01. Helium Robots, “Jarza”
[Running Back] (buy)
Like Dissident, the label they first appeared on, Helium Robots seemed to burn bright and fast, falling silent after two tracks in 2008 for Andy Blake’s since completed imprint. Then in late 2011, the UK-based duo of Ewan Willmott and Lydia Jones showed their first flicker of life in nearly four years by remixing Lana Del Rey, of all people. Helium Robots appear at full power on the Jarza EP for Running Back, delivering two timeless originals that come backed by two less than inspiring Theo Parrish remixes. The title track certainly earns the honor by coaxing a memorable and entirely danceable tune from deliberately 80s’ sounding synths and organs. Arms aloft, “Jarza” wiggles between Italo, house and synth pop, undeniably colorful but tasteful as well, earning its space in your memory with songwriting rather than cheese. The EP is complimentary to the work of another recent Running Back signing, Phillip Lauer — a flattering comparison to say the least. While Helium Robots’ SoundCloud indicates they’ll be working with another label on a forthcoming album, one has to admire Gerd Janson as one of dance music’s finest tune trufflehounds for sniffing out this one.

02. Anstam, “Statical”
[50 Weapons] (buy)
January’s charts are especially hard to select because they represent both this past month and all the music we caught up on since last time we charted. One album I particularly I wish I would have heard during 2011 was Anstam’s Dance Dispels, a confident and thrillingly novel take on bass music and techno. “Statical” is not its biggest track, but it encapsulates Anstam’s approach in a polished, multi-faceted three minutes. Gaseous pads cling to earth being pounded by rotund percussion, as if the landing gear from a spacecraft was unfolding. It’s a terrain coated in sumptuous sub-bass, a field full of delicate piano leads swaying in the breeze. Anstam’s final twist freezes this new world without warning, leaving an unsettling array of piano chords hanging in the air. At times Dance Dispels feels like Anstam lit his own torch from Shackleton’s black flame and begun an entirely different and equally arresting quest. We can only wonder where it will lead him next.

03. Kornél Kovács, “Down Since ’92″
[Studio Barnhus] (buy)
It feels fitting to choose this track from one of Studio Barnhus’ founders, Kornel Kovacs, just as RA’s “Edit Etiquette” has published. There’s no way around it: “Down Since ’92″ is a clever edit of Sam Salter’s “Once My Shit (Always My Shit)” from 1999. Kovács places large chunks of the often forgotten R&B singer’s multi-tracked vocals in melting melodies being stirred by 90s hi-hats and Chicago-styled bass notes. Despite its origins, the tune is redolent of some of the 90s’ best house tracks by the way of MK’s unforgettable remixes. While he had a number of stellar originals as well, Marc Kinchen’s legacy was cemented by his deft rearranging of others’ raw material. Kovács is not quite operating at that caliber, but a track like “Down Since ’92″ bears its spirit and is all the more memorable for it.

04. Alex Jones, “Stamp!” (Dan Berkson’s Effortless House Remix) [Hypercolour] (buy)
Dan Berkson’s creative spirit seems renewed since he returned to releasing music in 2011 after a couple quiet years. Last year’s Anything For You for Crosstown Rebels immediately put him back on the map with its deep and muscular house sound, his Chicago heritage bleeding through into the drum programming and bass line. His last 2011 appearance was remixing Alex Jones’ “Stamp!” on Hypercolour, the imprint founded by Jones. Perhaps sarcastically entitled Dan Berkson’s “Effortless House Remix,” the track is undoubtedly the result of a serious time investment. It’s led by an animated bass line chased by sultry organ riffs and smooth pads, all in the clutches of tightly programmed drum patterns. If anything about it is effortless, it’s the way the remix unfolds its many petals while feeling anything but weighed down. Hopefully this burst of creativity carries Berkson through 2012.

05. Jubilee, “Les Clochards”
[Hidden Recordings] (buy)
Does a house track really need more than one memorable melody to work? This is the question posed by Jubilee’s “Les Clochards.” For his second release on New York’s Hidden Recordings, the Moroccan producer chose a particularly appealing if not all that complicated progression to wend its way through his marching, disco house percussion. There’s an undeniable easiness to the way its sensuous tones rise and falls, which gives its bare repetition over more dynamic drum arrangements just enough flavor to carry it off. The deep-in-the-tropics sounds which poke up their heads, as well as the extensive nine minute run-time are perhaps a bit much, yet the tracky structure affords “Les Clochards” the utility to work these elements into its surroundings. It appears Hidden Recordings is heading in the opposite direction of tracks like this and “Wolkenreise” in 2012, but its last transmission from 2011 affirms this sound is still within.

06. Wincent Kunth, “Relove (Edit)”
[Marcel Dettmann Records] (buy)
07. Pittsburgh Track Authority, “Untitled”
[Pittsburgh Tracks] (buy)
08. Ethyl & Flori, “Shelter”
[Secretsundaze] (buy)
09. Robag Wruhme, “Donnerkuppel”
[Kompakt] (buy)
10. B.D.I., “Decoded Messages of Life & Love”
[Rush Hour Recordings] (buy)

Staff Charts

Per Bojsen-Moller
01. Actress, “Actress Meets Shangaan A” [Honest Jon's Records]
02. Orpheus, “Waiting For Your Call” [Sequencias]
03. The Citizen’s Band, “77 Reasons” [Live At Robert Johnson]
04. Floating Points, “Myrtle Avenue” [Eglo Records]
05. Xosar, “Rainy Day Juno Jam” (Legowelt Remix) [Rush Hour Recordings]
06. Todd Terje, “Inspector Norse” [Smalltown Supersound]
07. Minilogue, “Let Life Dance Through You” [Traum Schallplatten]
08. Yør, “Rave” [Purple Maze]
09. Patrice Scott, “3AM” [Sistrum Recordings]
10. Taron Trekka, “Warubian Ghost” [Freude Am Tanzen]

Chris Burkhalter
01. Efdemin, “Nighttrain” Fred P Reshape [Dial]
02. Mike Huckaby, “Baseline 87′” [Sushitech]
03. Falke, “Flying” [Kann Records]
04. Coki, “Celestial Dub” [DMZ]
05. DVS1, “Submerge” [HUSH]
06. Junior Boys, “You’ll Improve Me” (Dem 2 Remix) [Domino]
07. Maria Minerva, “Gloria” [100% Silk]
08. Chicago Skyway, “London Streets” [Uzuri]
09. Xosar, “Rainy Day Juno Jam” [Rush Hour Recordings]
10. Yør, “Rave” [Purple Maze]

Nick Connellan
01. Oskar Offermann, “Drive Me Home Please” [White]
02. Rivet, “Sleepwalker” [Kontra-Musik]
03. Vince Watson, “Sequential” [Bio Music]
04. Shed, “The Praetorian” [50 Weapons]
05. Rivet, “Metrist” (Marcel Fengler Redefinition) [Kontra-Musik]
06. Floating Points, “ARP3″ [Eglo Records]
07. Conforce, “When It Appeared” [Ann Aimee]
08. Todd Terje, “Myggsommer” [Smalltown Supersound]
09. Claro Intelecto, “Second Blood” [Delsin]
10. Cuthead, “Heartless” [Uncanny Valley]

Steve Kerr
01. Voices From The Lake, “S.T.” (VFTL Rework) [Prologue]
02. Claro Intelecto, “Heart” [Delsin]
03. Mark Van Hoen, “Holy Me” [Editions Mego]
04. Madteo, “Bugler Gold Pt. 1″ [Hinge Finger]
05. Vazz, “Cast Reflections” [Forced Nostalgia]
06. Inc., “Heart Crimes” [4AD]
07. Unknown artist, “Frankfurt Session 1″ [Sex Tags Mania]
08. Kplr, “16.5.5.2″ [Crazy Iris]
09. Julia Holter, “Boy In The Moon” [Rvng Intl.]
10. Todd Terje, “Inspector Norse” [Smalltown Supersound]

Kuri Kondrak
01. Equation, “I’ll Say A Prayer 4 U” [Rush Hour Recordings]
02. Rüf Dug, “See” [Rüf Kutz]
03. Juju & Jordash, “African Flower” (Cosmic Dub) [Dekmantel]
04. I:Cube, “Hnt” [Les Edits Du Golem]
05. Raiders Of The Lost Arp, “On And On” [Petite]
06. The Oliverwho Factory, “Together” (Altered States Mix) [Bosconi Records]
07. Ka§par, “Able To Find” (CARLOS NILMMNS Glasgow Tangent Mix) [Groovement]
08. Xosar, “Rainy Day Juno Jam” (Legowelt Remix) [Rush Hour Recordings]
09. Steve Summers, “Beyond The Night” [Construction Paper]
10. Pittsburgh Track Authority, “Untitled” [Pittsburgh Tracks]

Chris Miller
01. Demdike Stare, “Kommunion” [Modern Love]
02. Nuel, “Mentalism” [Further Records]
03. Silent Servant, “Mad Youth” [Sandwell Disctrict]
04. Scuba, “Ignition Key” [Hotflush Recordings]
05. Floating Points, “Myrtle Avenue” [Eglo]
06. Pinch, “Retribution” [Swamp81]
07. Claro Intelecto, “Second Blood” [Delsin]
08. A Made Up Sound, “Take The Plunge” [A Made Up Sound]
09. DVS1, “Evolve” [Hush]
10. Objekt, “Cactus” [Hessle Audio]

10. Agnès presents Cavalier, A Million Horses
[Drumpoet Community] (buy)

It wasn’t until this year that Agnès, partially under the guise of Cavalier, laid out his blueprint for an ideal house on a canvas bigger than an EP. In many ways A Million Horses lives up to the Swiss producer’s great potential, offering his refined take on more than a dozen facets of house. They arrived in an array of sizes — some only as baubles, others as full-on Jesus pieces — each bearing his Swiss precision hi-hat programming, attention-grabbing bass lines, and subtle melodies that stand up to close scrutiny and club play. The tracks really move, too, putting all their weight into swinging rhythms or playing it deliberately straight, but always with a grace that feels instinctual instead of studied. Rather than trying to turn house on its head, it was obvious Agnès preferred to work with the same forms as his peers and just did a superior job within those parameters. Although at times uneven, A Million Horses repeatedly proved Agnès is one of house music’s most talented craftsmen whose low-profile toiling paid off even in the tricky album format. (Steve Mizek)

09. Steffi, Yours & Mine
[Ostgut Ton] (buy)

With just six tracks to her name at the start of the year, no one knew much at all about Steffi. Setting aside her lauded DJ sets, that is. Nevertheless, with the release of Yours & Mine, it became clear the Dutch artist had been doing much more than just collecting records. For a debut album (hell, any album) it was technically impeccable, delivering stomach-dwelling bass and radiant synth work with equal clarity. One thing it didn’t do was break the mold compositionally, nor offer incredible variation. That didn’t matter: in distilling deep house down to such reliable elements, Steffi created a long player that was exceptionally dependable, wherever you dived in. There was the innocent dreaminess of “Lilo,” the relentless pulse of “Nightspacer” and of course, “Yours,” the track that lodged Virginia’s imploring vocals deep into everyone’s brains. Who wants to race to the end of the pool when treading water is this pleasant? (Nick Connellan)

08. Legowelt, The TEAC Life
[Self-Released] (buy)

A sprawling 14 tracks which often come close to the 10-minute mark, The TEAC Life was Danny Wolfers’ most engrossing album yet. Released as a free download, he memorably described it as “raw as fuck Detroit unicorn futurism made on cheap ass analog and digital crap synthesizers recorded in a ragtag bedroom studio.” Raw it may have been, but it was also a powerfully emotive listen, navigating the completely idiosyncratic landscape he’s been building up for over a decade. Tracks like “U Can Fly Away from the Hood” and “The Soul of a City” summed up everything that was great about this LP — layer on layer of colorful synth swirls grounded by warm and rounded drum machine funk. But while the obvious influences, both musical and cultural, are writ large, The TEAC Life never sounded contrived — or, worse, twee. Rather, the dual engines of vintage house and electro were twisted further and further away from the club, and into areas that speak of space navigation, lo-fi futurism, and innocent escapism: a real trip, from one of the great journeyman of electronic music. (Harry Sword)

