[Dial]

Phillip Sollmann might be the most impeccably dressed guy in dance music, but his music isn’t nearly as flashy. Sure, the tailoring on his stately and reduced but ultimately floor-ready house and techno is impeccable (and, should you care to take the metaphor further, a gander at his Discogs page shows he only dresses his stuff in the finest labels), but it’s hardly flashy. I sense the man you know and love as Efdemin still subscribes to the belief that dance tracks ought to be judged by the work they do, not the attention they draw to their creator. It’s hardly surprising, then, that Chicago, Efdemin’s 2010 sophomore effort, found itself overshadowed on many a year-end list, perhaps most notably by a record on the same label that owed more than a thing or two to Efdemin’s signature soft touch. Luckily, a squadron of remixers have been coaxing Chicago out of its black turtlenecks and into some brasher duds ever since. And while this latest batch of remixes — featuring Deadbeat, Fred P, Rndm, and Efdemin himself at the controls — doesn’t exactly reimagine the material as a Tavi Gevinson ensemble, at least one of the inclusions may turn some heads.

First up on the A-side is Deadbeat, the dub practitioner whose recent Drawn And Quartered took black many orders of magnitude darker than Efdemin deigns to go. His remix of “Shoeshine,” though, doesn’t so much dip the original in ink as it muddies things up, throwing knots into the bass line and potholes into the percussion. Efdemin’s mulligan of “There Will Be Singing” makes for a relatively drastic realization: the deep chords remain intact, but layers of pitchy drums recast the original’s chilled-backness as a sweaty haze quickly burning off; “Flügelization” might have been a more appropriate tag than “Future Edit.” The flip features the cut most are likely here for, and Fred P’s “Nighttrain” reshape absolutely lives up to the expectations such a meeting of deep house minds drums up. Mr. Peterkin has already gotten a fair amount of mileage out of precisely this sort of zoned-in, circular sound, but until someone else takes house as far down the rabbit hole as he routinely does, I’m not sure it’ll get old. And though Fred has only shaved 40 seconds or so off the original, it makes for one of the briefer nine-minute intervals you’re likely to experience. Oliver Kargl, who shares Pigon duties with Efdemin and appears here under his Rndm guise, doesn’t do much more than streamline and shorten “There Will Be Singing.” But given the three refixes that precede it, dance music fans should find plenty to enjoy, if not (in Fred P’s case) positively slobber over.

[Curle Recordings]

Although his name has been bubbling away in a hot-pot of quality labels for several years now, more recently Ryo Murakami’s releases have really been pricking ears, with impressive turns on Quintessentials, his own label Pan and Baud all contributing to a spike in awareness of the Japanese producer. His latest for Belgian do-no-wrong label Curle Recordings further cements his reputation with two stunning cuts of deep Detroit flavored house and an equally remarkable interpretation of the title track by Fred P.

Murakami pulls out all the vintage stops in his analogue soaked tracks, “In Chain” and “Feel It” both dappled with classic drum machine sounds, wrapped in a loving fold of rich bass and streaked with lush strings and pads. On “Feel It” Murakami re-samples his own pads, leaving them raw and rough cut around the edges, in stark contrast to the almost careful, gentle chord hits that slot in among an array of slowly pulsating string arrangements. The prioritizing of the higher frequencies in “Feel It” give the track a dreamy feeling of it becoming unmoored, of floating heedlessly. Although similarly ethereal, “In Chain” has more of a direct groove to it. The spatial chatter between the low toms and clipped rimshots hollow out a cavernous area that is at first filled by delicately flowing keys, then further augmented by slowly evolving chord stabs and accented percussive hits. You’re already well under the spell of the persuasive groove by the time the rolling, softened bursts of bass keys hit, which emphasize the hypnotic swell of the track. Fred P’s remix of “In Chain” focuses its immediate attention on the chord stabs, placing them in closer proximity to the dance floor but without losing all the rich feeling the original established. In fact, Fred stays very true to the original, using many of the same sounds, but tweaking them subtly and re-shuffling other parts around. However it is those stabs that drive his remix, giving it even more of a grounded feel than Murakami’s version. A stunning record that has fast become one of my favorites of 2011 and one that will keep me looking out for further works by Ryo Murakami.

[Soul People Music]

The Incredible Adventures of Captain P, the title of Fred Peterkin’s debut album under his abbreviated given name, seems to speak volumes about its origins. Arriving two years after Structure, his critically lauded second album as Black Jazz Consortium, it’s a long-player that catalogs the New York-based producer’s disparate influences, both musical and those acquired during his world-spanning tours. In kind, the joy Peterkin gets from exploring his own sonic world comes through on the LP’s 11 tracks as they delve into what exactly defines Fred P. as an artist without necessarily being tied to the dance floor.

