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]

How’s your hard drive holding up? Mine’s a real mess: mixes overflow onto a desktop that I usually like to keep clean, they hide in deeper and deeper layers of directories, and they peek out from all corners of my computer, scattered around this and other hard drives. Free content from websites, Soundclouds and others all surge into whatever free slot they can find, whether I’ve actively chosen to download them or they just flood in unchecked through podcast subscriptions. Every now and then some sort of cleaning is needed, and the stronger mixes earn their rightful place while the more numerous lesser ones head for the trash can. But the torrent inevitably continues. Hopefully this list will provide you with a brief respite amidst the chaos, as these ten mixes are the best that I’ve heard these past six months. Some come with an additional recommendation, should you need even more aural stimulation, but all are essential, proving that the time spent wading in the murky depths of the digital sea inevitably produce some pearls.

Exchange Place – Table Tennis 14

My favorite mix of the year so far comes from one of the year’s most hotly tipped producers/DJs, and three that are just as exciting. LWE’s Jordan Rothlein invited the Exchange Place crew to Table Tennis, his radio show on WNYU, earlier this year. It was an inspired choice, as the crew of Joey Anderson, Nicuri, David S, and DJ Qu have released some truly great collaborative 12″s on Strength Music and this mix proves them to be an excellent DJ collective as well. New productions from all four of them feature, as well as plenty of classics, and yet it sounds singular in its focus and vibe. I was there for the taping of this, but it’s a mix that I’ve returned to time after time since as it continues to impress.
Also recommended: Patrick Russell – Table Tennis 27

Photo by Seze Devres

Tin Man – Shaddock Podcast 2

Tin Man has been operating at hyperspeed this year. Loads of productions so far and three podcasts to my count, yet the quality has somehow stayed top-notch. His mix for us kept to a similar tip of his album Perfume, and his mix for mnml ssgs showcased his new Vienna Blue project, but this one for new label Shaddock was a personal favorite. Recorded live in Vienna, this live set focuses more on Tin Man’s dance floor productions and acid house styles; it’s the most thorough evidence for his prowess with Roland machines and ability to combine them with his unique voice.
Also recommended: Tin Man – LWE Podcast 78

DJ Deep – Get The Curse Podcast 134

DJ Deep should have a much bigger profile than he does. He’s probably France’s only truly great DJ after Laurent Garnier, a reputation solidified by a run of very fine City to City mix CDs which unearth older, perhaps forgotten, house classics (and put them on vinyl samplers, to boot). His excellent podcast for Get the Curse, however, showcases the type of music he’s more often found playing, starting with abstract, dusky house and moving up through driving techno. It features some of my personally favorite tracks from the last year, with tunes from Conforce, Kassem Mosse and Tin Man all making an appearance, making it well worth your time.

Levon Vincent – Promoganda

Here’s a bit of promoganda from the Ministry of Novel Sound. While taking off from production in 2010 he spent the year touring around and honing is DJ skills; skills which had already been top notch. This mix promotes the return of Novel Sound and is a real winner, packed to the brim with loads of huge tracks from the likes of Shed, Joey Anderson and others mixed in Levon’s idiosyncratic style.

FCL – Juno Podcast 1

Everyone’s favorite UK-based vinyl emporium recently started a podcast of its own, following the establishment of its Juno Plus site last year. What better way to kick it off than with FCL, the team of We Play House owner Red D and its star pupil San Soda. This one has received lots of spins here at LWE’s New York branch, featuring loads of upcoming WPH goodies.
Also recommended: Legowelt – Juno Podcast 3

Kowton – mnml ssgs special

A couple years ago, the crossover of techno and dubstep was all the rage, and Bristol was the place to be. Bristol is still the place for a specific brand of dubstep-influenced techno, but Kowton and the Idle Hands crew are pushing something a bit different: a dry and jacking take on techno loaded with sub-bass and stepping percussion. His mix for mnml ssgs is a damn good one which moves from this specific strain of nightshade techno up through house classics.