07. Tim Hecker, Ravedeath, 1972
[Kranky] (buy)

Physicality is something that draws many to dance music, but Ravedeath, 1972 isn’t body music in the same sense as everything else you’ll find on this list. Tim Hecker’s finest hour (not to mention 2011′s best ambient record) does’t set your body in motion so much as it moves you — physically, sure, but its vibrations penetrate deeper, rattling obscure organs and dredging up emotions you maybe weren’t sure you had. While the effect isn’t unheard of in Hecker’s music, some credit must go to Ben Frost, the Australian composer and master of harsh beauty who engineered the sessions in Reykjavik where these almost painfully lush sounds originate. Though it stands shoulder-to-shoulder with any beatless, experimental, or modern classical record you could get your hands on this year, Ravedeath struck a chord with many who might not normally know what to do with this sort of stuff. Perhaps its structure, moving from the bitterness of the “In the Fog” through to the blurry, gossamer sensuality of “In the Air,” helped this abstract music become as seemingly universal as a four-to-the-floor kickdrum. Or maybe it’s just that the album actually delivers on its cover (which is pure class, by the way): you feel like that nearly-alighted piano has slammed straight into your chest, a collision sure to cause more than a bit of internal bleeding.
(Jordan Rothlein)

06. Roman Flügel, Fatty Folders
[Dial] (buy)

It’s hard to believe Fatty Folders was the very first solo album to bear Roman Flügel’s birth name. After all, he’s been releasing music with his real title since the late 90s. In that respect, the LP’s appearance may have been more of a surprise than its actual contents. Besides featuring previously released tracks “How To Spread Lies” and “Bahia Blues Bootcamp,” Folders continued the steady course Flügel has been plotting for several years, rather than swerving to an unfamiliar vector. As always, however, there was no one on the path but him. Armed with his customary confidence and poise, the Frankfurt-based producer delivered neon-lit electro-funk with “Deo,” idyllic synth noodling via “Krautus” and a touching elegy in “Song With Blue.” It was an album of carefully spread variation, though wherever it went, Flügel’s hand was always audible. And perhaps that’s the simple reason why Fatty Folders was so popular. In one big hit, it delivered more of the celebrated producer than anyone has heard in half a decade.
(Nick Connellan)

05. Jonsson/Alter, Mod
[Kontra-Musik] (buy)

Every once in a while a friend or acquaintance asks me to recommend an album of exemplary house music which they, the uninitiated, might enjoy. Since Jonsson/Alter’s LP Mod landed in October it’s been my go-to recommendation, one that’s been met with more than a few approving head nods and foot taps from said recipients. My reasons for recommending it are the same reasons it’s been so well received: the duo exhibit an absolute mastery of house music’s fundamentals and have excised anything that might detract from them. Listeners get the sense every synth tone and timbre has been labored over for just as long as it took to arrange them into a track, yielding sumptuous melodies that ricochet around the brain for weeks. Their work is obviously indebted to classic house and yet makes no attempts to reanimate the past, preferring to belong to the canon of classic house records because of its quality. And like all the best dance albums, Mod cultivates a series of moods and feelings that justify its existence rather than relying on utilitarian notions to get by. Put succinctly, Mod offered everything I wanted in a house album. Given its inclusion in this list, I suspect I’m not alone in this conclusion. (Anton Kipfel)

04. Morphosis, What Have We Learned
[Morphine Records/Delsin/M>O>S Recordings] (buy)

Rabih Beaini’s daring and unconventional approach to his album, What Have We Learned, ended with equally audacious results. Using a limited amount of equipment and taking a live jam approach that extended over just two days, he was able to create a work immersed in an exotic atmosphere that is equal parts eerie and thrilling. His penchant for jazz shows itself in many ways, most notably on the abstract side during “Silent Screamer,” “Ascension,” and again with “Gate Of Night” as cosmic synths swirl and xylophonic percussion envelop the listener. Elsewhere jazz tonalities are felt within the melodic strains or within the loose drum programming and spontaneous percussive fills. On “Too Far” we see Beaini combining those jazz idioms with Middle Eastern motifs, an ominous bass line and haunting lyrics from vocalist Kae to create something truly unique. With “Spiral” and “Dirty Matter” Beaini offers up chugging percussive techno that has a primitive, hypnotic quality that is richly textured. That What We Have Learned is considered techno is almost beside the point, as Beaini has masterfully achieved a cohesive atmosphere that seems to transcend the album’s individual components. It’s as if he’s created a mythical sonic world where anything goes and usually does. (Kuri Kondrak)

03. BNMJMN, Plastic World
[Rush Hour Recordings] (buy)

It’s impossible to know now if BNJMN would have broken as large as he did if he hadn’t have released his debut on Rush Hour. The most on-point label in the world was the perfect fit for the producer who also turned out to be one of the most compelling finds of 2011 with not just one but two incredible albums. His first, Plastic World, was his introduction; the densely packed, rich rhythms finding a home in ears appreciative of the meeting points between techno and bass music that have been so prevalent this year. In places the pure strains of Dutch and Detroit techno were plastered all over the tracks, such as on the celestial opener, “Blocks,” or the deeply grooving “Tunnel Flight.” Elsewhere, like on “See Thru Stars” or “Miniature Steps” the influence of UK bass music is clearly felt. But Plastic World was much more than simply being a derivative strain of these popular trends. Its force lay in both its sonic architecture and the unique take that the producer had on the ideas contained therein. In the first instance BNJMN intensifying and heightening the frequencies contained in his tracks to the maximum, and in the latter being able to fully realize his ideas and shape them how he saw them, making Plastic World sound unlike anything else that came out this year. (Per Bojsen-Moller)

02. Andy Stott, Passed Me By
[Modern Love] (buy)

Although Andy Stott experimented with dropped tempos on last year’s Tell Me Anything, this spring’s Passed Me By drastically redefined his career, squashing and dragging his shimmering dub techno to a lurching, lethargic pace. Often a slight drop will add a bit of sex to a rigid rhythm, or as Jochem Peteri says, the “simply dissolves in a more beautiful way.” But on Passed Me By (and its companion, We Stay Together), Stott took his tracks a step further. Any slinkiness is smothered in unrelenting bass weight, creaky industrial ambience, and claustrophobic side-chain compression. The recent trend for slowness — not only in music, but also in movements like slow food — has been widely attributed to the rapidly increasing speed of media and communications, as its proponents attempt to exert some control over their environment. Passed Me By seems much more about being trapped under the weight of that information flow, and its solemn trudge is frequently punctuated by sharp cries ringing out into the graininess, skewed beyond intelligibility. It’s this pervasive unease that makes it such an intoxicating, relevant effort. (Steve Kerr)

01. Machinedrum, Room(s)
[Planet Mu] (buy)

It might have been the tapping of fingers, closely clipped samples, or some nameless drummer going nuts on the kit, but if there’s one sound that defined the year’s best album, it’s percussion. A complete and utter reinvention, Travis Stewart’s nth album as Machinedrum splashed intricate percussive tracks across all sorts of landscapes, beats that click, clack, and bang at incredibly high tempos, speeding ahead of everyone else in “bass music” in 2011 both literally and artistically. While there was no shortage of footwork influence seeping into dance music — especially that made on American shores — Stewart takes what was fast becoming a cliche and flies off with it in a direction that I don’t think anyone could have predicted or even really imagined. Recognizing the music’s compatibility with jungle, with Room(s) Stewart crafts an eminently futurist album that tears and twists bits of footwork — its thrill-seeker pace, its dislocated bass frequency dread politics, and its penchant for hypnotic repetition — and weds it with the uniquely flighty feel of jungle, music that feels like it’s hurtling joyously and unapologetically in any direction it could fling itself toward.

What makes Room(s) so much more than “footwork for white people” is its expansive sonic makeup: while there’s a definite formula here, each does it with completely different sets of ingredients. Forgoing footwork’s roughly hewn, sawed-off vocal aesthetic, every vocal on Room(s) — a mixture of Stewart’s own cooing and the usual array of disembodied sample — sounds shimmering and iridescent, touched just slightly with AutoTune and other processing effects. Its near-convoluted percussive patterns range from soft (“She Died There”) to lusciously tactile (“Youniverse”) to just plain drummer’s abandon (“U Don’t Survive”), and even throws in a few tender moments, like the tender “Lay Me Down,” a slow jam at 150 beats per minute, making the most of the Burial recipe of mallets, makeshift drums, and strangled yelps. The album’s unrelenting breakneck speed might scare off prospective listeners, but even at its most frenzied the elements congeal into something attractively psychedelic and sonically adventurous (the piano-house-on-speed of “Come1″ or the Boards of Canada-sampling “Sacred Frequency”) rather than a deafening jackhammer.

Far be it for me to go all “consensus rules,” but maybe the biggest indicator that there was something special happening here was how music like this — music that takes the most extreme elements of “bass music” in terms of sampling, speed, and structure — managed to unite sticklers and scenesters from all over the dance music map. Sometimes critical acclaim really does line up with greatness, and Machinedrum’s Room(s) deserves no less than the uproarious reception it received: there was no other album this year more adventurous, confident, perfectly executed or so damned exciting every single play through. There was no album either as giddily celebratory or celebrated as Room(s) in 2011, he owned this spot since bits and pieces of his masterpiece started trickling earlier out this spring. (Andrew Ryce)

++

Staff Charts:

Per Bojsen-Moller
01. BNJMN, Plastic World [Rush Hour Direct Current]
02. Machinedrum, Room(s) [Planet Mu]
03. Rick Wilhite, Analog Aquarium [Music 4 Your Legs]
04. Andy Stott, Passed Me By [Modern Love]
05. Martyn, Ghost People [Brainfeeder]
06. Legowelt, The TEAC Life [Legowelt]
07. James Blake, James Blake [Atlas Recordings]
08. When Saints Go Machine, Konkylie [Studio !K7]
09. Jonsson/Alter, Mod [Kontra-Musik]
10. DJ Qu, Gymnastics [Strength Music Recordings]

Nick Connellan
01. Roman Flügel, Fatty Folders [Dial]
02. Steffi, Yours & Mine [Ostgut Ton]
03. Morphosis, What Have We Learned
[Delsin/Morphine Records/M>O>S Recordings]
04. BNJMN, Plastic World [Rush Hour]
05. Dominik Eulberg, Diorama [Traum Schallplatten]
06. tobias., Leaning Over Backwards [Ostgut Ton]
07. Jonsson/Alter, Mod [Kontra-Musik]
08. Nebraska, Displacement [Rush Hour]
09. Vincenzo, Wherever I Lay My Head [Dessous Recordings]
10. Massimiliano Pagliara, Focus For Infinity [Live At Robert Johnson]

Steve Kerr
01. Julia Holter, Tragedy [Leaving Records]
02. Zomby, Dedication [4AD]
03. Hype Williams, One Nation [Hippos In Tanks]
04. Max B, Vigilante Season [Amalgam Digital]
05. Maria Minerva, Cabaret Cixous [Not Not Fun Records]
06. Afrikan Sciences, Means And Ways [Deepblak]
07. Oneohtrix Point Never, Replica [Software]
08. Andy Stott, Passed Me By/We Stay Together [Modern Love]
09. Niggas With Guitars, Ethnic Frenzy [Digitalis Recordings]
10. LV & Joshua Idehen, Routes [Keysound Recordings]

Anton Kipfel
01. Andy Stott, Passed Me By [Modern Love]
02. Machinedrum, Room(s) [Planet Mu]
03. Portable, Into Infinity [Perlon]
04. BNJMN, Plastic World [Rush Hour Recordings]
05. Maria Minerva, Cabaret Cixou [Not Not Fun Records]
06. Agnès presents Cavalier, A Million Horses [Drumpoet Community]
07. Roman Flügel, Fatty Folders [Dial]
08. Steffi, Yours & Mine [Ostgut Ton]
09. Jonsson/Alter, Mod [Kontra-Musik]
10. tobias., Leaning Over Backwards [Ostgut Ton]

Kuri Kondrak
01. Morphosis, What Have We Learned
[Delsin/Morphine Records/M>O>S Recordings]
02. John Heckle, The Second Son [Mathematics Recordings]
03. Conforce, Escapism [Delsin]
04. Afrikan Sciences, Means And Ways [Deepblak]
05. J.T.C., Creep Acid [Nation]
06. Kuba Sojka, Mysterious Intrigue [Mathematics Recordings]
07. Legowelt, The TEAC Life [self-released]
08. Lerosa, Amanatto [Uzuri]
09. Fudge Fingas, Now About How [Prime Numbers]
10. Fred P, The Incredible Adventures of Captain P [Soul People Music]

Chris Miller
01. Andy Stott, Passed Me By [Modern Love]
02. Morphosis, What Have We Learned
[Morphine Records/Delsin/M>O>S Recordings]
03. Machinedrum, Room(s) [Planet Mu]
04. Fred P, The Incredible Adventures of Captain P [Soul People Music]
05. Tin Man, Perfume [Salon]
06. tobias., Leaning Over Backwards [Ostgut Ton]
07. BNJMN, Black Square [Rush Hour Direct Current]
08. DJ Qu, Gymnastics [Strength Music Recordings]
09. Tim Hecker, Ravedeath 1972 [Kranky]
10. Martyn, Ghost People [Brainfeeder]