Since the breakthrough of Structure, Fred P. has issued numerous future-classics on various platforms, and indeed a return to the long-playing format means a more varied and experimental set of tracks. The first 15 minutes of the album are devoted to incredibly deep house tracks, with “Changing The World Around Us” providing a bit of jack while “In Between Gates” sounds almost like a pensive house lullaby, providing emotive depths in place of most dance music signifiers. After such a strong opening Peterkin moves on to the jazz-flavored “Galactic Star Dust” and the hip-hop beat of “What It Is.” Normally house producers making hip-hop spells disaster, but “What It Is” is sleek and great, fitting in perfectly with its surroundings while recalling hip-hop’s golden age. “Where I Want To Be” provides twitching percussion and occasional yelps, which might sound something like early Autechre or liquid drum ‘n’ bass if not for Fred’s signature pads floating just under the surface.

“Soul Life Connection” is the album’s centerpiece, and deservedly so. It’s a protracted, plodding cut whose spacey elements are exacerbated with some excellent vocal snippets from SolyMar. “Come This Far” with its pillowy pads is a solid soundtrack to eyes-closed drifting, while “2 Make It Happen” is a stripped down experiment in marimba sounds with organ samples and rigid rhythms as its base. “For Real (Interlude)” is just that, though is no throwaway like interludes can sometimes be. Here Fred lets what he does best (beautiful, wistful pads) take center stage, resulting in some very fine atmospheres. The penultimate track of the album brings us back to the kind of house we’re used to with Peterkin, with “Somewhere” emerging as a strong contender for the most DJ-friendly cut here. Everything then comes full circle with a reprise of “Changing the World Around Us,” which removes some of the more jacking elements of the track found at the beginning in lieu of more moody fare.

Occasionally throughout The Incredible Adventures of Captain P small snippets of washed out noise and NASA transmissions can be heard between tracks. Reading this, you might think of the segues on a sci-fi-themed techno concept record, or even their prevalence in ’90s acid jazz and trip-hop. But here the NASA samples allude to the kind of breezy heights and intrepid exploration that the space program is based on. It’s not surprising, then, that space seems to be Captain P’s ultimate destination. As the album suggests, his adventures around Earth have seen him both hone his craft as well as expand his sound. I know that on my first trip above the stratosphere The Incredible Adventures of Captain P will likely have a place in the in-shuttle rotation.

[Soul People Music]

One thing the nominally New York house scene does better than most is various artists 12″s. Often you will find Jus-Ed sharing a side with another kindred spirit on UQ, or the whole crew assembled for a remix project. DJ Qu’s Strength Music imprint issues various artists comps with aplomb, and Fred P’s Soul People Music jumped in the game with the Earth Tones series. Last year’s Earth Tones could have been one of the biggest records of the year, with quality cuts from Black Jazz Consortium, newcomer Steve Oh and a killer from Move D. The line-up for Earth Tones 2 is equally stacked, with the aforementioned BJC and DJ Qu, as well as the return of Levon Vincent, who spent most of 2010 DJing around the world.

Vincent is predominantly known for his dusty warehouse jackers, but “Tyner” is most certainly not one of them. Its sluggish, cut time feel lends the track a pensive mood, and its strong melodies and a sense of instability make it one of his more experimental moments, which, in case you were wondering, is a good thing. The flip side will likely be more useful by DJs with two dark and deadly cuts: “Everybody’s Dark” from DJ Qu and “Stay” by Black Jazz Consortium. The former creates a heads down, pitch-black groove while the latter tempers the darkness with some bright pads. As a whole, Earth Tones 2 works precisely because it mixes lights and darks — the smart and refined with dusty grit. Released at major points in all three artists’ careers — with Vincent about to make his 2011 comeback, Qu about to drop his first album, Gymnastics, and Fred having just released his third CD — this EP is a combined reminder of the high caliber at which they operate, one that seems to get higher with each release.

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

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

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

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

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

18. Addison Groove, “Footcrab”
[Swamp 81] (buy)
Rarely has a song made both so little and so much sense as Addison Groove’s “Footcrab.” If you’re like me, it may take several bliss-filled listens before it dawns on you that what’s causing you to flit around the room like a Riverdancer on mushrooms is essentially the sound of a man repeating the words “insane” and “Footcrab,” only one of which actually has an ounce of meaning. While Planet Mu has been busy snapping up producers from the juke scene over the past year, Anthony Williams (also known as Headhunter) chose to register another alias and see what he could do with the genre. The result is one of the most individual and gloriously outlandish tracks to have emerged in ages. Conventional? No. Brilliant? Yes. Insane? Footcrab. (Jack Scourfield)

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

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

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For our 29th exclusive podcast, NYC’s Fred P (aka Black Jazz Consortium) mixed together a two-hour odyssey of deep house and techno. This one cannot be missed — grab it before it returns to the ether this Friday, November 26th at 10am CST.