Ben UFO – Never Been To Blue Note

Punters tune in to the Boiler Room regularly to see some of the UK’s best DJs play in an often crowded warehouse. Most of these sets are available on Boiler Room’s podcast, but a couple months ago they inaugurated a new series of pre-recorded mixes called Nothing New, one to which Ben UFO is the only one to contribute so far. With “Never Been To Blue Note,” Mr. UFO imagines what one of the Metalheadz sessions at Blue Note would have sounded like — he never went himself — and it’s about as essential as drum and bass mixes get.

Pinch – RA.247

RA’s podcast is the old standby, and when compiling these lists it’s one of my first stops. The best of this bunch was from Pinch, one of Bristol’s finest when it comes to all things low-end. The Internet is always well overstuffed with mixes featuring the latest Joy Orbison and Boddika dubs, but this one combined the latest upfront bass music dubs with recent techno favorites from Giegling, Shed and Shake, making it stand out head and shoulders above its peers.
Also recommended: Heinrich Mueller – RA.250

Optimo – FACT mix 214

Last time I did one of these lists I included an Optimo mix purely of acid tracks. Here, JD Twitch puts together a selection of beatless works inspired by a recent plane trip. That these mixes are about as different as possible shouldn’t surprise Optimo lovers, but the fact that they’re both so, so good is really quite commendable. It would probably wise to do as JD Twitch does and listen to this one in some sort of vehicle, either a plane as Twitch says or a train as I did for many, many weeks.
Also recommended: Optimo Podcast 9 Bass and Bleepcast 1989-2011

Anton Zap – LWE Podcast 76

It’s always hard to pick a favorite from our series, as we think each is pretty great (or else we wouldn’t post them). It’s gotta be done though, and I think Anton Zap’s incredible 48-minute journey through the deepest of house tracks takes the cake. It’s short but sweet, and with the hustle and bustle of everyday life his mix is an oasis, a temporary escape amidst lulling and drifting grooves.

Albums: they’re a chance for producers new and old to show us what they’re capable of. And if these five full-lengths from the first half of 2011 are any indication, there’s an abundance of talent in the world of producers this year. While there are plenty more where these came from (Africa HiTech, Steffi, and Tim Hecker all put out incredible full-lengths in the last six months and really deserve their due), what truly stands out about those that made this list are their commitment to a particular vision and the confidence with which they carry out that vision. Plenty of producers make statements, but only a handful put them so eloquently.

James Blake, James Blake [Atlas Recordings] (buy)

Few dance music albums arrive with as much hype — and as much baggage — as this young Londoner’s debut full-length. There were the crossover R&S releases, the Feist cover, the major label deal, and the ensuing worry from “serious dance music” camps that all of this guy’s new fans couldn’t possibly understand why he was good in the first place, or — worse — that he was just dumbing down dubstep sonics for the easy listening set. As I listen to this surprisingly humble album for at least the 2,000th time, I’m wondering who’s failing to understand whom. When James Blake first started bouncing around the Internet after a pre-Christmas leak, it was clear that it wasn’t next-level bass music so much as some artifact from another plane altogether, one where Nick Drake fucks with FL Studio and FWD>> is a place you go for a good cry. “I don’t blame them,” Blake remarks about his apparently miffed siblings on “I Never Learnt To Share,” but he could easily be talking about the haters. Well, it’s their loss, because those willing to accept a new context for the rumble of the future were in for a quietly compelling set of incomparably indescribable tunes.

Tin Man, Perfume [Salon Records] (buy)

James Blake may get all the credit this half-year for bringing dance-musicisms into the realm of singer-songwriters, but Johannes Auvinen certainly deserves a big high five for bringing singer-songwriterisms into his little corner of dance music. Yes, Perfume is filled to the brim with ridiculously amazing house tunes — the finest of Auvinen’s career, in fact — but propping up the incessant sprinting of 707 samples and diva piano licks is some truly compelling compositional craftsmanship. To hear Tin Man tell it, that piano was something of a game-changer: rather than “noodle” in search of tunes, he sat down at the ivories and chiseled out an entirely new Technicolor context for his famously anemic vocals. There’s nary a loose thread in this tapestry, but if the gods are just the album’s sprawling centerpiece, “Lost In LA,” will go down as a house classic — if one of the 50,000 records he has on the way later this year doesn’t have track that bests it.

