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LWE's Top 25 Tracks of 2010

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PostWysłany: 16-12-2010 15:35    Temat postu: LWE's Top 25 Tracks of 2010 Odpowiedz z cytatem

With its many lists and retrospectives arriving from all corners of the Internet, the year’s end is a favorite period for many music fans and anxious artists. Others have proven decidedly less keen, wondering aloud why anyone would bother with ranking and reevaluating the records we spent the year covering. Yet as the music market grows ever more crowded and the genre boundaries once segregating listeners evaporate more with each year, it’s never seemed more important to look back at the year to celebrate its boldest accomplishments. As in past years, LWE’s reviewing staff has devoted a great deal of time and effort to sorting out what we believe are the year’s 25 best singles and 10 best albums. While your mileage may vary, for us these selections stood the test of time and defined our 2010 listening experiences. Staff lists to follow.

25. Oskar Offermann & Moomin, “Hardmood” [Aim]

When considering “Hardmood” by Oskar Offermann & Moomin, my mind drifts to a derivation of its title — hard wood — to describe its sound. Much like wood grain, the subtle, undulating patterns give off an air of refinement and wonderment yet never comes off as flashy. Opening on the tinkling sounds of a restaurant with light, slightly jazzy tones bleeding through, the muted strains coalesce with horn-led patterns bearing spectral features that provide a sublime, heard-through-the-wall vibe. By obscuring all but the biting percussion which locks the tune into reality, Offermann & Moomin manage to conjure the palette of yesteryear to score contemporary celebrations without fetishizing a retro sound. It’s a tricky balance they pull off with style to spare, as “Hardmood” sounds as enticing when purring through a home stereo on a candlelit night as growling from a PA surrounded by lighting rigs. (Anton Kipfel)

24. Mount Kimbie, “Maybes” (James Blake Remix) [Hotflush Recordings]

Given that Mount Kimbie and James Blake both had banner years in 2010, it might be surprising that the best out of either of them came from a remix of a 2009 track. But Blake’s remix of “Maybes” — perhaps the signature Kimbie track, considering it was the first that most heard — combined the essences of both perfectly. The remix stopped Scuba’s Sub:Stance compilation dead in its tracks, but as a singular piece it had the same effect on listeners. Kimbie’s rustic atmospheres sublimated into Blake’s gaseous backdrops as the track’s vocal gasps were twisted into the monstrous incantations so characteristic of early Blake productions. The drop was more like a vertical tunnelling, but nothing could prepare you for that second drop, where hoover-esque synths swelled up in splendid colour so bright it turned pure white. When Blake reorganized the vocal refrain into a brand new melody that audibly glistened at the corners, it was one of the most staggeringly beautiful moments of the entire year. Everything comes together to completely knock you over in a wave of dumbfounded stupefaction, and that’s not a bad way to describe the entire piece.
(Andrew Ryce)

23. Hungry Ghost, “Illuminations” (Marcellus Pittman Remix) [International Feel Recordings]

3 Chairs alum Marcellus Pittman was on a tear this year, dropping veritable riddles of punchy drum programming and bent bass lines through Fit, Unirhythm, and Rush Hour. His remix of Ben Williams and Sam Weaver’s ethno-cosmic “Illuminations,” though, was on another plane entirely, sounding for all the world like it was recorded from within Pittman’s gut. If that description suggests the inner and earnest, that’s certainly appropriate, but I’m mostly referring to the squishes, sloshes, and groans that teeter through the track’s eight minutes. Its eerie wails, damp percussion effects, throbbing drones, errant rattles, and muffled bass-bin palpitations are rendered amorphous, primordial, and strange in this marvel of cavernous sound design. Really the only solid footing afforded is during the mad organ romp that makes up the track’s brooding emotional center. Up to and following that, we’re knee-deep in the muck of the wondrously unfamiliar. (Chris Burkhalter)