Steve Mizek
01. Machinedrum, Room(s) [Planet Mu]
02. Jonsson/Alter, Mod [Kontra-Musik]
03. BNJMN, Plastic World [Rush Hour Recordings]
04. Agnès presents Cavalier, A Million Horses [Drumpoet Community]
05. Tim Hecker, Ravedeath 1972 [Kranky]
06. Andy Stott, Passed Me By [Modern Love]
07. Portable, Into Infinity [Perlon]
08. Morphosis, What Have We Learned [Delsin]
09. James Blake, James Blake [Atlas Recordings]
10. Hercules & Love Affair, Blue Songs [Moshi Moshi Records]

Jordan Rothlein
01. Machinedrum, Room(s) [Planet Mu]
02. Tin Man, Perfume [Salon]
03. BNJMN, Black Square [Rush Hour Direct Current]
04. Africa HiTech, 93 Million Miles [Warp]
05. Tim Hecker, Ravedeath, 1972 [Kranky]
06. Legowelt, The Teac Life [Legowelt]
07. Roman Flügel, Fatty Folders [Dial]
08. Steffi, Yours & Mine [Ostgut Ton]
09. FaltyDL, You Stand Uncertain [Planet Mu]
10. Elektro Guzzi, Parquet [Macro]

Andrew Ryce
01. Machinedrum, Room(s) [Planet Mu]
02. The Weeknd, House Of Balloons [Not On Label]
03. M83, Hurry Up We’re Dreaming [Mute]
04. Andy Stott, Passed Me By [Modern Love]
05. araabMUZIK, Electronic Dream [Not On Label]
06. Instra:mental, Resolution 653 [NonPlus+]
07. Kuedo, Severant [Planet Mu]
08. Salva, Complex Housing [Friends of Friends]
09. Balam Acab, Wander / Wonder [Tri Angle]
10. Lucy, Wordplay For Working Bees [Stroboscopic Artefacts]

Harry Sword
01. Pinch & Shackelton, Pinch & Shackelton [Honest Jon's]
02. FaltyDL, You Stand Uncertain [Planet Mu]
03. Andy Stott, We Stay Together [Modern Love]
04. Alex Kortex, Kihon [Pomelo]
05. Planetery Assault Systems, The Messenger [Ostgut Ton]
06. Machinedrum, Room(s) [Planet Mu]
07. Omar-S, It Can Be Done But Only I Can Do It [FXHE Records]
08. Legowelt, The TEAC Life [self-released]
09. Surgeon, Breaking the Frame [Dynamic Tension Records]
10. Steffi, Yours & Mine [Ostgut Ton]

05. Steffi ft. Virgina, “Yours”
[Ostgut Ton] (buy)

Taken from her faultless Yours & Mine long player from the early days of 2011, Steffi’s lead single “Yours” was not only the perfect calling card for the album but also one of the stand-out hits of the year. Easily one of the 2011′s most recognizable tunes thanks to simple yet compelling chord stabs that lead in to Virginia’s honeyed vocals, “Yours” was so popular it eventually became a victim of its own success. At its height, “Yours” could be heard in almost every house and techno set, sometimes being played multiple times in one night as each successive DJ took to the decks and waited for the time when they could drop the tune. Finally becoming too played out, DJs took the track off of its high rotation, but not before it had been indelibly embossed on everyone’s aural memories. A near perfect example of how to write an instant hit dance track, “Yours” takes relatively standard elements (the aforementioned chord stabs, understated, swinging percussion and chord variations) and marries them with an unforgettable vocal that never veers towards being too saccharine or diva-like. A soft shot to the heart of sonic serotonin, “Yours” provided one of the eyes-closed, melting moments of the year. (Per Bojsen-Moller)

04. Kassem Mosse, “Untitled-A”
[Workshop] (buy)

Kassem Mosse has never been afraid of going abstract, but the untitled opening track of Workshop 12 shows him working at new levels of trippiness. The nearly 14 minute piece is almost entirely underlined by a vocal loop that ends up sounding like several different words at once; it’s repeated so frequently that the elements he throws on top — a bulbous bass line, shuffling percussion, strained horror movie strings — seem almost totally commanded by it. He deftly plays with time, interspersing the rhythm so delicately that the effect is somewhat dissociative. It’s hard to say where the “track” even begins, and as if to prove the bizarre hypnotic power of his mantra, the last three minutes consist of just the vocal. In a catalog that oscillates between sinuous, low-slung house and heady experiments, the two have never been so convincingly, intoxicatingly combined. (Steve Kerr)

03. SCB, “Loss”
[Aus Music] (buy)

Even though you might associate Paul Rose in 2011 with the endlessly controversial trance-baiting “Adrenalin,” the much more universally loved “Loss” was inescapable for a good half of the year, whether it was seeping into sets from house, techno, or bass music DJs. There’s a reason: unadulterated accessibility. Released under an alias more often reserved for stripped-down techno, SCB’s first go on Aus Music is gleeful, candy-coated tech house, still built with the familiar Scuba elements — jaunty bass line, leaden percussion, and syrupy synths — but arranged with a disposition much sunnier than usual. Rose has always had a way with repetitive vocal samples, but “Loss” wins you over with pure infectious delirium, completely unintelligible but no less singable. It might all be a little simplistic were it not for those iridescent synths that pipe through the track’s peripheries, overwhelming it for a good old-fashioned Scuba-style breakdown before chugging back to life in earnest. Sure, it’s odd to hear the perennially-downcast Scuba this unguarded, uplifting, and, cheery, but no one’s going to question something as potent as “Loss” — that it came from such a surprising corner of the dance music world only added to its unique, irresistible charm. (Andrew Ryce)

02. Tin Man, “Nonneo”
[Absurd Recordings] (buy)

Tin Man has long been spoken of with hushed tones and beatific language, but in 2011 Johannes Auvinen went straight for the jugular. More than peek his head out of the realm of nightshade-crooner-techno he seems to perpetually inhabit, “Nonneo” saw him return to the acid house of his first couple records but with a brightness and groove very much in contrast with those early, austere Roland jams. Uptempo, vaguely tribal percussion and punchy, beaming chords give an almost sunny disposition to the track, but the masterstroke of a 303 line that is the tune’s centerpiece is moody and glum enough to make it clearly a piece of Tin Man’s storied oeuvre. That bass line, easily my most listened to and loved of 2011 by a very generous margin, twists and turns through “Nonneo”‘s length, turning up the psychedelic cutoff and emotional resonance with each iteration. It didn’t get played out a whole lot, and I would like to think that’s because this one lay a bit too close to our hearts: playing it out would mean bearing our souls a little too much. During Tin Man’s staggering live set in New York earlier this year, the whole room certainly felt when that bass line came in, and I don’t think I was the only one with a glimmer in my eyes. (Chris Miller)

01. Omar-S, “Here’s Your Trance, Now Dance!!”
[FXHE] (buy)

Sometimes the track of the year truly defines it. (See Kassem Mosse’s “Untitled,” our top pick from last year, which seemed to neatly summarize everything that was happening in dance music in 2010.) But Omar-S, as high as his stock rose in 2011, has always existed a bit out of time, a scene and subgenre of one. Truth be told, “Here’s Your Trance, Now Dance!!” — first issued on a single-sided 12″ (that decoy side was truly a brilliant touch) earlier this year before presiding over Omar-S’ It Can Be Done But Only I Can Do It full-length — could have come out at any time for the last few decades, and it likely would have topped any year-end list it was a part of. It doesn’t reinvent the wheel or, as Machinedrum seemed to do this year, rip the wheels off the car and install magnetic levitators; rather, it invites us to revel in the power of a supremely well-oiled machine, and that’s no small feat. For while it may not ask much of us intellectually (as the title implies, there’s really only one reaction it’s after), “Here’s Your Trance” truly couldn’t have been made by a lesser producer: it’s as if Omar-S has spent his entire discography sorting out the very sounds bodies require to be set in motion, and we revelers are currently proving his hypothesis. And how lucky we are to be part of this experiment — the sort of chain reaction one imagines won’t be slowing down for some time. (Jordan Rothlein)

<< 10-6
<< 15-11
<< 20-16
<< 30-21

++

Staff Charts

Per Bojsen-Moller
01. Omar-S, “Here’s Your Trance, Now Dance!!” [FXHE Recordings]
02. Steffi ft. Virginia, “Yours” [Ostgut Ton]
03. James Blake, “The Wilhelm Scream” [Atlas Recordings]
04. Eduardo De La Calle, “Disco 05A” [Analog Solutions]
05. Zomby, “Natalia’s Song” [4AD]
06. Rick Wilhite, “Music Gonna Save the World Pt. 1″ [Music 4 Your Legs]
07. Spector, “Pipe Bomb” [Sound Signature]
08. BNJMN, “Keep The Power Out” [Rush Hour Direct Current]
09. Andy Stott, “North to South” [Modern Love]
10. Crystal Maze, “Crystal Maze” (Chicago Skyway Remix) [aDepth Audio]
11. Frank Martiniq, “Golden Dusk” (Panther Version by Scott Grooves and Kataconda) [Curle Recordings]
12. Vakula, “Dub As Always” [Shevchenko]
13. Eduardo De La Calle, “Disco 06A” [Analog Solutions]
14. Martyn, “Masks” [Brainfeeder]
15. Reggie Dokes, “Haiti” [Royal Oak]
16. Seaside Houz Boyz, “Deephouse Yall” [Crème Organization]
17. Oni Ayhun, “Meets Shangaan Electro” [Honest Jons]
18. Steffi, “Sadness” [Ostgut Ton]
19. Kassem Mosse, “Enoha” [Nonplus Records]
20. Hieroglyphic Being, “Night Thoughts (2AM Remix)” [Sequencias]
21. Oskar Offermann & Moomin, “Nasty Nate” [Aim]
22. Juju & Jordash, “Bleached Roots” [Rush Hour Recordings]
23. John Beltran, “Brilliant Flood (Kassem Mosse & Mix Mup Remix)” [Delsin]
24. Jerzzey Boy, “Get It Started” [My Love Is Underground]
25. Gunnar Jonsson, “Tempelhof Zoo” [Just Another Beat]
26. Mark E, “Call Me (Dixon Edit)” [Merc]
27. BNJMN, “Nightvision (Andy Stott Remix)” [Stolen Kisses]
28. Erdbeerschnitzel, “Always Remain” [3rd Strike]
29. Juniper, “Jovian Planet” [Ominira]
30. Myriadd, “Beyond This Life” [Crème Orginization]

Chris Burkhalter
01. Kassem Mosse, “Untitled A1″ [Workshop]
02. Spekter, “Pipe Bomb” [Sound Signature]
03. Move D, “Your Personal Healer” [Uzuri]
04. Rolando, “Junie” [Ostgut Ton]
05. Tin Man, “Nonneo” [Absurd Recotdings]
06. Instra:mental, “From The Start” [Autonomic]
07. Omar-S, “Here’s Your Trance, Now Dance!!” [FXHE]
08. Terrence Dixon, “The Parkhurst” [Thema]
09. Frank Martiniq, “Golden Dusk” (Panther Version by Scott Grooves & Kataconda) [Curle Recordings]
10. Nina Kraviz, “I’m Week” [Rekids]
11. D’Marc Cantu, “Set Free” [M>O>S]
12. Octo Octa, “High Reflection” [100% Silk]
13. Sandwell District, “Speed + Sound (Endless)” [Sandwell District]
14. Chicago Skyway & Dcook, “Lager Nord” [M>O>S]
15. 2562, “Aquatic Family Affair” [When In Doubt]
16. Terekke, “Damn” [L.I.E.S.]
17. Gerd, “Palm Leaves” [Royal Oak]
18. Ethyl & Flor, “Shelter” [Secretsundaze]
19. Lone, “All Those Weird Things” [Wigflex]
20. John Heckle, “The 4th Dimension” [Mathematics]
21. Ital, “Ital’s Theme” [100% Silk]
22. Kowton, “Show Me” [[Naked Lunch]]
23. Reggie Dokes, “Haiti” [Royal Oak]
24. Dijkhuis, “Underground Persistance” [Night Gallery]
25. Gesloten Cirkel, “Yamagic” [Moustache Records]
26. Protect-U, “U-Uno” [Future Times]
27. Benjamin Brunn, “Queen Mary” [Smallville]
28. Trevino, “Chip” [3024]
29. Murphy Jax, “It’s Time To Bump” [Turbo Recordings]
30. Raiders of the Lost Arp, “Night Theme” [Lunar Disko]