FaltyDL, You Stand Uncertain [Planet Mu] (buy)

Ah, to be young and ambitious and in possession of boundless energy in New York City. You grind and grind and grind until one mid-afternoon you wake up under a bench in Prospect Park, where a glance at your newly shattered iPhone screen reveals you’ve been there for at least a day and a half. The first half of Drew Lustman’s second FaltyDL full-length feels a little bit like this: the haze and jumbled-togetherness of the day-to-day, the release of an epic night out, and the bright world viewed through squinty eyes for an uncomfortably long time afterward (out of which Lustman stitches together the woozy “Voyager,” one of the year’s most unexpected anthems thus far). By the time a whisper in “Play With My Heart” reminds you that “tonight, it’s party time,” you’re still regaining your bearings and primed to exasperatedly brush off the suggestion. Where some heard a dearth of floor-ready tuneage, I hear many of dance music’s most endearing recent obsessions sneaking outside the club and experiencing life as it’s actually lived, with all the complications that entails.

BNJMN, Plastic World [Rush Hour Direct Current] (buy)

“Artificial” need not imply “fake.” I mean, just because most of what’s in that stash of candy you keep tucked away in your cubicle doesn’t exist in nature doesn’t mean it’s not delicious. Likewise, we can’t fault BNJMN for crafting an album of well-informed dance tracks made out of sounds that no piece of Roland gear could ever produce. Plastic World is undoubtedly the year’s strangest exercise in sound design — a record that massages you in nooks and crannies you weren’t aware sound could squeeze in to — but it’s also accessible to the point of being eerily familiar. Ben Thomas reminds me not so much of other producers but of some sort of dance music Jeff Koons, a (potential, if he keeps it up) master of the postmodern and an embracer of the sort of technology that allows art to fully assume the postmodern. (Hopefully he won’t start hiring a staff of bedroom producers to do all his bidding.) An auspicious beginning if ever there was one, Plastic World will likely remain on our minds until list-making begins anew at the year’s end, in part because I can’t imagine anything else sounding remotely like it.

DJ Qu, Gymnastics [Strength Music] (buy)

One senses that DJ Qu, who told LWE he put Gymanstics together from a pool of “maybe 100 tracks,” feels the accomplishment of crafting a full-length more than most producers. What’s acutely rad about Gymanstics– and why it’s something of an achievement — isn’t so much that Ramon Lisandro Quezada put together a compelling narrative, though he absolutely did; it’s more that he enunciated his unique vision of club music more completely than he’d ever been able to do on one 12″. (As the album’s novel each-slab-sold-separately vinyl release suggested, such an enunciation requires three.) Qu is as flexible as ever, moving from Rinse-ready house (“Babyluv”) to Dettmann-ready techno (“Get Sum”) to a smidge Autechre-ish (“Thrilla”) without sounding artistically overextended. In fact, by the end of the record, he sounds more like himself than he ever has. With Gymnastics, Qu has shown us a producer can have an inimitable aesthetic without backing himself into a corner. I look forward to the next time his hard drive fills up.

[Salon Records]

Up until this point it seemed that there were two rather distinct eras of Tin Man’s career, the first consisting of his early odes to acid house and the second of his more recent output of dark, atmospheric, vocal (in his own inimitable way) house. Given the impressive salvo that the man born Johannes Auvinen has already let loose in 2011, it’s safe to say that we’re in a new epoch of Tin Man’s discography; one, however, that lacks the uniformity of the previous two phases. Perfume sounds like nothing released this year nor anything else he’s ever done, yet it makes complete sense, seeming like the kind of music towards which all of his other records were pointing.

“Burnt Sugar’”s opening piano run establishes Perfume as Tin Man’s ode to that most essential instrument, while creeping David Lynch-alike atmospheres keep things gloomy. If you think that Perfume sees Tin Man play a jazz lounge crooner, well, you’re kind of halfway there. Auvinen’s vocals are a clearer than ever before but still well obscured by either adding levels of grittiness (“Electric Blue”) or just being heavily fed through a vocoder (“Mona Lisa”). Occasionally Perfume goes flat out pop, such as the short, catchy “Good Stuff.” It shouldn’t really work given the bleak atmospheres that have come to define Tin Man’s output, but somehow it does in the context of the album as a whole, where it provides a bit of levity to the gloomy, seedy jazz-club vibes found throughout.