22. Ramadanman, “Glut” [Hemlock Recordings]

The appearance of “Glut” in April frankly stunned me. After a sterling 2009 and a solid double 12″ on Hessle I thought I had a good handle on what David Kennedy was up to, but this track proved otherwise. “Glut”’s mixture of electro, house, and juke (to name but a few sources) was like nothing I had ever heard but soon went on the form the base of Ramadanman’s incredible 2010 run. I was soon hopelessly addicted to its treated vocals and rhythmic flourishes which, at the hands of any other producer, would sound cluttered and messy, but here breathe freely. For all of the elements at work there’s a huge amount of space here, occasionally filled up by crushing low-end and that organ sound that lends Ramadanman productions their signature melodic touch. This sound, a defining feature of bass music in 2010, may have appeared on plenty of quality 12″s this year but none as essential and none reaching the perfection of “Glut”’s taut and potent five minutes. A veritable anthem, and one that still blows my mind each and every time. (Chris Miller)

21. Girl Unit, “Wut” [Night Slugs]

It’s safe to say the emergent Night Slugs label was already having a good year before their eighth released dropped; Londoner Girl Unit’s “Wut” was legendary while its release details were still uncertain. First surfacing in March, the track’s ubiquity rivaled that of Addison Groove’s “Footcrab” and tapped into the same vein of repetitive euphoria. “Wut” nicely embodies everything there is to embody about the distinctive label, funnily enough since it’s one of the few straightforward dubstep tracks the label has put out. In a year where chopped vocal samples quickly turned from novelty to bore, “Wut” did it differently, loosing a stampede of ecstatic voices that converged in a fearsome display of controlled destruction. But “Wut” was also about the hip-hop synths that coated the track’s frame in even more layers of melodic abandon, spreading like wildfire across its oil slick surface until the whole thing was alight in a glorious gaudy blaze.
(Andrew Ryce)

20. Fred P., “It Is What It Is” [Strength Music]

House doesn’t get much deeper than it does on a Fred P track. “It Is What It Is,” the overwhelming standout from DJ Qu’s second Semesters collection and one of Fred P’s most poised productions to date, is positively narcotic even on his heavily handicapped scale: it’s not so much a dance track as it is a vinyl-induced psychedelic experience. With ghostly beats driving a melody that steadfastly refuses to resolve, the track suspends you in time and space, giving you the feeling you’ve been catapulted into the spirit realm. What universal truth is Shaman Peterkin nudging us toward? Like any mind-expanding experience, set and setting have a great deal to do with it, but side effects are as likely to include rump-shaking as they are total dissociation. But “It Is What It Is” goes well beyond mere headshop fodder, and it’s never deep for depth’s sake. If it’s hypnotic, it’s only because something this gorgeously sophisticated is difficult to ignore. Compositionally and maybe even psychologically, I’d say Fred P is hitting his stride. I’d recommend dosing now, lest your state legislature catches on. (Jordan Rothlein)

19. James Blake, “CMYK” [R&S Records]

The fact that, as 2011 looms large, James Blake stands on the brink of mainstream recognition owes a lot to the anthemic axle of his career so far, “CMYK.” A song that serves as a jigsaw piece between his earlier, lower frequency releases on Hemlock and Hessle Audio and the more overtly melodic pop inclinations of the Klavierwerke EP and recent Feist cover, “Limit To Your Love,” the title track from his first outing on R&S fuses both eras of Blake to marvelous effect. Focused on a pitch-shifted Kelis sample — providing the element of catchiness necessary to charm a wider audience — but with the intelligently deployed bass shudders and close attention to detail that generated all the fervent underground hype, “CMYK” has ingrained itself as one of Blake’s, and the year’s, defining moments. (Jack Scourfield)

18. Addison Groove, “Footcrab” [Swamp 81]

Rarely has a song made both so little and so much sense as Addison Groove’s “Footcrab.” If you’re like me, it may take several bliss-filled listens before it dawns on you that what’s causing you to flit around the room like a Riverdancer on mushrooms is essentially the sound of a man repeating the words “insane” and “Footcrab,” only one of which actually has an ounce of meaning. While Planet Mu has been busy snapping up producers from the juke scene over the past year, Anthony Williams (also known as Headhunter) chose to register another alias and see what he could do with the genre. The result is one of the most individual and gloriously outlandish tracks to have emerged in ages. Conventional? No. Brilliant? Yes. Insane? Footcrab. (Jack Scourfield)