Nick Connellan
01. SCB, “Loss” [Aus Music]
02. Steffi, “Yours” [Ostgut Ton]
03. Roman Flügel, “Mulish Crease” [Live At Robert Johnson]
04. Roman Flügel, “Iron Curtain” [Live At Robert Johnson]
05. Marcel Dettmann, “Translation One” [Ostgut Ton]
06. Martyn & Mike Slott, “All Nights” [All City]
07. Todd Terje, “Ragysh” [Running Back]
08. Todd Terje,S”nooze 4 Love” [Running Back]
09. Robag Wruhme, “Ende” [Pampa]
10. Tin Man, “Nonneo” [Absurd]
11. Objekt, “CLK Recovery” [None (white label)]
12. Omar-S, “Here’s Your Trance, Now Dance” [FXHE]
13. RNDM, “Hideaway Lane (Dub)” [Laid]
14. Mathew Jonson, “Learning to Fly” [Minus]
15. Conforce, “Vacuum” [Delsin]
16. Julius Steinhoff, “Mischief of One Kind and Another” [Geography]
17. Legowelt, “Sark Island Acid” [Long Island Electrical Systems]
18. Basic Soul Unit, “Soulspeak” [Dolly]
19. Basic Soul Unit, “Groundswell” [New Kanada]
20. Juniper, “Jovian Planet” [Ominira]
21. Lawrence, “Just Like Heaven” [Smallville]
22. Cottam, “Sunrise Sunset” [Use of Weapons]
23. Dionne, “Back On the Planet” [Smallville]
24. Jacques Greene, “Another Girl” [LuckyMe]
25. Josef Jaktmark, “Breathless” [Crime City Disco]
26. Reggie Dokes, “Haiti” [Royal Oak]
27. Slow Hands, “Sweetest Taboo Cover” [Double Standard]
28. Stefan Lohse, “Fog Patches” [Uncanny Valley]
29. Legowelt, “Moonmist” [None (white label)]
30. Tiger & Woods, “Gin Nation” [Running Back]

Steve Kerr
01. Laurel Halo, “Head” [Hippos In Tanks]
02. Gesloten Cirkel, “Yamagic” [Moustache Techno]
03. Moomin, “Watermelon (Marvin Dash Edit)” [Aim]
04. Ital, “Culture Clubs” [Lovers Rock]
05. D’Marc Cantu, “Set Free” [M>O>S Recordings]
06. Prostitune, “NJ Turnpike” [Just Another Beat]
07. Minus Yogis, “All Tied Up (Juju & Jordash Gospel Mix)” [Jansen Jardin]
08. Kassem Mosse, “Untitled A1″ [Workshop]
09. Terekke, “Damn” [L.I.E.S.]
10. Burial, “Stolen Dog” [Hyperdub]
11. Legowelt, “Poverties Paradise” [Echovolt Records]
12. Virgo Four, “It’s A Crime (Caribou Remix)” [Rush Hour Recordings]
13. Spekter, “Pipe Bomb” [Sound Signature]
14. Protect-U, “World Music” [Future Times]
15. Invisible Conga People, “Can’t Feel My Knees” [DFA]
16. Genius of Time, “Houston We Have A Problem” [Royal Oak]
17. Vakula, “Dub As Always” [Shevchenko]
18. Juju & Jordash, “Chelm is Burning” [Golf Channel Recordings]
19. Jhene Aiko, “Do Better Blues Pt. 2″ (Marvin’s Room) [Self-Released]
20. Hype Williams, “Rise Up” [Hyperdub]
21. B-Tracks, “Specialize” [Supply Records]
22. George Fitzgerald, “Silhouette” (John Roberts Remix) [Aus Music]
23. CFCF, “Looking So” [UNO]
24. Reggie Dokes, “Haiti” [Royal Oak]
25. Abdulla Rashim, “Asayita 1″ [Abdulla Rashim Records]
26. MD, “Megapolitan Soul” [Not On Label]
27. Omar-S, “Here’s Your Trance, Now Dance!” [FXHE]
28. Jay Simon, “Faith” [Wild Oats]
29. Mark Ernestus, “Mark Ernestus Meets BBC” [Honest Jon's Records]
30. Panda Bear, “Surfers Hymn” (Actress Primitive Patterns Extended Mix) [Kompakt]

Anton Kipfel
01. The Citizen’s Band, “West 42nd” [Live At Robert Johnson]
02. D’Marc Cantu, “Set Free” [M>O>S Recordings]
03. EQD, “Equalized#005-B” [Equalized]
04. Crystal Maze, “Crystal Maze” (Chicago Skyway Remix) [aDepth Audio]
05. Matthew Styles, “Polee” [Running Back]
06. Hitsafe, “Let The Acid Out” (Tin Man Remix) [Shaddock Records]
07. Gesloten Cirkel, “Yamagic” [Moustache Techno]
08. Machinedrum, “Now U Know The Deal 4 Real” [Planet Mu]
09. Julius Steinhoff, “Mischief Of One Kind And Another” [Geography Records]
10. Storm Queen, “It Goes On” [Environ]
11. Roman Flügel, “Iron Curtain” [Live At Robert Johnson]
12. Martyn, “Masks” [Brainfeeder]
13. Oskar Offermann & Moomin, “Nasty Nate” [Aim]
14. Burial, “Stolen Dog” [Hyperdub]
15. Todd Terje, “Snooze 4 Love” [Running Back]
16. Jonsson/Alter, “En_Livfull Skildring” [Kontra-Musik]
17. BNJMN, “See Thru Stars” [Rush Hour Recordings]
18. Ital, “Ital’s Theme” [100% Silk]
19. Moomin, “Watermelon” (Marvin Dash Edit) [Aim]
20. Recloose, “Tecumseh” [Rush Hour Recordings]
21. Legowelt, “Sark Island Acid” [L.I.E.S.]
22. Genius of Time, “Houston We Have A Problem” [Royal Oak]
23. Steffi ft. Virginia, “Yours” [Ostgut Ton]
24. Levon Vincent, “Tyner” [Soul People Music]
25. Gerd, “Palm Leaves” [Royal Oak]
26. DJ Duke, “Summer Madness” [Self Defence]
27. 2562, “Wasteland” (Head High Remix) [When In Doubt]
28. Nebraska, “The Mountains” [Rush Hour Recordings]
29. Contakt, “Not Forgotten” [Local Action Records]
30. Kruse & Nürnberg, “Daze Without You” [Liebe*Detail]

Kuri Kondrak
01. Protect-U, “World Music [Future Times]
02. Anthony Nicholson, “Suntek” [Neroli]
03. Alex Israel, “Gaz 13 feat. Etiku Dancer” [W.T. Records]
04. Terrekke, “Damn” [L.I.E.S.]
05. Juju & Jordash, “Chelm Is Burning” [Golf Channel]
06. Dijkhuis, “Salt Caramel” [Night Gallery]
07. Kevin Reynolds, “Liaisons” [Nsyde]
08. Tin Man, “Nonneo “(Donato Dozzy Remix) [Absurd]
09. Fred P, “Somewhere” [Soul People]
10. Omar S, “Here’s Your Trance, Now Dance!!” [FXHE]
11. Juju & Jordash, “Bleached Roots” [Rush Hour]
12. Terrence Dixon, “City Nights” [Thema]
13. M.D., “Megapolitan Soul” [X]
14. John Heckle, “The 4th Dimension” [Mathematics]
15. Esteban Adame, “I’ll Never Give Up” [Underground Quality]
16. C-Beams, “Thumbling” [Uncanny Valley]
17. Mark Du Mosch, “Blue Sphere” [Tabernacle]
18. R-A-G, “Harold’s Invention” [M>O>S]
19. D’Marc Cantu, “Set Free” [M>O>S Deep]
20. Spekter, “Pipe Bomb” [Sound Signature]
21. Kassem Mosse, untitled A [Workshop]
22. o1o, “Beat Datazz” [Further]
23. Tangula, “Jebisu” [Diametric]
24. Royalty, “Twilight Fades” [Five Easy Pieces]
25. Paul Bennett, “After All The Tomorrows Became Yesterdays” [Modernista]
26. The Florian Muller Project, “Jam With It” (The Olverwho Factory Vocal Remix) [Terpsichore]
27. Eduardo De La Calle, “The Concept Sampler [Analog Solutions]
28. Martyn/Mike Slott, “Pointing Fingers” [All City]
29. DJ Yoav B, “Temptation” [Syncrophone]
30. Shokazulu, “Part 4″ [2000 Black]

Chris Miller
01. SCB, “Loss” [Aus Music]
02. Tin Man, “Nonneo” [Absurd Recordings]
03. Omar-S, “Here’s Your Trance, Now Dance!!” [FXHE]
04. Levon Vincent, “Man or Mistress” [Novel Sound]
05. Tin Man, “Rockers Ravers” [Salon]
06. Ital, “Ital’s Theme” [100% Silk]
07. DJ Qu, “Get Sum” [Strength Music]
08. Sepalcure, “Taking You Back” [Hotflush Recordings]
09. Andy Stott, “Posers” [Modern Love]
10. Kassem Mosse, “Workshop 12 A1″ [Workshop]
11. Legowelt, “Sark Island Acid” [Long Island Electrical Systems]
12. Juju & Jordash, “Chelm Is Burning” [Golf Channel Recordings]
13. Hunee, “A Leaf For Hand In Hand” [Ostgut Ton]
14. EQD, “Equalized #005 B” [Equalized]
15. Machinedrum, “She Died There” [Planet Mu]
16. Ital, “Only For Tonight (Dubout Saviour’s Love Megamix)” [100% Silk]
17. Pearson Sound, “Stifle” [Hessle Audio]
18. Mark Ernestus, “Mark Ernestus Meets Shangaan Electro” [Honest Jon’s]
19. Black Jazz Consortium, “Stay” [Soul People Music]
20. Joy O, “Jels” [Hotflush Recordings]
21. Midland, “Through Motion” [Aus Music]
22. Martyn, “We Are You In The Future” [Brainfeeder]
23. Reagenz, “The Labyrinth” [Ostgut Ton]
24. Harkin & Raney, “Workin’ & Steamin’” [Throne of Blood]
25. Steffi feat. Virginia, “Yours” [Ostgut Ton]
26. D’Marc Cantu, “Set Free” [MOS Deep]
27. Versalife, “Solenoids of Insomnia” [Clone West Coast]
28. Octo Octa, “High Reflections” [100% Silk]
29. Patrice Scott, “3AM” [Sistrum]
30. Unknown Artist, “Sicko Cell” [Swamp81]

Steve Mizek
01. Todd Terje, “Snooze 4 Love” [Running Back]
02. Storm Queen, “It Goes On” [Environ]
03. Osker Offermann & Moomin, “Nasty Nate” [Aim]
04. Hercules & Love Affair, “My House” [Mochi Mochi]
05. BNJMN, “See Thru Stars” [Rush Hour Recordings]
06. Tin Man, “Nonneo” [Absurd Recordings]
07. Gerd, “Palm Leaves” [Royal Oak]
08. RNDM, “Hideaway Lane” (Dub) [Laid]
09. Roman Flügel, “Bahia Blues Bootcamp” [Dial]
10. Ital, “Ital’s Theme” [100% Silk]
11. Lauer, “HR Boss” [Live At Robert Johnson]
12. John Heckle, “What Once Was” [Mathematics Recordings]
13. Portable, “Fadeaway” [Perlon]
14. The Citizen’s Band, “West 42nd” [Live At Robert Johnson]
15. Ricardo Miranda, “Urbanism” [Noble Square Recordings]
16. Gesloten Cirkel, “Yamagic” [Moustache Techno]
17. Cuthead, “The Sinner” [Uncanny Valley]
18. Maxi Mill, “To The Next” [Rush Hour Recordings]
19. The Weeknd, “What You Need” [self-released]
20. SCB, “Loss” [Aus Music]
21. Peverelist, “Dance Til the Police Come” [Hessle Audio]
22. Nebraska, “The Cruives” [Rush Hour Recordings]
23. Cavalier, “Lipizzan” [Drumpoet Community]
24. OCP, “Little More” [Aim]
25. Prostitune, “NJ Turnpike” [Just Another Beat]
26. Kevin Reynolds, “Liasons” [Nsyde Music]
27. Morning Factory, “Fantasy Check” [Royal Oak]
28. FaltyDL, “Voyager” [Planet Mu]
29. Julius Steinhoff, “Mischief Of One Kind and Another” [Geography Records]
30. Spekter, “Pipe Bomb” [Sound Signature]