[Strength Music]

In New York the phrase “record store” still means something. While Virgin Megastores crumble around us, a handful of stores keep up the good fight and stay true to the “record” part of the title. One of those is Halcyon in Brooklyn, headquarters for plenty of New York house artists and labels, and purveyor of quality dance music, both international and domestic. While making the rounds there a couple weeks ago Semesters II on Strength Music caught my eye, not only because of its purple marbled vinyl but because its grooves were etched with the work of Jus-Ed, Fred P and DJ Qu. It’s hard to ignore a record with such promise, especially at domestic prices, and unsurprisingly Semesters II is full of wonderful and weird New York house.

Jus-Ed kicks things off with “Maryland Jam,” a tune whose radar pings, serene pads and soft bass tones place it many leagues deep underwater. In a year that’s seen more than a few tunes creep out of Ed’s studio, “Maryland Jam” is a highlight whose relaxed, height-of-summer vibes seem ripe for scoring a vacation. “It Is What It Is,” penned by Fred Peterkin, continues the laid-back atmosphere but takes a more moody turn. Wistful strings and minor electronic tones change slowly on their own time, balanced out by a flurry of sharp hi-hats. It’s the highlight of the 12″, and considering its peers that’s saying something. DJ Qu takes a major left turn with the bizarre “Ahead.” Repeated whispers and voices urging us to “look ahead” sit atop rather straightforward percussion, but an untreated piano barges in, turning the strange into the strangely lovely. While record stores are becoming rarer with each passing year there is no shortage of house singles to fill them, so do yourself a favor and cut through the riff raff by picking up this marbled slice of wax from your local record store post haste.

Listening to this sublime release from Fred P. as the sun sets after another glorious, blue-sky day, I’m reminded more of the Balearics than Brooklyn. While Fred is one of the linchpins of the resurgent New York house sound, On This Vibe — fittingly, on Esperanza, a Spanish label that has embraced deeper sounds after getting plink plonk minimal out of its system — goes back in time to classics like Sueno Latino’s eponymous hit or the “ambient house” of 808 State for inspiration. Based on a sensuous, chord sequence anchored to tight claps, Fred then proceeds to add plaintive piano keys and what sounds like a vocal sample from an old hardcore record and then repeats to fade. That this process lasts over ten minutes only serves to reinforce the associations with the dreamlike, liquid state that early, U.K. proto deep-house also strived for.

As I think of “Vibe,” I keep imagining how it would fit with other Ibiza classics — and there should be no hang ups about mentioning those two words in that sequence, no matter how corrupted the phrase has been by countless cash-in compilations or brainless reality programs — like Moodswing’s “State of Independence,” “Sueno Latino” and the superlative “Paper Moon” by 51 Days. Patrice Scott’s remix is more metallic and urban. The sensation of lapping waves and ice melting into mojitos as a warm Mediterranean sends the fireflies off course in the dusk that prevailed on the original is noticeably absent. But what Scott lacks in balminess he makes up for with intricate, snaking rhythms and a gloriously effective, building synth riff that offers as much warmth and sensuous release as the original version. Ibiza via Brooklyn back to mainland Spain and out to the rest of the world — who’d have thought the Balearic spirit would be so enduring?

01. Azari & III, “Reckless (With Your Love)”
[Permanent Vacation] (buy)
With the deluge of year end lists finally petering out I’ve finally had a chance to dig into music released at the end of 2009 that was overlooked. There’s no better place to start than with Azari & III’s irresistible tune, “Reckless (With Your Love),” one of the year’s few house anthems. In keeping with the old school instrumentation and track structure, “Reckless” is no less than a full fledged song with vocalist Starving Yet Full flinging his commanding pipes all over the organ stabs and between synth string sweeps. Not only is there an intriguing personal narrative winding through the vigorous arrangements instead of more trite vocal samples, the tune balances Azari & III’s reverence for house music fundamentals with a fresh feeling that all but assures future classic status. “Reckless (With Your Love),” only Azari & III’s second single single together, is an accomplishment that seems to portend many more such milestones in the coming months.