17. FaltyDL, “All In The Place” [Rush Hour Recordings]

In an interview earlier this year Drew Lustman, better known as FaltyDL, proclaimed, “…in dance music, you gotta watch what you say.” Judging by his records, Lustman’s communication style is to keep dancers simultaneously perplexed and excited. Recalling the type of versatility practiced by early ’90s techno boffins, Lustman manages to create inspiring electronic music regardless of the genre it appears to resemble. And “All In The Place” from his Rush Hour release of the same name proved he could go even further. Moving briskly through wistful melodic refrains and brightly hued synth, its contemplative mood is imbued with gripping energy from squelchy bass, acid coils and a glimmering piano strain. The broken house rhythm is marked by wriggling, unpredictable hi-hat patterns and stuttered kicks that hint at a cross-pollination of electro and 2-step garage. If Lustman continues to make statements as rewarding as “All In The Place,” his music can do all the talking. (Kuri Kondrak)

16. Szare, “Snake Cave” [Horizontal Ground]

It’s no secret that 2010 trended toward gloominess and occult-isms. For all the valiant attempts made at capturing this zeitgeist in the form of a dance track, few came as close as Szare, whose “Snake Cave” appeared on the A-side of the fourth Horizontal Ground 12″. The track centers on a lurching, muscular, tabla-led swing with some of its parts in reverse; indistinct vocal murmurs dart around the edges, and its attempts at melody are warped rave stabs and unearthly synth tones, also partly in reverse, that spiral wraith-like out of the low-end. Working with organic, “ethnic” instrumentation can be a dubious endeavor — it can smack of Orientalism and is rarely done with much finesse. “Snake Cave” plays on that unintelligible other by universalizing it, its rolling tabla taking the nebulous ideas of drum rites and the shamanic trance and placing them squarely in the context of the contemporary dance floor. To grossly oversimplify, the world is convoluted with information. A labyrinth in itself, Szare’s track is true body music, offering movement as the path to clarity. (Steve Kerr)

15. STL, “Vintage Hunter” [Something]

You’d think that with such an abundance of releases, Stephan Laubner’s sound would start to feel watered-down. Instead, we find in Laubner a level of dependability more or less unmatched within the genre. From his healthy collection of lovingly crafted productions, there often emerges a dreamy track or two made to stick in your ear for years. For 2010, “Vintage Hunter” takes the prize. Here Laubner’s steady, dubby loops are offset by bright, punchy melodies and bubbling ticks and taps. His signature stumbling drums and the warm, lumbering bass line give the track a momentum that makes nine minutes seem almost too short. The mood is a sort of seductive hopefulness, something hard to come by in a style that’s usually reserved for sadder sounds. It’s not made for the club, but Things From the Basement is a record that you’ll find yourself flipping again and again as it plays out in your bedroom. From the man who produces locked-groove loops with more personality than most musicians can manage in 12 inches, “Vintage Hunter” is an extra-special piece, constructed with the care and color only Laubner can seem to muster. (Sarah Joy Murray)

14. KiNK, “Kiss The Sky” [Boe Recordings]

Written by a producer whose tracks often sound like classic house pastiches, “Kiss The Sky” found KiNK shelving his touchstones and creating something utterly beautiful and his own. Although held together by characteristically tight drum programming, the tune feels weightless and luxuriant as its chords stretch outward in balmy waves. It seems another gorgeous sound is around every corner, from wordless coos and stuttering syllables to sweeping harp runs and tremolo progressions, leaving the listener dazzled at the many splendors KiNK packs into six minutes. Boe Recordings were wise to snap up this summery jam and potential underground classic in its own right for their Halal Prepared Vol.1 EP. (Steve Mizek)

13. James Blake, “I Only Know (What I Know Now)” [R&S Records]

Appearing suddenly half way through last year with the Air & Lack Thereof twelve inch, the superbly unique James Blake has gone from hotly tipped wunderkind to full blown auteur with each of his five releases in 2010 seeming to outdo the last. Firmly entrenched in the post-dubstep camp with his first few releases, his more recent work shows he looks set to crossover — if not to the mainstream, then definitely to his own unexampled position within music. The hints are in the genre tags on the Klavierwerke release in its Discogs entry: modern classical, dubstep. From that EP comes one his most intimate moments of the year, the achingly beautiful “I Only Know (What I Know Now).” Comprised of Blake’s voice and a melancholic piano bursting through packets of tape noise, all wrapped up in a woolly blanket of bass, it was the downbeat highlight of the year and a prescient taste of what’s to come on Blake’s debut album, slated for a February 2011 release. (Per Bojsen-Moller)