Jordan Rothlein
01. Tin Man, “Lost In LA” [Salon]
02. Vakula, “Picture Of You” [Dekmantel]
03. Omar-S, “Here’s Your Trance, Now Dance!!” [FXHE]
04. Machinedrum, “Come1″ [Planet Mu]
05. Levon Vincent, “Man Or Mistress” [Novel Sound]
06. Roman Flügel, “Brasil” [Dial]
07. Tin Man, “Nonneo (Donato Dozzy Remix)” [Acid Test]
08. Legowelt, “Poverties Paradise” [Echovolt]
09. SCB, “Loss” [Aus Music]
10. Sepalcure, “Taking You Back” [Hotflush]
11. Tin Man, “Nonneo” [Acid Test]
12. Steffi feat. Virginia, “Yours” [Ostgut Ton]
13. Archie Pelago, “ArcJoe” [Slime Recordings]
14. Boddika, “Soul What” [Swamp81]
15. Cottam, “Deep Deep Down” [Aus Music]
16. Ital, “Culture Clubs” [Lovers Rock]
17. Mark Ernestus Meets BBC, “Version 1″ [Honest Jon's]
18. Morphosis, “Too Far (Marcel Dettmann Definition 1)” [Delsin]
19. FaltyDL, “Voyager” [Planet Mu]
20. Harkin & Raney, “Workin’ & Steamin’” [Throne Of Blood]
21. Gerd, “Palm Leaves” [Royal Oak]
22. John Osborn, “Epoch4″ [TONSTAAFL]
23. Lauer, “H.R. Boss” [Live At Robert Johnson]
24. Incyde, “Axis” [Hotflush]
25. Kassem Mosse, “Untitled (A1 – Workshop 12)” [Workshop]
26. Mathew Jonson, “Dayz” [Crosstown Rebels]
27. Holger Zilske, “E Preciso Acreditar (Axel Boman Remix)” [Acid Test]
28. Achterbahn D’Amour, “Trance Me Up (I Wanna Go Higher)” [Acid Test]
29. Scuba, “Adrenalin” [Hotflush]
30. Burial, “Stolen Dog” [Hyperdub]

Andrew Ryce
01. Blawan, “Getting Me Down” [Not On Label]
02. Andy Mac, “Everytime” [Punch Drunk]
03. SCB, “Loss” [Aus]
04. Kahn, “Like We Used To” [Punch Drunk]
05. Mosca, “Done Me Wrong” [Numbers]
06. M83, “Midnight City” [Mute]
07. Scuba, “Adrenalin” [Hotflush]
08. P Money & Blacks, “Boo You” [Butterz]
09. 2562, “Aquatic Family Affair,” [When In Doubt]
10. Kevin McPhee, “Get In With You” [nakedlunch]
11. XI, “Gamma Rain” [Orca]
12. Boddika, “Soul What?” [Swamp81]
13. Pearson Sound, “Deep Inside Refix” [Night Slugs]
14. Hackman, “Close” [Greco-Roman]
15. Peverelist, “Dance Till The Police Come” [Hessle Audio]
16. James Fox, “New Jack Swing” [Well Rounded Housing Project]
17. T Williams, “Break Broke” [Local Action]
18. LV, “Northern Line” [Keysound]
19. West Norwood Cassette Library, “Get Lifted”
[West Norwood Cassette Library]
20. Distal, “Angry Acid” [Tectonic]
21. Jon Convex, “Falling Again” [3024]
22. Steffi, “Yours” [Ostgut-Ton]
23. xxxy, “Ordinary Things” [Ten Thousand Yen]
24. Maya Jane Coles, “Focus Now” [2020 Vision]
25. Spectr, “Dance 4 Me” [Roska Kicks & Snares]
26. Terror Danjah, “Full Attention” [Hardrive]
27. Paul Woolford & Psycatron, “Stolen” [Hotflush]
28. Kassem Mosse, “Enoha” [NonPlus+]
29. Bulb, “Tenderness” [Kokeshi]
30. Pangaea, “Inna Daze” [Hessle Audio]

Harry Sword
01. Mark Ernestus, “Mark Ernestus meets BBC” [Honest Jons]
02. Regis, “In a Syrian Tounge” [Blackest Ever Black]
03. Peverelist, “Dance till the Police Come” [Hessle Audio]
04. Nochexx, “Savage Herald” [Ramp]
05. AnD, “Hydrothermal” [Idle Hands]
06. Kowton, “Keep Walking” [Naked Lunch]
07. Andy Stott, “passed me by” [Modern Love]
08. Kaseem Mosse, “Workshop 12″ [Workshop]
09. Blawan, “what you do with what you have” [R and S]
10. G.H, “Ground” [Modern Love]
11. Pigon, “Sunrise Industry” [Dial]
12. Marcel Dettman, “Planning” [Ostgut]
13. Floorplan, “Baby Baby” [M Plant]
14. Pacific Blue, “Industry Part 1″ [Pacific Blue]
15. Midland, “Bring Joy” [More Music]
16. Paul Woolford and Psycatron, “Stolen” [Hotflush]
17. Boddika, “Electron” [Swamp 81]
18. Martyn, “Masks” [Brainfeeder]
19. Basic Soul Unit, “soulspeak” [Dolly]
20. Norman Nodge, “The Happenstance” [Ostgut]
21. Cooly G, “Its Serious” [Hyperdub]
22. D1, “Subzero” [Hessle Audio]
23. Legowelt, “Sark Island Acid” [Long Island Electrical Systems]
24. Bassclef, “Rollercoasters of the Heart” [Punch Drunk]
25. Ecoplecz, “Daytron Romance” [Mordant Music]
26. Shifted, “Control” [Mote Evolver]
27. Planetary Assault Systems, “The Messenger” [Mote Evolver]
28. Raime, “Told and Collapsed” [Blackest Ever Black]
29. Andy Stott, “we stay together” [Modern Love]
30. Jon Convex, “Convexations” [2562]

10. Todd Terje, “Snooze 4 Love”
[Running Back] (buy)

Most people know Todd Terje as an elusive superstar of the cosmic disco universe — the guy who turns songs by The Rolling Stones and Paul Simon into hot disco jams and runs a hilarious and nerdy production blog. But what happens when you take away Todd’s bongos and lock him in a room with only synthesizers as company? If “Snooze 4 Love” is any indication, the results can be absolutely stunning. As the B-side runout groove text (“Terjerine Dream”) suggests, this is Terje at his most dreamy and melodic. Its main motif — skipping up the register, diving back down and scrambling everywhere in-between — is as playful as a toddler but develops with a subtle sophistication that begs closer attention. The percussion is just as gentle, with delicate claps, a twinkling array of hand percussion, raindrop snares, and pitter-pattering hi-hats, all lifted by an afterburner bass line. In fact the whole experience is like an extraordinarily tender rocket ride, a pleasant 23rd century interplanetary commute with fizzy cocktails and “Snooze 4 Love” on the PA. That’s definitely part of the appeal: this could have escaped from Manuel Göttsching’s studio or been beamed back to us from the future. Kudos to Running Back for scoring another timeless classic for the catalog. This will be one of those records that record buyers will be repurchasing time and time again when they wear out their copies.
(Steve Mizek)

09. Ital, “Ital’s Theme”
[100% Silk] (buy)

The first time I heard “Ital’s Theme” the word “retro” immediately popped into my head (the teaser video probably had more than a little to do with that). My mind didn’t go towards Ron Hardy or Juan Atkins but instead toward Studio 54, The Limelight, and maybe even a bit of CBGB. That’s because no other track this year seemed so thoroughly New York: abrasive, gritty, a bit worse for wear, perhaps, but flaunting the elegance that goes with those things when you’re so close to the East River. “Ital’s Theme” bounces around like some FXHE transmission gone horribly wrong, forsaking much of the low end for mid-and-high-range pandemonium and cramped sounds that recall some of Daniel Martin-McCormick’s history as a noise producer. It’s far from as heady as that all implies though, because this was all about that eager, sing-along synth line that latched onto your cerebellum and refused to let go. Seemingly simple, unpretentious dance music that felt unstuck in time, “Ital’s Theme” is about as addictive as they come, with Ital playing the role as that pusher hanging outside the Garage. (Chris Miller)

08. Spekter, “Pipe Bomb”
[Sound Signature] (buy)

Chicago’s Andres Ordonez has been recording for more than a decade — and DJing for much longer — but in 2011, his audience expanded considerably. Recording as Specter, the music published by his own Tetrode Music label has long held a sacred place in selective crates yet maintained a perplexingly low profile. A boost from Theo Parrish will sure help with that word of mouth, though. Apparently composed five years ago, “Pipe Bomb” (eventually released on Theo’s Sound Signature) must have been a revelation to the faithful and uninitiated alike — Specter had done something special here. This is a considerable departure from the low-slung, “lonely house” that was his calling card (his tracks finding apt homes with labels like Deep Explorer, Downbeat, and Sistrum Recordings). The steely record opens cold on menace and anxiety, and never backs down from there, the searing synth effects, martial drums, and tape hiss granting no rest or reprieve for the length of its methodically unhinged seven minutes. Continuously and steadily, it snarls, it smolders — yes, it combusts. And it is a wonder to behold. Scant few tracks would prove as formidable and dynamic in 2011.
(Chris Burkhalter)

07. Gesloten Cirkel, “Yamagic”
[Moustache Techno] (buy)

There’s something unassuming about Gesloten Cirkel’s EP for Moustache’s Techno Series. Marcel Dettmann and Steffi have been rinsing several of its tracks in DJ sets this year, and you’ll see a whole horde of other DJs defending it if you look at its entry on the the Clone website. Its opener, Yamagic,” certainly doesn’t have any of the hallmarks of a modern-day bomb — taken on its own, its almost meditative, combining rumbling metallic punchiness with an eerie, floating melody and a chopped-up, pitchshifted vocal. It’s like a sleepwalking “Los Niños Del Parque,” simultaneously aggressive and detached, laced with a bleary, brutal funk that sets it apart from the glut of the year’s techno releases. The track is built with a blunt catchiness you just don’t hear much these days — it’s simply a raw, gimmick-free hammer. (Steve Kerr)

06. D’Marc Cantu, “Set Free”
[M>O>S Recordings] (buy)

M>O>S Recordings captain Aroy Dee previewed this one for LWE back in January, describing it as “surprisingly melodic” for D’Marc Cantu, whom we may have pigeonholed as a practitioner of brooding and caustic takes on classic Midwest house (both solo and in collaboration with James T. Cotton and Traxx). “Set Free” may be the most seductive and, sure, melodic composition we’ve yet heard from Cantu, but there’s certainly nothing bright or tranquil to it. Its echoing chords haunt, really, hovering stark and ominous while snares pop to life over a dazed trudge of kick drums and handclaps. Though eerie, it is unmistakably a track of inviting warmth — though a sheltering warmth, not a cheering one (for me, it conjures the sensation of rain on windshield). Exemplary of the sort of raw, melancholy, and yet vividly colorful tracks that Aroy Dee champions, “Set Free” was the apex of a peak year for M>O>S Recordings, a timeless addition not only to that label’s growing legacy, but to the venerable Midwest tradition that informed and inspired it. (Chris Burkhalter)

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15. Mark Ernestus, “Mark Ernestus Meets BBC”
[Honest Jon's Records] (buy)

While Honest Jon’s Shangaan Electro remix series brought a heavyweight line-up on board to remix a selection of raw South African Shangaan tracks. Anthony Shakir, Theo Parrish, Ricardo Villalobos, and Peverelist all contributed, but the pick of the bunch was the offering from ever-elusive Hard Wax boss/Basic Channel legend Mark Ernestus. Sounding totally compelling yet maddeningly effortless has always been his stock in trade, and this 12″ saw him lock down a damn near perfect groove while respectfully retaining a number of recognizable elements of the BBC original. But where many previous Ernestus productions have been covered in layer on layer of static and hiss, this release showcased his talents in a slicker style than aficionados may be used to; each element of the track is buffed, polished and sitting just so. Also, in true Rhythm & Sound style we had the requisite “version,” which dropped out the more aggressive elements of the rhythm track and bumped up the atmospherics: a true master class in understatement and emotional resonance. (Harry Sword)

14. Gerd, “Palm Leaves”
[Royal Oak] (buy)

The most recent of what’s beginning to look like a long line of undiscovered treasures from Gert-Jan Bijl’s archives, “Palm Leaves” further mines the euphoric interplay of woozy chords and giddy synth lines that had already garnered our admiration with such tracks as “Freedom” and “Friendly Fire.” He really treated us this time, though, enlisting the breathy coos of OlivierDaySoul (aka Dr. Orion) to outfit Gerd’s entrancing aurora with the pop accouterments of an anthem. So while Dr. Orion’s breezy vocal caresses describe sun-bleached horizons, it’s moon boots and quasars that “Palm Leaves”‘ dazzling sound design trades in. Ably handling double duties as debonair lifestyle track and hypnotizing head music, Gerd’s neat trick recalls the work of Rick Wade or even Larry Heard. And those aren’t just casual comparisons; Royal Oak’s already pressed the “Mr. Fingers Afropsycojungledub Mix.” (Chris Burkhalter)