The aforementioned “Electric Blue” stands out as one of the odder cuts on Perfume, but is all the better for it. Vigilant 303 lines keep the groove intact while intimidating swarms of low-end threaten to suck Auvinen’s voice down into a black hole of mucky frequencies. The prize of album centerpiece goes quite rightly to the epic “Lost in LA,” whose subtle acid twinges, commanding piano, and catchy vocal hooks make it, to my ears at least, this year’s most successful experiment in combining subtle pop flourishes with softer acid house.

But while Tin Man’s sunny(er) side certainly works wonders, Perfume‘s best track is also its most melancholy. “Rockers Ravers” sees Auvinen’s arsenal of Roland machines operate at slow but deliberate house tempos amidst the murkiest and gloomiest atmospheres. When the song’s second act hits, though, it’s a cathartic moment. Bittersweet vocals intertwine with bright, yet despondent piano stabs, while gurgling, somewhat awkward acid lines (the album’s most triumphant) rise above the increasingly jacking 707 percussion. It’s a short, incredibly sweet moment, and soon we’re plunged back into the darkness as the album quickly comes to a close.

[Absurd Recordings]

I’ve never really understood the hype surrounding Donato Dozzy. There, I’ve said it and I’m ready to be eviscerated by the legions of Dozzy fans who undoubtedly read this website and the blogs and forums that extol the Italian DJ’s talents. But before LWE crashes amid a hailstorm of Internet invective, let me set forth my reasons. I’ve never been to Labyrinth in Japan, which is said to be the best place to hear Dozzy play. Instead, I’ve had to make do with online mixes and a set in Dublin to a small crowd, where for the record, he did a fine job in adverse circumstances. Don’t get me wrong, he’s an excellent DJ technically with an extensive record collection and a deep knowledge of electronic music — especially when he veers off the dance floor and into Krautrock/Kosmische territories — but so too do many of his peers. What is it about Dozzy that sets him apart and sees him afforded such wide-eyed adulation, the kind of foaming at the mouth fanboy behavior that one would not expect from grown men?

I’m not sure. Dozzy’s latest missive for Absurd Recordings’ Acid Test is really good, a serene piece of ambient techno that sounds inspired by Richie Hawtin’s FUSE project, but its references are quite obvious. That is not necessarily a bad thing and the majority of contemporary techno and house releases worth a damn — including new records by Sleeparchive, Conforce, Meschi — are clearly inspired by older sounds and classic styles. Ironically, remixer Tin Man does a far more impressive job than the track’s author: understated, skipping drums provide the perfect accompaniment to Dozzy’s widescreen melodies, but it’s the producer’s monotone vocals and gurgling acid lines that make it sound unforgettable. As the track progresses, the addition of chiming bells and orchestral flourishes pushes it to a thrilling climax. So again, why the hype about Dozzy? Don’t get me wrong, I didn’t write this review to provoke his fans, insult him or even as an attempt to slay one of techno music’s sacred cows. Dozzy’s releases are good, his DJ sets better, but what is it about him that invokes such awe? On the evidence of Acid Test 03, this writer has failed to find the magic ingredient that fires so many minds and feet.

After a week of recuperation, LWE’s Jordan Rothlein and Chris Miller offer their thoughts on this year’s Unsound Festival New York.

Festivals have never really been North America’s strong suit, at least for house and techno. Yes, DEMF and Mutek have been providing those of us on this side of the Atlantic with expertly curated and executed festivals for over a decade now, but when contrasted with the glut of festivals over in Europe it hardly seems fair. New York, perhaps most unfairly, has always had problems putting on any kind of techno festival (surely no one needs to be reminded of Minitek). And yet, in the past couple years, the festival scene in New York has improved dramatically, to the surprise of pretty much everyone. Electric Zoo has managed to be wildly successful, but in terms of booking seems to become less attractive to dance music fans of more discerning taste each year.

Enter one of the most inspired developments in New York’s festival scene in quite some time: last year’s inauguration of the Unsound Festival’s New York edition. Unsound has been long respected as one of Europe’s premier festivals when it comes to heady and experimental electronic music, and last year’s events went off without a hitch (aside from the ever-present visa problems, which this year’s edition was not spared from either). For 2011, Unsound New York was consolidated into five intense days of chamber music, dance music, and practically everything in between. With so much going on it was near impossible to catch all of the riches on offer, especially with ever-present work and school concerns, so what follows in less a thorough review of everything that happened and more the reflections of two LWE writers on a truly massive couple of days of music.