12. Axel Boman, “Purple Drank” [Pampa Records]

Despite or perhaps even because of the increasingly frantic pace at which life flies at us, music saw the opportunity to slow down in 2010 and grabbed it. Whether it was a new crop of languid house and disco producers imagining DJ sets never reaching 120 BPM, the advent of a new, buzzed over scene heavily indebted to chopped and screwed hip-hop a la DJ Screw (let’s call it drag), the preponderance of UK bass music artists whose best work ambled by at house friendly tempos (or below, eg. “Wut,” “Blue” or “I Only Know (What I Know Now)”), or Justin Bieber slowed to a Sigur Ros-styled pace, musicians of all stripes enjoyed their chance to pull back on the throttle. Count newcomer Axel Boman among the slow burners, largely thanks to his codeine-dazed hit single, “Purple Drank.” From the heavy-lidded vocals to the gut-punch bass line, Boman’s signature tune felt pleased with its own heaviness and drowsy pace without burdening dancers. But was the quivering organ line — soaring at a moments notice but quick to subside — and brilliant details like cola bottle percussion that kept the track afloat and glued to my turntable. Who knew such sleepy inspiration could generate such compelling tunes? (Anton Kipfel)

11. NDF, “Since We Last Met” [DFA]

If ever there were two genres us music snobs are supposed to be pretty well over by this point, minimal and indie rock are those genres. How peculiar, then, that one of the year’s best tracks spends an all-too-brief ten and a half minutes toeing the line between the two and makes exquisite work of the combination. “Since We Last Met” works (and makes weirdly perfect sense on DFA) because Bruno Pronsato understands tech-house better than practically anyone else still playing by its rules: rather than an invitation to turn down the thermostat, it’s an opportunity to crank up the resolution. And what high-definition heartache Pronsato and his NDF cohort Sergio Giorgini have unleashed here. Every bit of the arrangement — from those subtly swelling bass hits to Giorgini’s exhausted croak — exudes nuance both sonic and emotional. What results is a track as likely to resonate with your audiophile side as that part of you that’s wrestled with the peaks and troughs of love. “Since We Last Met” is that rare anthem as at home on the dance floor as between the sheets. Pigeonhole it however you like, just so long as you also call it excellent. (Jordan Rothlein)

10. Ramadanman, “Don’t Change For Me” [Hessle Audio]

“Don’t Change For Me” came at the end of Ramadanman’s eponymous Hessle Audio EP, where it was an uncharacteristically straightforward reward after five tracks of unforgiving insularity. It certainly wasn’t any simpler, but it was sure as hell a wake-up call. Where so much of David Kennedy’s 2010 work was characterized by excessively dry rhythmic experimentation, “Don’t Change For Me” gleefully sent junglist breaks flying every which way across the track, skidding to a halt with dramatic sub-bass rumblings before beginning anew in a different direction. A little cartoonish, yes, and it was only exaggerated when typical Kennedy organs slammed into the track, weighing it down at the sides so heavily that the breaks shot down steep inclines. A blissful mess overflowing with percussion (check the bongos that appear halfway through), Kennedy’s boundless energies were finally released through his own guiltless take on tradition. None of these genres are usually this unashamedly happy — jungle, dubstep, grime, whatever, they all equal paranoia — but when Kennedy rolls the vocal sample in the palm of his hand only to send it flinging out into the center, his grin is palpable. I’m smiling right along with him. (Andrew Ryce)

09. Fred P., “On This Vibe” [Esperanza]

The very term deep house implies there is a certain profundity to the music it describes, a lushness that doesn’t always exist in its prefix-absent cousin. Fred Peterkin is a demonstrative proponent of deep house, whether under the Black Jazz Consortium handle or as Fred P., and in 2010 he was responsible for some of the most conclusive moments in the genre. “On This Vibe” found the New York producer decamping to Spain for a jaunt on the Esperanza label with a track that couldn’t have been better matched to its name. When the only discernible melody is a one-fingered piano key that appears every two bars you better hope the rest of your track has an abundance of feeling to carry it. Fred matches pads that shimmer with the intensity of solar flares and a vocal wail that melts into your brain like pitch on a desert highway. It’s the deep throb of a bass line and shuffling, tracky percussion that keep these flighty, etheric elements moored and add further gravitas to one of this years most sublime moments in house music. (Per Bojsen-Moller)