13. Oskar Offermann & Moomin, “Nasty Nate”
[Aim] (buy)

House music, especially at this point in time, is rarely about being ahead of the curve. Yet somehow, during a burst of creativity in 2009, that’s just what Oskar Offermann and Moomin were. The fertile period gave birth to both sides of Aim’s debut single and “Nasty Nate,” their contribution to the label’s recent Sun Avenue doublepack — both of which were perfectly tailored for their much later release dates. The continuity between the tracks is strong, but “Nasty Nate” takes the unifying traits to a higher level. Understated but capable of asserting itself, the track’s svelte arrangements give each melody the time and space to be deeply felt. Intrigue surrounds each tuneful progression, tugging listeners towards a glowing room where the clipped vocal sample reveals itself in earnest. Precise pacing helps, too: when a break comes as early as “Nasty Nate”‘s it can be a momentum killer, yet here it energizes audiences to stay locked in to the very end. With Moomin vigorously pursuing a solo career and Offermann moving in a different musical direction, it seems unlikely we’ll receive more treats like this one. But with “Nasty Nate” as my soundtrack, I’ll always look back fondly on the moments when the pair stepped outside of their milieu to create something timeless. (Anton Kipfel)

12. Terekke, “Damn”
[Long Island Electrical Systems] (buy)

For having kept such a purposely low profile and draping his productions in a haze of tape hiss, Terekke’s sudden appearance has managed to create quite a stir. Normally it would be hard to justify that type of clamor — what with just the one highly limited white label 12″ on L.I.E.S. — but on the basis of “Damn” it is completely warranted. Owing a pittance to Chicago house, it rides a perpetual rhythm of dusty TR-707 claps, rimshots and springy bass contortions. But it’s what Terekke chooses to do with the high-end that sets the track apart. By submerging them in swathes of glowing tones, syrupy vocal mutterings and fuzzy ambience, “Damn” achieves a psychedelic, dream-like climate. Don’t let the comparatively low sound quality fool you; this man knows what he’s doing.
(Kuri Kondrak)

11. Legowelt, “Sark Island Acid”
[Long Island Electrical Systems] (buy)

Chicago has been coming back in a big way for a couple years now, and acid was sure to follow. But what we saw with the acid explosion of 2011 was not just “Acid Tracks” rehashes but some really novel twists on what seemed like a spent sound. Legowelt, one of our artists of the year, teamed up with L.I.E.S. (ditto for labels) to issue a truly 21 century acid house anthem, full of his idiosyncratic quirkiness and warm, analog gear. Whereas much of acid in the late 80s was stark, hedonistic, and sexual, “Sark Island Acid” is instead like a plump Oma inviting you into the Alpine cottage that Danny Wolfers’ studio seems to inhabit. Beckoning you to gorge yourself on all of the savory 303 lines and sweet melodies you can handle, this one was home-cooked soul food that went right to your legs instead of your gut, keeping you gobbling it up well past your second, third, or 10th helping. (Chris Miller)

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20. Levon Vincent, “Man Or Mistress”
[Novel Sound] (buy)

Levon Vincent has made plenty of gritty house rollers, but some of his biggest tracks (“Solemn Days,” “Double Jointed Sex Freak Part 1″) make Sunday mornings at Berghain look like child’s play. Those epics, however, didn’t even hint at the mammoth-sized “Man Or Mistress” that functioned as Novel Sound’s triumphant 2011 return. My introduction to the track was way back in January when I was told (following a routinely mindblowing set from the New York native) that the rave-lead maelstrom I had lost my shit to just an hour ago would be how Levon would break his silence. Cut to its release over the summer and I heard the track most often outside (apparently it’s hard to contain this one in an enclosed space) and more than once with rain coming down. Each time it seemed as if Zeus himself was approving of Levon’s snaking synth lines and pummeling percussion, which is more than fitting, since if any track this year were to awaken the Gods, surely it was this one. (Chris Miller)

19. Storm Queen, “It Goes On”
[Environ] (buy)

What I love most about Morgan Geist’s Storm Queen project is that it yields full-fledged songs, not just DJ fodder. This is something many producers struggle with — something that’s become plainly obvious in a year obsessed with adding vocals anywhere they might fit in a house track, mostly without much success. “It Goes On,” the highly anticipated follow up to last year’s “Look Right Through,” nails this by tightly integrating Damon C. Scott’s vocals throughout the track. It helps that the lyrics — an emotionally charged tale of post-break up heartache — are personal enough to engage with but also help further the song’s development (repeating “day after day after day/it goes on” in the lead up to the chorus is genius). Geist’s retro palette retains the gloss of “Look Right Through” but gets tougher, absorbing Chicago house influences in its thrusting bass line and the winding synth lines of the bridge. And as every review and testimonial will note, “It Goes On” is all about the chorus — a burst of multi-tracked vocals and reflected stabs that give Inner City a run for its money. Taken together it can be a bit much for listeners weaned on tiny vocal snippets and demure melodies, but no other 2011 song managed to straddle pop and house more effectively. (Steve Mizek)

18. Kahn, “Like We Used To”
[Punch Drunk] (buy)

The first time I heard Kahn’s “Like We Used To” was smack in the middle of a mix by Salva for XLR8R. It was love at first listen. There’s been a movement towards R&B influenced rhythms and vocals over the past year in the wake of Night Slugs’ domination in 2010. It’s been interesting to hear how far those tentacles would reach. Kahn’s particular rise from the Sureskank collective from Bristol has been marked by a unique melding of garage, dubstep, house, grime, and a fondness for twisted vocals and melodies. The way that “Like We Used To” combines this all into a positive roller with more than a little R&B swagger is striking and instantly repeatable. The waves of synth usher in the garage-like beat are amazingly heightened by the bass hitting heavy one third of the way in. One of the best details of the beat is clap echo every other bar, providing a little of implied space. The arpeggiated breakdown even folds in a bit of the feel of some hip-hop instrumentals from the past year. In a year full of warped and stretched female R&B vocals, “Like We Used To” stands out from the back by building a solid dance track that mixes perfectly with its vocal. (Keith Pishnery)

17. Juju & Jordash, “Chelm Is Burning”
[Golf Channel Recordings] (buy)

Juju & Jordash’s work with Move D in 2010, soundtracking the silent film, “Der Golem,” became the inspiration for further questioning of Israel’s role in the Judaic existence and has resulted in one of the highest watermarks of their career, thus far. Using a striking cover photo of Nazi soldiers leading Jews out of a burning city and pre-Holocaust Hebrew newsprint clippings, the duo lead us through the appropriately tension-filled “Chelm Is Burning.” Bell-like echoes are formed from loud guitar strikes and pea soup synths create a foreboding atmosphere that is maintained throughout the multitude of jazz phrasings and dub effects. An analog bass churns and cymbals fly for the first section setting the mood before a live bass and drums ratchet up the energy while cryptic guitar figures and smoky keyboards play hide and seek. The duo pay great attention to the percussion, echoing and layering reverb to create uncertain shadows with capricious abandon. Over the course of a lofty 15-plus minutes, “Chelm Is Burning” leads us through an intense sonic undertaking that should be celebrated for its musical scope and political chutzpah. (Kuri Kondrak)

16. Peverelist, “Dance Til The Police Come”
[Hessle Audio] (buy)

Bristol bass hero Peverelist didn’t release on his own lauded Punch Drunk label this year, instead finding a new home on Leeds/London institution Hessle Audio. And why not? His work this year proved just as unclassifiable and restlessly experimental as anything from the Hessle crew, nowhere near the dubstep purist some might have made him out to be. Instead, “Dance Til The Police Come” is a twitchy, nervous skitter, hobbling on a broken beat like it’s running for dear life with a bum leg. Add frantic snares that bump into the kick drums and careening synths and you’ve got yourself a faux-junglist anthem for the post-dubstep masses, whatever that entails. You don’t need any of pretense or fake genre taxonomy to appreciate “Dance Til The Police Come,” however: the proof is all in the anticipatory shudder, the thundering low-frequencies, and fearlessly darting drums. (Andrew Ryce)

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2011 will not be remembered as a particularly good year for the world. Between a myriad of horrifying natural disasters, the uncertain outcome of the Arab Spring, political gridlock in the U.S., the EU’s seemingly unraveling state, austerity protests, and a generally ugly economic period, the events of this year have not offered much to smile about. But for dance music fans, 2011 was a year rich with exciting music coming out of house, techno, bass music, and everywhere between and around. While it might not be remembered as the most progressive of years — retro and recently unearthed seemed to be the most popular aesthetic themes — enthusiasts will be able to look back at their 2011 finds and say with certainty that many will still be worth their weight in the years to come. As in past years, LWE’s reviewing staff has devoted a great deal effort combing through the year’s releases to bring out our top 30 favorite tracks of 2011. Your mileage may vary and many great tracks were left out, but for us these selections defined our 2011 listening experiences. Our individual staff lists will be published this Friday.

30. EQD, “Equalized#005-B”
[Equalized] (buy)

2011 was a lean year for René Pawlowitz releases, especially after his fattened 2010 release schedule. In fact, if you put aside his remixes of 2562 and Radiohead, it all came down to one record released in 2011′s waning months — the fifth installment in the Equalized series. Luckily for us, it was a complete reversal from the disappointingly one-note #004 that more than made up for a year’s worth of near silence. Firing up what sound like the same synthesizers that made the first three Equalized singles must-owns, Pawlowitz turned each up to 162 to build one of the year’s most massive tunes. The skanking progression that opens “Equalized#005-B” merely hints at the approaching fury, as a phalanx of similar progressions begin to gallop alongside their leader. The track only grows beefier and more aggressive (in spite of the lighthearted tambourine percussion) until it’s difficult to imagine any more space left in the room for more synths — and that’s when the euphoric melodies wash over everything. Thanks to its late-November release it might take critics and record buyers a few more months to fully absorb this record’s genius, but its impact was already so strongly felt that we at LWE just had to make room for it among 2011′s best. (Anton Kipfel)

29. RNDM, “Hideaway (Dub)”
[Laid] (buy)

Last year, Oskar Offermann and Moomin’s “Hardmood” just sneaked into LWE’s top 25 list. “Hideaway,” actually released the same year, similarly showed the power of bold, carefully crafted percussion, favoring solid basics over audaciousness. This was a sentiment reinforced by its mostly regressive palette. The 12″ itself — the tenth on Dial’s prestigious sub-label – actually offered three nuanced versions. It was this, however –the wisely-chosen A-side – which appeared the most confident with its essentials and consequently, caused the biggest splash. I first encountered it through Oliver Hafenbauer, Live At Robert Johnson’s A&R guy. When I searched frantically for it the next morning, there was no uncertainty as to whether I’d stumbled onto the same tune. Its friendly, warbling synth program and shrugging hats were instantly recognizable. And isn’t that about the best one can hope for with a track of such modest ambition?
(Nick Connellan)

28. Tin Man, “Nonneo” (Donato Dozzy Remix)
[Absurd Recordings] (buy)

Imagine you heard Tin Man’s “Nonneo” on Earth in 2011. (If you followed dance music this year, then this probably isn’t a difficult scenario for you to conjure.) Now imagine that, immediately upon finishing the track, you’re hustled into a spacecraft and launched toward some distant black hole. Your ship circumscribes the event horizon for awhile, where gravity is strong enough to warp time, and then you blast off back toward your home planet, thousands of years having effortlessly passed. After being extracted from your ship by fusion-powered robots, you’re transferred to a holding pen curiously outfitted with some reconstituted artifacts of 20th-century electronic music production (they got the Roland plates right and everything), and a perfectly polite but obviously synthesized voice asks if you might recreate that tune you heard moments before your adventure began. My guess is you’d produce something like Donato Dozzy’s masterful remix, wherein the power of Tin Man’s original is amplified despite so many of its sounds getting lost in the ether. Of course, having the year’s best bass line at your disposal makes losing the rest of your stems somewhere between Neptune and Uranus a rather tasty prospect.
(Jordan Rothlein)

27. Protect-U, “World Music”
[Future Times] (buy)

When the Protect-U duo of Aaron Leitko and Mike Petillo began, they didn’t set out to make easily quantifiable music. And with “World Music” from their second release for Future Times, Protect-U continued to color outside the lines. “World Music” sends us sprawling through a sonic tableau of synth eddies, tapping into how expansive techno can be in the right hands. Starting off with staccato drum programming and white noise salvos from delayed snare reverb, Protect-U take a sound that would be a rushing, climactic tool in most current techno and instead use it to introduce tension and apply texture. It’s followed by a rolling funk bass line, twinkling synth chirps and jutting bleeps that intersect with melodic chord phrasings evoking a meditative calm, before changing gears and ending as a stripped-down cosmic burner. They may have called it “World Music” but where it ends up is closer to the sun. (Kuri Kondrak)