[zero r="Reckless (With Your Love)" a="Azari+III" t="Reckless (With Your Love)"]

02. Reagenz ft. Fred P., “Keep Building”
[Workshop] (buy)
Another late arrival that’s still worth your time is “Keep Building,” the centerpiece of Reagenz’s sophomore album, Playtime. Featuring Fred P. as an unlikely but affective cheerleader who prods producers, dancers and Reagenz themselves to “keep moving forward,” the 13+ minute track lives up to its title by constructing hazy synth castles in the sky. Reagenz (aka Dave Moufang and Jonah Sharp) allow their slender drum programming to take a back seat to multiple players of minor pads and organ vamps, Fred’s hissing vocals swirling about like smoke curling up from a cigarette. Indeed, “Keep Building” is a slowburner of the highest nature, allowing plenty of time for its progressive message to sink in. Producers young and old, take heed!

[zero r="Playtime" a="Reagenz" t="Keep Building"]

03. Pangaea, “Why” [Hessle Audio] (buy)
It’s fitting that Kevin McAuley waited until now to come out with a self-titled release because Pangaea EP is, without a doubt, his most mature and nuanced set of tunes yet. It starts with the exquisite “Why,” a natural progression from the jazzy palate of his “Mosaix” but one which is far more affecting. His relatively spare framework of organ jabs, drum kit samples broken into ambling patterns and soft but steady bass progressions provides the perfect stage for a powerful performance by an uncredited female vocalist (though her cadence is obviously manipulated, it appears original to this tune rather than the result of crate-digging). Her gorgeous portamento runs are often punctuated by herself demanding, “Why? Why?” Pleading her case to listeners, “I tried to make it clear / I don’t know,” her she adds so much heft to an already compelling slate of bittersweet melodies. Although I’m still curious what she’s denying, the only question left in my head is why the tune has to end at five minutes. Essential gears from Pangaea.

[zero a="Pangaea" r="Pangaea" t="Why"]

04. TJ Kong & Modular K, “Venusberg”
[Four:Twenty Recordings] (buy)
At first glance, TJ Kong’s digital-only Serenade EP for Four:Twenty Recordings is merely decent tech-house from an unfamiliar name. Peel off a few more layers and you’ll find Dutch producer Erwin van Moll, also known as max 404 and Proteus Generation, who has recorded for Djax-Up-Beats, Eevo Lute Muzique, Compost Black Label, and Eskimo Recordings since the early 90′s. Pare away all but “Venusberg,” a collaboration with Modular K, and you’re left with an thoroughly written tune which is redolent of mid-90′s techno yet quite relevant to dance floors today. Where so many producers are ready to stop after adding a few dinky sounds, van Moll and Modular K lavish their track with bleepy leads, an old school bass line, loose tambourine twinkles, and a variety of attention-grabbing synth vamps which keep the tune fresh throughout its nine minutes. Although I’m disappointed this never received a vinyl release, I’m happy hearing veteran producers still cranking out the goods.

05. Hot Chip, “One Life Stand” (Carl Craig PCP Remix)
[EMI] (buy)
Carl Craig is usually good for at least one killer remix of an indie-oriented group underground dance fans might otherwise shy away from each year. In 2007 he remixed Junior Boys’ “Like A Child” with memorable results, and 2008 saw him push Francesco Tristano’s “The Melody” to near “Strings Of Life” heights. Although he took 2009 off, he’s back and as strong as ever on his Paperclip People-styled remix of Hot Chip’s “One Life Stand.” True to form, Craig distills the tune to raw and reduced fundamentals: snarling synth loops, spiny guitar licks, and percussion which steps into cavernous settings at random intervals. He knows just how to ratchet up the tension, leave room for cool, collected vocals, and then return with a vengeance. This 10 minute floor-filling monster is a great reminder of the piercing prowess of the Paperclip People moniker.

06. Roni Nachum, “Guest Service Shalom”
[Fine Art Recordings] (buy)
07. André Lodemann, “Still Dreaming”
[Freerange Records] (buy)
08. Anthony “Shake” Shakir, “Arise”
[Rush Hour Recordings] (buy)
09. EQD, “Equalized003-B” [Equalized] (buy)
10. Brandt Brauer Frick, “Button” [The Gym] (buy)

Staff Charts:

Per Bojsen-Moller
01. Four Tet, “There Is Love In You” [Domino Recording Company]
02. Nicolas Jaar, “A Time For Us” [Wolf + Lamb]
03. Anton Zap, “Adide” [Millions of Moments]
04. Ation, “Lovers Dub” [Abucs]
05. Joy Orbison, “BRKLN CLLN” [Doldrums]
06. STL, “Myxmassong” [Quintessentials]
07. Aybee, “Underworld” [Underground Quality]
08. Levon Vincent, “Double Jointed Sex Freak” [Novel Sound]
09. Smallpeople, “Before Leaving To Paris” [Laid]
10. Ryo Murakami, “Just For This” [Dessous]