08. Steffi ft. Elif Biçer, “Kill Me” (Instrumental Dub) [Ostgut Ton]

It is far worse to be ignored than hated because at least hatred means someone feels something for you. For her first solo EP, Steffi ably channeled this singeing feeling of indifference into the powerful and compact tune, “Kill Me,” with help from Ostgut Ton’s resident chanteuse, Elif Biçer, and longtime confidante, Dexter. This single was too catchy and effective to ignore, confidently improving on the retro-tinged sound first debuted on “24 Hours” by smoothing out the edges, allowing her drum programming room to flirt with complexity, and tailoring the intensity of her pitches to perfection. Although the original vocal version is a masterful example of integrating narrative lyrics into house music, “Instrumental Dub” version gets our nod for maintaining the original’s charm while being utilitarian enough for use by a wide variety of DJs. With all this arriving so early in her career, it’s likely her forthcoming debut album will be just as difficult to overlook. (Anton Kipfel)

07. Oni Ayhun, “OAR004-A” [Oni Ayhun Records]

In his review of Oni Ayhun’s OAR004 earlier this year, Chris Miller wrote that “sometimes you just need to let shit get out of hand,” and there’s hardly a better way of describing how the producer’s sole 2010 release sounds on first listen. Initially the A-side seems in disarray, like a jam-out that hasn’t found its groove, all glassy wobbling lines and bursts of screeching white noise atop anemic, metallic 4/4 rhythms. Midway through, though, that shell of chaos cracks and a jacking sub-bass-inflected groove worms its way out, those earlier elements all reigned in, orbiting around it. It’s a perfect bait-and-release; when he pulls back, you’re left lusting after that rhythm, hoping that somehow that tense mess of elements will magically realign itself. Relentlessly teetering on the edge, “OAR004-A” is a compositional tour de force, reaffirming that Oni Ayhun plays only by his own rules. (Steve Kerr)

06. Morphosis, “Musafir” [M>O>S Recordings]

The word “Musafir” translates from Arabic as “traveler” and indeed, Morphosis sometimes seems like a traveler from a distant land where techno doesn’t adhere to any rules and is not afraid to not make sense. You could say that it’s this unorthodoxy, this complexity that makes “Musafir” one of the best tracks of the year, but that might mask the fact that it also simply steamrolls over everything in its path. It kicks off with a contorted, resonating saxophone that stumbles over a kick drum. But it’s soon joined by the main attraction, the titan-sized synth line that never seems to repeat itself the same way twice. At times it’s muted and subdued, other times Morphosis cranks up the resolution and the tune singes the hairs on the back of your neck. Hi-hats slice the air in irregular intervals. Snare hits feel like crack of Hephaestus’ hammer against the forge. Indeed, everything about “Musafir” feels epic, like the soundtrack to a storm the strength of which only Poseidon could conjure. Techno doesn’t get much more mental, powerful or extraordinary than this. (Chris Miller)

05. Actress, “Maze” [Honest Jon's Records]

Every year there are a run of artists who completely shake the foundations of music, mercilessly messing with your preconceptions of sound and style, extending a beckoning finger for you to join, follow or simply witness as they blast off into orbit. Actress sent out a clear mission statement earlier this year with the two EPs that preceded his second full length album, Splazsh, that he was approaching each release with the spirit of an explorer who sets out to conquer rather than return. Taken from the Paint, Straw And Bubbles EP but also appearing on Splazsh, “Maze” sets out in search of narcotized, sci-fi funk via 80’s video game theme music. Its demented, shuffling chug through marshy layers of pitched down, Drexciyan inspired electro reported that on his mission, Actress was conquering some far off, alien dance floor and he wasn’t leaving there until every last mind was turned on to his vision. (Per Bojsen-Moller)