26. Roman Flügel, “Iron Curtain”
[Live At Robert Johnson] (buy)

It’s a tough task to choose the vital tracks from Roman Flügel’s 2011 catalog; everything the producer touches – or perhaps just looks at or thinks about — turns to gold. Even narrowing it down to Desperate Housemen, the EP from which “Iron Curtain” comes, provides only a little help. No doubt a consequence of Flügel’s penchant for FM synthesis, all four tracks showed distinct, separate personalities. And yet, they were all so utterly, unmistakably Roman. Then why select this one? Well, the German wunderkind has made a name for himself by making quirky, playful tracks. And “Iron Curtain” fulfills these criteria better than anything else he produced this year (competing with “Brasil” and “Bahia Blues Bootcamp,” admittedly). The most identifiably “Roman Flügel,” if you will. The main melody was a kind of schizophrenic Melody Pop-esque blooping; a versatile and totally unique timbre with the ability to move from a standing start to melodramatic highs in just a few bars. The track’s bleary pads and shuffling percussion felt similarly distinctive. Vital indeed. (Nick Connellan)

25. Crystal Maze, “Crystal Maze” (Chicago Skyway Remix)
[aDepth Audio] (buy)

When Crystal Maze released their debut, eponymous EP on aDepth Audio some months ago, it was immediately apparent that the four-tracker was not the work of mere amateurs. Indeed its members, Gstring and MarcoAntonio Spaventi — along with Aroy Dee — make up the trio R-A-G, who have released two highly accomplished EPs of their own already. The original title track from the EP is a deep, atmospheric house track, full of plaintive pads, and a bass line that aligns itself with the heartbeat. In the hands of Chicago Skyway the track takes on a whole new life, the bass line transformed, writhing, arpeggiated, insidious. Spanning several octaves, it manages to not just anchor the track but also provides the main melody. All that is required from here is to provide window dressing in the form of some purposeful claps, dilapidated snare fills and overdriven hi-hats. Addressing the balance of the sentiment presented in the original, Chicago Skyway rounds out his remix by incorporating the moody, ethereal pads for sections of the track. Not only does his mix serve to provide some dance floor heat to Crystal Maze’s excellent first outing, but it also ranks as one of the most compelling takes on a retro-futuristic Chicago house sound that was such a big part of 2011. (Per Bojsen-Moller)

24. Martyn, “Masks”
[Brainfeeder] (buy)

Martyn on Brainfeeder: the pairing of the L.A. beat freak (out) kings with the mature, measured, steady Dutchman certainly turned heads this year. And while the wildly experimental label was certainly not the first that many listeners would associate with a Martyn release, the results of this 12″ (and the resulting LP) were both strong and some of the most unabashed and simple 4/4 dance floor tracks Martyn has put his name to. Never mind “bass music” — this is house music: shuffling, bleepy, mildly experimental and imbued with the warmth, humanity and storytelling that Martyn has refined over the past few years.
(Harry Sword)

23. Burial, “Stolen Dog”
[Hyperdub] (buy)

Tucked away at the end of Burial’s Street Halo EP, “Stolen Dog” is one of the more moody and beautiful tracks from this elusive producer. When I reviewed the EP earlier this year, I compared it to Four Tet in terms of it’s melody, but also to the cinema and ballads. There is a very warm and loving quality to “Stolen Dog,” something that Burial’s music often eschews. The vocal snippets seem to coo at the listener, seducing them to just be in the moment with the music. It’s sad, wistful, but also hopeful, like falling in love. Clearly one of the most emotional Burial songs to date, it has a very minimal beat much like his first album, relying on melody and atmosphere to make the connection, showing compositional growth and maturity from the already vaunted artist. (Keith Pishnery)

22. The Citizen’s Band, “West 42nd”
[Live At Robert Johnson] (buy)

Where last year was Arto Mwambe’s biggest to date, 2011 has been a banner year for its two members. It began with an excellent single by Phillip Lauer, continued with the debut of Christian Beißwenger’s electro project with Oliver Hafenbauer, B.H.F.V, and concluded with a long overdue Beißwenger single (all of which took place on Live At Robert Johnson). The lead track “West 42nd” makes it clear why Beißwenger adopted The Citizen’s Band for this new material rather than carry on as CB Funk: this is freewheeling stuff. Its percussion cuts sassy, unexpected patterns in the fluffy, rainbow colored tones that zoom by, transporting listeners to a Mario Brothers’ cloud level where the floor evaporates at will. It certainly keeps dancers on their toes as well, first with a tricky kick deployment and later with a skittering return to beats post-breakdown. There has always been an undercurrent of the unexpected in Arto Mwambe’s classic-indebted tracks, and as The Citizen’s Band, that twisted sensibility steps into the spotlight and demands attention. What’s more, “West 42nd” has no peers to speak of, in house or elsewhere; it’s a sui generis masterpiece that’s likely to remain unique for a long time to come. (Anton Kipfel)

21. Machinedrum, “Come1″
[Planet Mu] (buy)

Being a genius is great and all, but if you can’t communicate your brilliant and paradigm-shifting ideas to us merely above-average individuals, then why even bother? Travis Stewart wasn’t the only producer on his own tip this year, but what’s notable about his, as exemplified by Room(s), was both how utterly alien his thesis was and how tangible its explication. “Come1,” arguably the album’s centerpiece, features everything both non-intuitive and deeply eloquent about Machinedrum in 2011. What begins with barrage of pianos and tambourines quickly reveals itself as something of a rainy-day lament, with Machinedrum’s half-lyrics coaxing honest-to-goodness indie rock guitars up from the bed of funk samples. When was the last time a track that would leave most dubstep DJs huffing and puffing made you tear up a little bit? “Come1″ is unquestionably one of the least expected and most thoroughly original journeys a dance music producer has taken us on this year, but its daring would be all for naught if Stewart couldn’t sell it, and doesn’t he ever. Like one six-minute-plus crossfade by a particularly adventurous DJ, “Come1″ begins one place and ever so effortlessly takes us to one we would never have imagined. (Jordan Rothlein)

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The reason why everyone from artists and labels to venues and magazines offer podcasts is simple: it’s the closest and most portable representation of the way most fans interact with dance music. Artists use them as calling cards for what they can bring to your fair city. Labels and clubs showcase the talent they nurture or book. And sites like us? We highlight admired artists with a sample of their skills. There’s undoubtedly an absolute abundance of them, with new ones springing up seemingly every month. But unlike records — that ultimate embodiment of dance music — or mix CDs, they’re free and only clutter up hard drives rather than bedrooms. This ease increases the likelihood of audiences taking chances on an unknown artist (worst case scenario it’s a waste of bandwidth) and allows their enthusiasm to be as infectious as their social networks’ reach. So you can see why even the most venerable artists have embraced the format: it’s practically the overarching genre’s common currency, and we’ve all become rather rich with the stuff. But with our pockets so fully of shiny tokens it can be difficult to determine which to examine first. So while it stands no chance of being comprehensive, this list and our 2Q Report offer a worthwhile overview of best mixes we heard during 2011.

Photo by Claudio Farkasch

Appleblim – FACT mix 290

I think at this point I’m prepared to say Appleblim is one of the best DJs out there. Every time I’ve seen him his sets have been magically paced, always leading up to something, but taking its time getting there. His mix for FACT is something truly special, starting with Krautrock and guitar music and slowly moving up through Factory favorites and Detroit classics towards the kind of grooving, bass-led techno that he’s made his name on. And the best part about it is, it all works so well together.

Prosumer – Beats in Space #599

I love looking at the tracklists for a Prosumer mixes; I tend to feel particularly accomplished if I recognize as many as 5% of the artists included. He’s one of the most loved and respected house DJs around and there’s a reason: dude just digs deeper than anyone out there. Tim Sweeney’s sentiment at the end of this recording about wanting to go buy each and every record is neither rare nor exacerbated, and is a very good reason to check out this mix as soon as possible. A very fine companion piece to Prosumer’s excellent mix CD Panorama Bar 03, which is surely one of the year’s best commercial compilations.

Efdemin – Roof.fm Nr. 50

For all his love of early American dance music, I’ve always gotten a distinctly German vibe from Efdemin’s sets. While his selections may be generally lumped in with deep house, there’s always something about his mixes that point to the surrealism of Dada, as well as the reduced German sensibilities that make up so much of techno. In this mix for roof.fm we certainly get plenty of techno, as the likes of Kassem Mosse, Sandwell District and others make appearances. We also get some Prince, some field recordings, and we end up in a pretty strange place with a track I assume is in no one’s bag but his. The thing with Efdemin is it never sounds forced, never eccentric for the sake of being eccentric. And that’s one of the many reasons why I keep returning to this mix.

Peter van Hoesen – mnml ssgs special

In 2011 there was a lot of synth music, enough that we witnessed essentially a brand new scene spring up before our eyes (some dubbed it post-techno). I myself am not sure how accurate or helpful the tag is, as while influenced by techno its sound comes straight out of 1970s Germany, both in terms of the gear used to make it and the kosmische musik that influences it. This period tends to get us techno nerds a bit hot under the collar, but with so much good music coming out this year I personally found this development tough to latch on to. Leave it to one of my favorite DJs then to create a primer that introduces these new voices and pairs them with old favorites (like Popul Vuh’s stunning theme from Aguirre: Der Zorn Gottes, which never seems to get old). Peter van Hoesen’s expert selection and sequencing make this an emotional, spacey trip through the deepest Kosmos.

Raime – FACT mix 292

Believe in the Hardcore Continuum or not, but it seems that with every UK artist it always comes back to jungle. Raime, purveyors of the some of the darkest techno around, are clearly fans of the stuff, as their music sounds at times like some Metalheadz records got a bit too tripped out and forgot the amen. Their mix for FACT focuses on that golden era of the early-mid 90s, where jungle was at its most forward-thinking and most intense. This stuff is rarely played any more, and it’s a treat to hear a mix of records from that era with the benefit of 20/20 hindsight. With artists like Shed practically begging at this point that hardcore come back, a renewed interest in jungle seems almost inevitable.

Mike Huckaby – RA.278

Mike Huckaby is, in some ways, the future of dance music. At Detroit’s Youthville he mentors kids in the ways of music production, working with the latest Native Instruments and Ableton software. Funny, then, that as a DJ he spins the best of classic Detroit house and techno, always on vinyl and sometimes even lugging around a reel-to-reel. Pulling off his best Mojo impression to change the focus of “J.A.N.” from KDJ to himself, Huck’s Resident Advisor mix proceeds to bring us through some of our favorite Chicago trax (“Face It,” “Spank-Spank”) and techno classics. Not terribly novel sonic terrain for 2011, but then Huckaby’s way with records puts him so ahead of the pack that his mixes pretty much always achieve an “instant classic” status (his mix for us very rarely leaves my side). This one is no exception.

Serge – Unearthed cassette mix from ’93-94

One of the best aspects of this era of downloadable mixes is that they’re not constrained to the latest thing. Resources like the Deep House Page allow you experience house music as Chicagoans once did in the late 80s, as long as you don’t mind the cassette tape fidelity. One of my recent favorites is a mix by Clone founder Serge which aired somewhere between 1993-4 on Edwin Brienen’s late night show on VPRO radio and was recently digitized from tape. Not only is it an expertly mixed, ecstatic blend of early 90s house, but with a median tempo of about 132BPM, it’s a potent reminder of how fast house music once was. Those of us who have grown used to the leisurely thump of 120 might be surprised just how easy it is to appreciate speedier house. What’s more, it seems like a window into the future as well, as tempos are sure to rise during the next wave of nostalgic productions.

Archie Pelago – TABLE TENNIS 043

As with any dance music scene, bass music offers loads of artists who don’t try very hard to distinguish themselves, while at the other end of the spectrum are those idiosyncratic artists whose sound is unmistakable. On paper, the trio of Archie Pelago might sound like an odd formula: one saxophonist, one cellist, and a laptop-ist. But it works so well it’s rather surprising that no one has done it before, and their use of instruments that are rather foreign to Boiler Room streams makes the music of Archie Pelago immediately stand out. This live set for Jordan Rothlein’s Table Tennis program is a wonderful introduction to a group who are taking the whole “band-techno” thing to a very different place, with compelling results. Best of all, if you’re keen on seeing how the sausage is made, you can watch them perform this set here.

G.R.R.L. – mlat46

This one is a mix from Terre Thaemlitz for the very fine Made Like A Tree series comprised completely of her own productions and under the relatively underused G.R.R.L. alias. If anyone can pull off a cross-alias mix it’s Terre, as his work is not only consistently strong but always carrying both a strong political message and subtle emotional aesthetic. Those who have devoured her house albums as DJ Sprinkles and K.-S.H.E. will find a whole lot to love here, framed by his more experimental sound collages for labels like Mille Plateaux. Some of the real gems, however, are found in the form of hard-to-find lost classics from G.R.R.L. and Chugga: works that you’ve probably stumbled upon while browsing Thaemlitz’s (newly subdued) website, but have never pulled the trigger on. This mix will probably not offer too much new to dyed-in-the-wool fans of Terre, but for a window into some of her less known projects, this set’s a keeper.

