15. Prosumer & Murat Tepeli, “U&I”
[Ostgut Tonträger] (buy)
While more widespread appreciation of the Ostgut Tonträger/Berghain/Panoramabar ethos may have removed much of the mystery from Berlin’s stalwart sound in 2009, Prosumer and Murat Telepi demonstrated the sustainability of their magic touch in the simple, direct, effective, and surprisingly endearing “U & I.” Equally focused and detached, the track moves confidently between Elif Biçer’s deeply hypnotic siren’s call and Prosumer’s direct and harmonious call to satisfaction. The captivating ambivalence created with such straightforward (and potentially throwaway) lyrical content suggests exactly how deep the rabbit hole may be for this pair of master magicians. Let’s hope they dig as deep in 2010. (Andrew Clapper)

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14. Santiago Salazar, “Arcade” [Macro] (buy)
Santiago Salazar confessed to LWE that, unlike his other tracks, “Arcade” doesn’t get him dancing. “I usually wave my hands in the air to that bass line like I’m playing a theremin,” he admitted. Yeah well, us too. The cloud-parting synthesizers and noodling Spaghetti Western accents made for a breathtaking and evocative sci-fi set piece, but charting the irrepressible ascent of that buzzing, truly electric bass line was so exhilarating, it felt like a revelation. S2 attests it was inspired by “a fun day at a random arcade in Los Angeles,” but “Arcade” meant a lot of other things to myself and a lot of other people this year. (Chris Burkhalter)

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13. Kode9, “Black Sun” [Hyperdub] (buy)
Much ink was spilled this year in the names of Hyperdub and its founder, Steve Goodman, best known as Kode9. Not enough was said, however, about the cultural maven’s own releases, few though they may be these days. His stringent quality standards have meant only the best, like the tipsy workout “Black Sun,” make it to the shelves. The ebb and tide of smeared pitches is at once weary and also elated, cheered on by the swift footwork of an inquisitive bass line and explosive claps. Yet the darkness it’s avoiding seeps into the volatile melody and forceful persistence of his drum programming, a sort of resignation that no matter what we’re partying to forget, the world’s ominous troubles return each day with the sun. Few so fruitfully evoked the modern malaise and the need to chase it away as Goodman. (Anton Kipfel)

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12. Wax, “No.20002-B” [Wax] (buy)
The concept of an “endless summer” was one of the more noteworthy trends in indie music this year, but when I needed to conjure balmy temperatures and sunshine the first thing I reached for was “No.20002-B.” Not only is it one of most direct tracks Pawlowitz has released, it tackles an oft abused, piano-laden house sound with a breezy flair that blows away its middling contemporaries. Crackling with energy but cool under the collar, launched by gritty percussion but smooth enough to soothe, utilitarian enough for adventurous jocks but strong enough to ring out solo, “No.20002-B” is one of those rare, gripping tunes that can slot into almost any house or techno DJ’s set with ease (not to mention the pleasure it elicits on a nice pair of headphones). Now if you’ll excuse me, I need to bask in this record’s warmth as I ignore winter clawing at my windows.
(Steve Mizek)

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11. Kassem Mosse, “Workshop008A”
[Workshop] (buy)
According to his MySpace page, Leipzig’s Kassem Mosse “lives in a nighttime world somewhere on the edge of time.” This year Mosse laid aside concerns of genre or function and truly took us to that place. The slowed-pulse A-side of his second EP for Workshop worked a conjurer’s magic with its light, submerged percussion and gently rippling keyboard melody. In spite of its simple, unadorned, even sterile palette, “Untitled A1” evoked phenomenally vivid color and warm human feeling, all the while orchestrating minor shifts from serene calm to quiet thrill that had us coming back to Mosse’s nighttime world again and again.
(Chris Burkhalter)

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