04. Tensnake, “Coma Cat” [Permanent Vacation]

Click through to a couple Q&As and you’ll find Marco Niemerski describing “Coma Cat” as “catchy.” Let’s just say that the man who records as Tensnake favors modest understatement. This gleaming, housed-up rework of Anthony Malloy’s 1986 boogie hit “What I Like” was in heavy demand in January, and grew to an unavoidable crossover phenomenon by summer’s end, spilling over from dance floors and podcasts to MTV Europe and H&M in-store playlists. But it’s a testament to that aforementioned tendency to understatement that, despite the inundation of the track in all manner of trending media, those ubiquitous steel drums still brighten our eyes at year’s end. “Coma Cat” is a regular parade of clever retro signifiers, but it never winks. Meticulously and tactfully composed, it’s a tough track to date, with keyboard flourishes that stop short of irony, content to sound studiously just right. Yet it’s something more slippery than taste — and much simpler — that ranks “Coma Cat” among the year’s finest. It’s that it sounds bright, shiny and warm, and feels like a big toothy grin — a beckoning we’re helpless to resist. Okay, yeah… it’s catchy. (Chris Burkhalter)

03. Elgato, “Blue” [Hessle Audio]

Apart from a house tempo and intro/outro kicks, Elgato’s “Blue” hardly screams hot dance track. Rather, it showcases the true potential of “bass music” by layering wispy, shimmering, synthetic clouds atop a bottomless sub-bass rumble. The sparse, Impressionist piece that ensues quickly submerges the listener in the headiest narcosis, centered around a strained, floating “my dreams” mantra, the foil for the punishing sub-and-snare combination beneath. Elgato toys with this contrast throughout, at one point launching into a beatless breakdown that lasts the better part of two minutes. You can move to it, but I find it’s best appreciated as a sort of landscape — one of steely, nocturnal, lovesick desolation. An absolutely incredible, engrossing debut. (Steve Kerr)

02. Kyle Hall, “Kaychunk” [Hyperdub]

Too often Kyle Hall’s age becomes a deciding factor in how people rate the quality of his music. I’ll be the first to admit it was an angle I was quick to jump on when I first wrote about him. But a few years have passed since then and Hall hasn’t let his underage status guide his career. Sure we’ve seen an increase in his productions this year, but if you listen closely you can hear that Hall is trying to give us something different with each one. In the case of “Kaychunk” we got a piece that was very unique and truly special. Although at first its punch drunk rhythm of sputtering snares and skipping kicks seems like a muddle, the nimble bass line, flickering synth arpeggios and warm chords coalesce into a glorious jazz fueled flight. Its appearance on Hyperdub linked the release to London dubstep but it had much more in common with the city’s decades old broken beat scene while sharing a strong footing with forward thinking Detroit producers like Anthony “Shake” Shakir and Marcellus Pittman. In a year that held plenty of gold, “Kaychunk” was the nugget that could not be outshined. (Kuri Kondrak)

01. Kassem Mosse, “Untitled” [Laid]

One reason why Gunnar Wendel, better known as Kassem Mosse, has earned such a devoted following is his ability to synthesize the moods, rhythms, sound design, melodies and structures of several decades of electronic music in his own tracks. This was never more apparent than on his “Untitled” tune for Laid, a master stroke of densely layered progressions and patterns that summoned the essence of great works before it to create something entirely singular to Wendel’s aesthetic. Its phalanx of percussion crunches and slices with utmost precision, taking unexpected paths, hardly ever resting, and yet it never overwhelms its melodic counterparts or audiences. The interplay between its halcyon bells, smokey, swaying pads and beatific synth leads is positively ambrosial, each element gaining greater consonance by being heard together. Even the swirling, through-the-wormhole crowd noise book-ending the track is an essential element, a brief glimpse of humanity in the workings of a celestial machine. Heard through a club’s system, “Untitled” feels as if it were painted with broad, euphoric strokes; studied through headphones, it reveals intricately carved timbres and sonic details. In kind, it’s the sort of record DJs and home listeners treasure with equal relish. “Untitled” was the rare tune which cut across all sorts of personal tastes, appearing on nearly every LWE staffer’s ballot and besting all competitors by leaps and bounds. It is, without a doubt, the most essential track released in 2010. (Steve Mizek)
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