Conforce – LWE Podcast 87

Each time I compile another one of these lists the task of choosing my favorite of our mixes gets tougher and tougher, as every week I’m thrilled to see what our favorite DJs at the moment (as well as our very turntable-saavy staff) mix up for us. The latter two fiscal quarters of this year saw some personal favorites from the series, but I have to give it to my man Conforce for his podcast from way back in the summer. I must say that at the time I had been taking a bit of a break from techno, but Boris Bunnik’s mix reminded me just why I love this stuff so much. Building up expertly from nothing but ominous bass-rubs, we’re treated to a masterfully paced session of the darker stuff, one which makes even Murphy Jax’s sing-along acid house sound like a lost Dettmann B-side. Shouts also go out to October and John Osborn, Ital, Aybee, Chicago Skyway, and so many more.

What does it mean when the artists who “define” the year are all artists who have been around for at least five years? Considering the list below, it doesn’t speak as much to a dearth of promising new talent in dance music — certainly, I don’t think anyone could say that with a straight face in 2011 — but rather the longevity, ingenuity and constant strive for innovation that seems to drive those at electronic music’s forefront. There were certain artists who seem to break out in a big way in 2011 — James Blake, Blawan, Boddika, Analogue Cops, Maya Jane Coles — but it was something about the dignified yet hungry drive of these veterans below that almost managed to eclipse all of those. Whether it was mutant dub techno, footwork hybrids, creaky tech-house, or any number of variations on acid, techno, and Dial deep house, some of 2011′s most vital sounds came from some very familiar faces.

05. Kassem Mosse

Gunnar Wendel was #2 on this list last year, and that he’s dropped all the way to #5 isn’t a sign of decline rather than ridiculous longevity, a visceral sort of impact that hasn’t seemed to lessen over the past few years since he came to prominence. What’s even more impressive is how he manages to make that visceral impact with music so skeletal and spindly, deep house that sounds like it’s been sucked of the warm and fuzzy spirituality that defines its U.S. strains and instead suffused with the leftover ghosts of minimal. Wendel didn’t really do anything particularly new with his sound in 2011, but at every turn it was still somehow shock and awe: take his third go on the Workshop label, with a 12-minute bumper revolving around one of the year’s most infuriatingly distant vocal refrains, as what sounded like four or five different house anthems bubbled up from underneath. Or his late-year landing on Instra:mental’s NonPlus+, which somehow drained his music of even more humanity and left us with the orchestra of clicks and clacks on the masterful “Enoha.” Wendel’s got a signature sound that he’s not afraid to milk — and I don’t think any of us are going to start complaining anytime soon.

04. Legowelt

Considering the glut of highly specialized, limited and obscure releases Dutch producer Danny Wolfers releases each year under any number of bizarre aliases, the fact that he had an equally steady stream of releases this year doesn’t really seem all that different. But when you consider the quality of tracks like “Sark Island Acid,” “Poverties Paradise,” “Dreams of Nova Scotia,” and a dizzying stream of remixes, it just felt like there were quirky gems dropping left and right through the course of the year. Undoubtedly the biggest impact was made with his free album The TEAC Life, a mammoth but tangential beast that seemed to embody his musical multiple-personality disorder in one hell of a sprawling, intimidating whole. It was as unfriendly as it was captivating, uncompromising and totally, unreservedly awesome, and it was backed up with some of the most refreshing, self-deprecating and meta bits of humor to come from such a usually humorless scene. Back all that up with two brilliant mixes for FACT and us here at Little White Earbuds, and you’ve got yourself a banner year.

03. Andy Stott

Andy Stott has been making really good dub techno for ages as part of Manchester’s Modern Love crew, offering Anglicized takes on the stuff that was heaving and as bass-heavy as the most austere Basic Channel but touched with an effervescent fluidity that aligned him as much with producers like Brendon Moeller and Steven Hitchell. But after years of swirling sheets of chord-cloud, some jaunty, bass music-influenced one-offs in 2009 and one hell of a slo-mo dub lurch with last year’s “Tell Me Anything,” when Andy Stott clawed his way back up from the netherworld in 2011 with his two doublepack EPs he was all but unrecognizable. While second EP We Stay Together patched up some of the holes and used some more recognizable — but still supremely fucked — rhythmic devices to make the tracks just slightly more dance floor, first EP Passed Me By was one of the scariest-sounding things to emerge from any techno scene since, well… ever? Mixing and matching themes and concepts from other genres, Stott was one of the few people in 2011 who tried to make dub techno new and fresh again: an accomplishment in itself given the flood of tired retreads we saw this year.

Photo by Texas Malika Touissant-Baptiste

02. Machinedrum

It might have taken a decade, but Brooklyn’s Travis Stewart is finally getting the recognition he deserves after over a decade of plugging away in obscure scenes. Moving from harsh IDM-tinged material to hip-hop to whatever you want to call this year’s Room(s) on Planet Mu, both by himself and as half of Sepalcure, Stewart seemed to effortlessly capture the bass music zeitgeist. Several times over. With the Fleur EP and eponymous Sepalcure LP, he helped to capitalize on and elucidate bass music’s growing obsession with both house and a general deceleration, rich, luxurious tracks painted in delicate brushstrokes. But it was the vengeful return of his Machinedrum solo alias that really did wonders: pasting footwork freneticism over jungle jitters, his Room(s) took nearly every trend imaginable in bass music and melted it down into one singular pot of uncompromising high-tempo music. One of the few artists to incorporate the ever-trendy footwork influence and do something unique with it, the kind of musical chemistry Stewart engaged with this year was simply uncanny, and he helped to capture the hearts of pretty much everyone with one of the most divisive forms of dance music to emerge in ages.

Photo courtesy of Red Bull Radio

01. Roman Flügel

At first glance it might seem odd to have Roman Flügel at the top of this list, because honestly, he didn’t really do all that much different this year. He just did his own thing at rate a lot more prolific than usual; and when your thing is Roman Flügel, I suppose that’s justification for plaudits alone. After his stunning Live at Robert Johnson mix and its accompanying “Brian Le Bon” single last year, there seemed to have been a fire lit under Mr. Flügel that made him nearly inescapable for most of the year. He continued his LARJ run with the utterly elegant Desperate Housemen EP, but even more notable was how he settled into new home Dial so gracefully. Following on the icy piano hop of last year’s “How To Spread Lies,” Flügel dropped a jazzy, mnml gem out of nowhere with “Brasil” and then flew right back into the clouds with the excellent Fatty Folders album. This darted through house, jazz, ambient, and the kind of weirdo-minimal we know him best for, all with the grace and composure we expect from such a legend. It might seem like the worst kind of backpedaling to bestow an honor like “best artist” upon an established and well-respected pioneer, but when anyone has a year as uncommonly great as Roman Flügel did in 2011, they deserve to be congratulated for it.

As much as we’re all musical omnivores here at Little White Earbuds, the task of picking five labels from the great assortment is never an easy task. Someone inevitably nominates a purveyor of stark techno, another wants a British bass label, and a third thinks a label with no type of beats at all should get a nod. Nevertheless, we managed to converge on these five stables for their variety and originality. Each presents a special balance between a talented, eclectic roster and a well-curated release schedule. And while it’s true that many labels achieved this balance in the past year, few did it so flawlessly.

05. L.I.E.S. (Long Island Electrical Systems)

Ron Morelli’s L.I.E.S. (Long Island Electrical Systems) crept along like any small imprint for its first three releases (one of which, Steve Moore’s Zero-Point Field, came out early this year). I can even remember Morelli self-deprecatingly trying not to get into his pressing plant situation on a February episode of “Beats In Space.” With that initial bump smoothed out, the label has been on a serious roll this year, releasing a wealth of raw house and disco-leaning EPs from the usual suspects — Willie Burns’ s.t. EP, Steve Summers’ Mode For Love, Marcos Cabral’s 24 Hr. Flight, Maxmillion Dunbar’s Everyday, and Professor Genius’ Hassan project. And it’s safe to say Sark Island Acid is one of Legowelt’s finest records to date, condensing expansive acid-smudged ideas into three short tracks, and showing a refined melodic sensibility all the while. But the crown jewel might well come from newcomer Terekke, whose Damn submerges slow old-school house in clouds of narcotic ambience. Considering how quickly they went from underground underachievers to putting out a hot record every month, it’s a safe bet L.I.E.S. is only going to get better.

04. Live At Robert Johnson

The label arm of Frankfurt club Robert Johnson has had an exceptionally strong year, most notably branching out from its format as (predominantly) a label for mixes. Along with an incredible mix of offbeat new wave and disco by Ata, there’s been a series of vital house 12″s from B.H.F.V, Lauer, The Citizen’s Band, and Roman Flügel. Moreover, Massimiliano Pagliara’s debut LP Focus For Infinity offered an exciting update on cosmic disco tropes, and the Tuff City Kids and B.H.F.V remixes on the follow-up EP are no slouches either. Finally, the label’s vaunted mix series came to a close with Dixon’s edition, which effortlessly shifts from blacked-out heroin gloom to euphoric sunrise anthems — seriously! It’s a testament to the Live At Robert Johnson’s wide-reaching taste as much as Dixon’s considerable skills, and it finishes out the series with aplomb. Even though the mixes are finished, the label has a heavyweight group of producers old and new from which to draw in the future. They’d probably be happier if I didn’t bring up Playhouse, but if Frankfurt is going to rise again, it’ll probably have something to do with these guys.

03. M>O>S Recordings

Aroy Dee’s M>O>S Recordings has always been extremely consistent, but there’s no denying the label had a major year in 2011. Beyond co-releasing Morphosis’ debut album What Have We Learned with Delsin and Morphine, the label also delivered career highlights by D’Marc Cantu (Set Free) and Chicago Skyway (Lager, with Dcook). Aroy Dee got in on the action as well, releasing an acidic EP under his own name and another as a part of R-A-G. Finally, the label closed out the year with two beautifully spacey 12″s by The Poetic Painter M and Perseus Traxx. At its heart, M>O>S is a fairly classicist house label, and its output is sparse compared to some of its counterparts here. But each record is so idiosyncratic and carefully drawn-out, they truly end up reflecting the label as a whole — reverential, but raw, powerful and forward-thinking at the same time.

02. 100% Silk

Although there probably is some merit in discussing “insider” versus “outsider” dance music, it should really be secondary to the actual sonics. As she tells it, Amanda Brown’s 100% Silk is a response to what the underground is producing. Apart from Ital’s striking Ital’s Theme, much of the label’s early catalog was fairly irreverent, though not without some naive charm. While it may have sounded hesitant or in disarray at first, 100% Silk seriously turned it up for the second half of 2011. Ital continued his brilliant year with Only For Tonight, while Magic Touch, his bandmate in Mi Ami, debuted with a slick 12″ of loopy uptempo house. Jason Letkiewicz reprised both his Malvoeaux filter-house project and Innergaze, his druggy, not-quite-minimal-wave duo with Aurora Halal. Maria Minerva released yet another set of seductive bedroom pop (she seems to have an endless supply) and Pharaohs’ debut 12″ is a faithful homage to the classic Balearic motif, slight cheese intact. Finally, if there was any doubt that 100% Silk could put out a chart-topping bomb, Octo Octa’s flashy Let Me See You is the label’s most party-ready record yet and completely of its time. If any one label captured the spirit of 2011′s newly open-minded attitude toward dance music, it was this one.

01. Rush Hour Recordings

I’d wager Amsterdam’s Rush Hour won this poll because of sheer breadth. The label has been so typically on point throughout the year it’s frankly hard to know where to start. Recently, they did an admirable job repping their hometown with the Amsterdam Allstars compilation, and released Nebraska’s lush Displacement full-length. Direct Current continued to channel the future, between BNJMN’s two albums and smooth efforts by Braille, Policy, Lando Kal, and Cosmin TRG. Rush Hour introduced up-and-comer Maxi Mill with the frenetic To The Next, and put their name on 12″s by both halves of eccentric duo Hype Williams. Although technically a white label, MD’s It Ain’t What It Used To Be is essentially a Rush Hour release, and displays their penchant for dynamism in spades. Then there’s Virgo Four’s mesmerizing Resurrection compilation and a stellar remix EP featuring Caribou and Hunee. And Gene Hunt’s Chicago Dance Tracks, loaded with early unreleased Chicago house gems. And Tevo Howard’s ultra-refined Pandora’s Box LP for Hour House Is Your Rush. And the 12″s by Freak Seven, Jon Dasilva, The Oliverwho Factory, The Carter Bros., Recloose, and Tom Trago’s Iris LP… should I go on? For such a large and prolific label, they simply very rarely put out a bad record.