Before the festival itself began in earnest, five days of small events known as the Unsound Labs took place at scattered locations around New York. I was lucky enough to catch the last of these labs, Cinema for the Ear, presented by ((audience)) at the Walter Reade Theatre at Lincoln Center. Taking place in a pitch-black movie theater without any visuals, the program consisted of works by numerous electronic artists in 5.1 surround sound, all exploring the theme of horror. Raime, the hotly tipped UK duo whose two debut releases have been very well received, provided the highlight of the evening with a genuinely frightening piece full of disquieting panting and sinister noises. They also used the 5.1 sound better than anyone else, panning sounds around the room to an eerie and disorienting effect. Felix Kubin’s piece contained snippets of noises recorded at night and fragments of narration in German (the words “extrem dunkel” struck me as particularly appropriate), while Demdike Stare’s contribution was short but sweet, using some of the themes found on their previous work in a new context.

Steve Reich. Photo by Stephen Cardinale

The festival proper kicked off on Wednesday night with the official opening at Lincoln Center’s Alice Tully Hall, seeing New York’s techno denizens (attempt to) mix with higher society. Sinfonietta Cracovia started things on their own with performances of pieces by Krzysztof Penderecki and Steve Reich. The ominous and chilling moods that are the hallmark of Penderecki’s compositions, combined with projections of birds flying around at dusk, sent quite a chill down the audience’s collective spine, whereas the following two pieces by Steve Reich (both exclusively for stringed instruments) lightened things up a bit. After a short break Sinfonietta Cracovia came back with Daníel Bjarnason and Ben Frost for the main event: “We Don’t Need Other Worlds. We Need Mirrors – Music For Solaris.” Given the intensity, loudness, and sheer physicality of Ben Frost’s music I was eager to see how it would translate once backed by prepared piano and a full orchestra in one of the most upper class venues in all of New York. Instead, Frost and Bjarnarson’s piece opted for extreme subtlety.

Ben Frost. Photo by Stephen Cardinale

Sinfonietta Cracovia. Photo by Stephen Cardinale

Sinfonetta Cracovia played throughout as if they were their own delay units, issuing haunting swells of sound while Bjarnarson played the role of conductor as he contributed stirring notes from his prepared piano. Frost, who quickly removed his shoes, used two guitars and a laptop with Ableton Live to transmit otherworldly drones that, at certain critical moments, grew until the whole of Alice Tully Hall was submerged in sub-bass. Accompanying the music were “film manipulations” from Brian Eno, which turned out to be pretty unnecessary. The opening part of the visuals featured the face of an older man that transformed slowly into that of a younger one (which ran in reverse at the end), and it was a nice effect, but on the whole I was happy when the visuals ended and my mind was left to concentrate solely on the music, which was extraordinary.

Morton Subotnick. Photo by Stephen Cardinale

Thursday saw the arrival of LWE editor-in-chief Steve Mizek, and after catching up we headed back up to Lincoln Center for “Modular Dreams.” This event was at the David Rubenstein Atrium, an intriguing indoor venue with great sound as well as sandwiches from ‘Wichcraft, should you get hungry. Morton Subotnick played the first hour from behind a seriously impressive modular synth setup. The first half of his performance was characterized by chaotic, unmistakably modular sounds that layered and wormed inside each other, always with a rhythmic intensity underlying the whole thing. His set then slowly drifted into more laid-back sections, continuously impressing with his mastery over the machines in front of him. Lillevan provided the visuals and, unlike the night before, they were engaging and complimented Subotnick’s music perfectly.

