Five Electronic Albums That Got Snubbed for 2026 Grammy Nominations
Though they failed to secure Grammy nominations, these albums defined club culture, listening habits and the festival scene over the last year.
This year’s Grammy nominees for Best Dance/Electronic Album highlight the genre’s expanding reach into pop, experimental and hybrid forms. But another story ran parallel in 2025: the continued rise of producer-led albums that shaped festival lineups and the global touring circuit.
A handful of albums held clear cultural presence in that regard and many of them remain strong contenders for recognition despite being overlooked by the Recording Academy, who honored Skrillex’s FUS, RÜFÜS DU SOL’s Inhale / Exhale, Fred again..’s Ten Days, FKA Twigs’ Eusexua and PinkPantheress’ Fancy That.
Read on to discover five albums that got snubbed for 2026 Grammy nominations.
Zeds Dead – Return to the Spectrum of Intergalactic Happiness
A panoramic record that pulled from breaks, drum & bass, dubstep and downtempo, Zeds Dead‘s Return to the Spectrum of Intergalactic Happiness was both a festival tentpole and a storytelling masterstroke the from veteran duo. It has both range and cohesion, the mark of a group determined to deliver concept-driven work through vintage, soulful sampling. The album generated early award prediction chatter from fans and the industry alike at the time of its release.
Chris Lake – Chemistry
Chemistry marked Chris Lake‘s shift from a singles-driven release approach to a front-to-back format built around groove, pacing and house anthems. The album’s tracks circulated ubiquitously across festivals and headline tours, becoming reliable peak-energy tools for DJs far beyond Lake himself. Rather than chase crossover moments, Chemistry reaffirmed house music’s strength as a producer-led form, a medium where arrangement, tension and release are canon.
Anyma – The End of Genesys
The finale of a conceptual trilogy, Anyma‘s The End of Genesys extended the conversation about what a DJ set can be onstage. The album arrived alongside an ambitious live production that unfolded at the Italian superstar’s historic residency at the Vegas Sphere, a series that treated live electronic music as a visual narrative over a standard setlist. It was one of the most-discussed audiovisual bodies of work in global EDM culture last year, and a touchstone in the ongoing nexus of music and digital performance art.
Knock2 – nolimit
Knock2‘s nolimit solidified the breakout producer as one of the few young talents reshaping the language of modern club music. The EDM.com Class of 2023 star fused bass house, Jersey Club, trap, electro and pop vocal energy into a style built for crowds that want speed, bounce and emotional release all at once.
DJ Koze – Music Can Hear Us
Music Can Hear Us represented the quieter, detail-driven end of electronic music production in 2025. DJ Koze focused on texture and pacing, building songs that reward attentive listening without needing to escalate or over-engineer. In a field dominated by scale and immediacy, Music Can Hear Us stands out as a reminder that dance music’s influence is often felt in the everyday spaces where people actually listen.
