers and distributors or even in our own listening room in our headquarters in Holliston, we are constantly getting asked what music we are playing (or if our audience is not so bold to ask, we can see their Shazams working overtime). So we thought this would be a perfect opportunity to share our favorite songs of the moment. Some may be classics, some may be brand new, some may not even be to your taste, but one thing is for sure …it’s all great music.

Here are some of the songs that we will have on rotation this June.

playlist_june_17

  1. Kiko—Dead Can Dance—Anastasis (Sampler)
  2. Man in the Long Black Coat—Bob Dylan—Oh Mercy
  3. Wicked Game-Live at Killkenny Arts Festival, Ireland/2011—James Vincent McMorrow—We Don’t Eat EP
  4. Trouble’s What You’re In-Spotify Exclusive—Fink—Fink Spotify Exclusive
  5. After the Cold Rush—k.d. land—Hymns of the 49th Parallel
  6. Human—Rag’n’Bone Man—Human (Deluxe)
  7. Slow—Leonard Cohen—Popular Problems
  8. Something To Believe In-Live Acoustic—Young the Giant—Something To Believe In
  9. Drew Barrymore—SZA—Drew Barrymore
  10. Alla Luce Del Giorno—Ennio Morricone–Metti Una Sera A Cena (Gold Tracks)