Atom™. Photo by Stephen Cardinale

David Rubenstein Atrium. Photo by Stephen Cardinale

After a short pause the man born Uwe Schmidt but billed as Atom™ stepped up in his sharpest jacket/turtleneck combo and stood behind an MPC. Schmidt’s visuals were split-screened, with his MPC display screen on the left side and more aesthetic ones on the right. The beats came quickly, and it was a real joy to watch, in real time, as Schmidt switched patterns, changed effects parameters and even altered time signatures. While I stayed seated primarily because that seemed to be the “proper” thing to do, Atom™’s set made me want to stand up and jerk my body around to his addictive, jacking rhythms. His set was occasionally interrupted by videos of various Uwe Schmidt ventures (the first of Señor Coconut and the second from 2009′s Liedgut album), and during his final segment the pattern on the MPC read “Good Night!” and, with the feedback on the delay pushed up, Schmidt simply walked right out of the building. Always a showman, Atom™’s set was one of the festival’s true highlights, a display of an artist at the height of his talents.

Badawi. Photo by Zach Dilgard

Friday night saw us head to Public Assembly for the first of the Bunker parties, this one being the much-anticipated Bass Mutations party. We walked in to find one of New York’s finest, Dave Q, slaying the back room with junglist vibes. Low-end oozed out of the subs and seemingly transported us to the seedier alleys of London. Dave Q was followed by Raz Mesinai, whose music as Badawi is as involved in the project of bass mutation as anyone. Obscured by sunglasses, hoodie, and gigantic hair, Mesinai was a playfully menacing presence on the back room stage, and his set similarly combined the low-end of dubstep with compositional strategies that would feel at home in more academic musical quarters. Though it lacked the electricity that Shackleton (an artist he’s worked with and with whom he shares a certain gloominess) brings to live performance, Badawi’s set was deeply considered: themes would appear and reappear, time signatures would shift, and high energy proved a fleeting but seductive presence.

Lone. Photo by Seze Devres

One of the most anticipated performances of the week for us was Lone’s. Now synonymous with a brand of house that’s equal parts raved-up and wistfully dreamy, the man born Matt Cutler may have been a strange fit after Badawi’s doom-laden set, but he very quickly filled the room with a welcome glow. While the tunes — selections pulled straight from his excellent Emerald Fantasy Tracks album and other compositions that are obviously from the same era — were great and the crowd still had their early evening enthusiasm, Lone’s set felt like it was only halfway there. Beyond the occasional chop-up and stutter, the music didn’t feel particularly transformed by the live setting, and we weren’t sure Cutler has enough depth to his discography to let the tracks carry themselves. And Cutler, suffering from severe laptop captivation, wasn’t really doing much in the way of selling the tracks. It was by no means awful, but we all agreed that the Lone live PA was still in its infancy.

Badawi. Photo by Zach Dilgard

The contrast with Sepalcure, the Brooklyn-based duo of Praveen Sharma and Travis “Machinedrum” Stewart, was pretty extreme. High up on the front room stage, they were having as much fun as anyone in the crowd. Their mood was contagious, but regardless, their live set is difficult to argue with. It’s their chops as electronic musicians that allows them to be as animated as they are on stage, so even amidst the veritable dance contest taking place on stage, their chunky beats and simmering synth textures stayed well within the pocket. Their material from their two Hotflush EPs continues to sound fresh, and the multitude of new sounds that provided glue for the set has us very excited both for the next Sepalcure transmission and the high-profile solo material each member has on the way this summer. But we’re making the educated guess that one of the set’s most unexpected highlights, the chorus of Corona’s “Rhythm of the Night” sitting seamlessly in the mix with a humid Sepalcure riddim, probably won’t be getting pressed to vinyl anytime soon.

Kode9. Photo by Seze Devres

Appleblim. Photo by Seze Devres

After quickly grabbing some drinks we rushed back to the back room to catch the beginning of Kode9′s set, perhaps unsurprisingly starting with Burial’s recent “Street Halo.” His short, hour and a half set managed to encompass most forms of modern bass music, hitting some recent favorites (cuts from Pearson Sound and Addison Groove were highlights) as well as plenty of tracks we hadn’t heard before. After Kode9 finished it was Appleblim’s turn to man the decks and remind everyone why his name is so revered. A couple of minutes of dubbed out, fathoms-deep techno kicked things off and soon we were navigating from the dry and jacking (Kowton’s “She Don’t Jack”) to the melodic and glorious heights of SCB’s “Loss.” Having been on our must-see list for quite some time and just narrowly missing him on numerous occasions, Appleblim’s set made up for all of those missed opportunities by being supremely focused and, in a word, transcendent. The dude has a knowledge and flow that few equal. Every point of his set seemed to have a purpose and point towards what was coming next, and even tracks about which we’re rather lukewarm (his “Void 23″ collaboration with Ramadanman) worked wonders. A tempting live set from Spatial loomed, but our tired legs refused to let us continue, so it was time to hit the sack and prepare for Saturday.