Chris Burkhalter:
01. nsi., “Eitherway” [Non Standard Productions]
02. Protect-U, “Double Rainbow” [Future Times]
03. Alex Smith, “Here With Me” [FXHE]
04. Tensnake, “Coma Cat” [Permanent Vacation]
05. Mark Du Mosch, “Revenger” [Cyber Dance Records]
06. DJ Qu, “Party People Clap” [Deconstruct Music]
07. Area, “Missing A Few” [Wave Music]
08. Scott Grooves, “Afro Riddum” [From the Studio of Scott Grooves]
09. A Made Up Sound, “Drain” [A Made Up Sound]
10. Levon Vincent, “Double Jointed Sex Freak Part 1″ [Novel Sound]

Peder Clark:
01. Smallpeople, “Before Leaving To Paris” [Laid]
02. I.F.M., Back In The Days EP [Uzuri]
03. Pawel, Pawel [Dial]
04. Wbeeza, City Shuffle EP [Third Ear Recordings]
05. Bruce Ivery, Things I Want [Stilove4music]
06. Heaven & Earth, Prescription EP [Running Back]
07. M. Pittman, Erase The Pain [Fit]
08. DJ Qu, “Party People Clap” [Deconstruct Music]
09. Anton Zap, Take It As It Comes [Underground Quality]
10. Entro Seenestre, “La Caccia” [WT Records]

Anton Kipfel:
01. Roni Nachum, “Guest Service Shalom” [Fine Art Recordings]
02. Pawel, Pawel [Dial]
03. Gerd, “Freedom” (Gerd Mix) [Royal Oak]
04. EQD, “Equalized003-B” [Equalized]
05. Tensnake, “Coma Cat” [Permanent Vacation]
06. My My ft. Emika, “Price Tag” (Appleblim & Komonazmuk remix)
[Aus Music]
07. DJ Qu, “Party People Clap” [Deconstruct Music]
08. Ed Davenport, “Life In the Balance” [Vidab]
09. Joshua Iz, “Earthrise” [Vizual Records]
10. Enola, Alone [Inital Cuts]

Kuri Kondrak:
01. Carlos Nilmmns & Ian Elgey, “Blo” [Fizzy Duck]
02. Kirk Degiorgio, “A Way Of Life” [ART]
03. Nebraska, “Time Has Come Pt. 1″ [Rush Hour]
04. Jared Wilson, “This Love” [777]
05. Russ Gabriel, “Returning Home” [Dieb Audio]
06. Delano Smith, “Road To Nowhere” [Mixmode]
07. Alex Smith, “Three Blind Rats” [FXHE]
08. Jakob Corn, “Mirrorflip” [Dolly]
09. Sensual Beings, “Detached Feelings” [Future Times]
10. Mr. Fingers, “Slam Dance” [Alleviated]

Chris Miller:
01. Levon Vincent, “Double Jointed Sex Freak Part 1″ [Novel Sound]
02. Pangaea, “Sunset Yellow” [Hessle Audio]
03. nsi., “Scale” [Non Standard Productions]
04. Delta Funktionen, “Silhouette” [Delsin]
05. Martyn, “Seventy Four” (Redshape Remix) [3024]
06. Alex Smith, “Three Blind Rats” [FXHE]
07. DJ Qu, “Party People Clap” (Anthony Parasole & Fred P Remix) [Deconstruct Music]
08. Ramadanman, “Tempest” [Hemlock]
09. Jeff Mills, “Something In The Sky 01 B1″ [Something In The Sky]
10. Martyn, “Friedrichstrasse” [Fabric]

Jordan Rothlein:
01. Lerosa, Dual Nature [Further Records]
02. Anthony “Shake” Shakir, “Arise” [Rush Hour Recordings]
03. Levon Vincent, “Double Jointed Sex Freak Pt. 1″ [Novel Sound]
04. DJ Qu, “Party People Clap” [Deconstruct Music]
05. Reade Truth, “Soundwav” [White Label]
06. Patrick Cowley & Jorge Socarras, “Memory Fails Me” (Oni Ayhun Remix) [Macro]
07. André Lodemann, “Still Dreaming” [Freerange Records]
08. Roni Nachum, “Guest Service Shalom” [Fine Art Recordings]
09. Reggie Dokes, “The Beginnings of Ra” [Royal Oak]
10. Alex Smith, “Here With Me” [FXHE]