Tin Man. Photo by Seze Devres

When we arrived at Public Assembly on Saturday night, DJ Olive of New York’s thinking-man’s dance imprint The Agriculture was laying a thick shmear of dreamy bass on the front room. It was difficult to concentrate on much other than Tin Man’s impending live PA, however. When the man otherwise known as Johannes Auvinen stepped up to his laptop, microphone, and 707 on the front room stage, the crowd — small at first, but growing with each 12-bit handclap — was immediately pulled into whatever warmly bleak world this guy comes from. Combining recent hits (the massive “Nonneo,” the perhaps massive-er “Lost In L.A.” from his forthcoming Perfume long-player) with wholly unfamiliar acid jams seemingly built just for his live show, Auvinen gave us the best of both worlds — a recitation of what’s made this guy awesome so far, and goose-pimply reminder that he’s likely to continue his awesome streak for quite some time. Our one complaint was how low those signature Tin Man vocals sat in the mix, but something tells me Auvinen, who in crisp white shirt and dark slacks could have been mistaken for a wayward management consultant, wanted to keep them as mysterious and un-bombastic as possible. Sultry yet subtly jacking, the set was a festival highlight from a producer whose prolific output has thus far been 2011′s highlight.

Octave One. Photo by Zach Dilgard

We quickly shuffled into the back room to catch the second half of Octave One’s live set. Barely visible behind the mountain of analog gear that has become the staple of their blistering live set, the duo were already pretty far along in methodically slaying all in attendance. Something about the vibe told me that they hadn’t played “Blackwater” yet, and low and behold, about ten minutes after we got situated, they let it drop. Not that such a track ever really gets old, but I was thrilled to note that their classic hasn’t stood still: though still anchored by Ann Saunderson’s vocals, subtly updated sonics make today’s “Blackwater” no straight copy of 2000′s “Blackwater.” The techno onslaught continued with Samuli Kemppi, who delivered just the kind of intense set of anonymous floor-fillers the Bunker is known for. We danced until we couldn’t stand anymore and then briefly sought refuge in the chillout cove in the front room, knowing we’d need to summon the energy for Atom™ and Pink Elln.

Atom™ & Pink Elln. Photo by Seze Devres

Tobias Freund seems to exist for the sole purpose of reminding us how techno should be done. Likewise, Uwe Schmidt teaches us to expect more out of electronic music than a soundtrack for grinding and/or drug-taking. How the two combine in a live setting as Atom™ & Pink Elln has been well documented, so we had some idea of the sort of wild acid ride we’d be taken on in their first North American performance together. But while techno was in full effect as the duo perched over their gear, Schmidt and Freund stayed firmly in control, never letting their beats bulk up too much. Likewise, a warmth — that swelling, room-filling rumble only an analog drum machine can properly deliver — permeated their set, effectively de-icing their brand of minimalism. We stood somewhat in awe of these guys and these sounds for quite a few moments, but we quickly realized their set was very much something we should be dancing to. We summoned some strength, busted some moves on the still-packed back room dance floor, and gave our Unsound weekend a proper sending-off.

Though we didn’t attend every event, and while the festival seemed to be somewhat pared down from last year, Unsound remains overwhelming. Fortunately, though, the festival inundates with quality, not quantity. Rather than spend a day bouncing between outdoor stages or tents, or choosing between millions of disparate showcases, Unsound puts some of the most exciting players in contemporary electronic music in awesomely curated lineups and well-suited venues. We techno nerds are so spoiled for choice here in New York most weekends that it often feels like no party is truly unmissable; if you can’t make it out to one, there will surely be another that eclipses it within a month. But between Tin Man and Atom™, Kode9 and Sepalcure, Ben Frost and Appleblim, and the countless others who filled some of the city’s best venues over a long early spring weekend, Unsound this year felt pretty damn essential.

[Shaddock Records]

Acid seems to be making a comeback in dance music although the reasons behind its return are up for debate. You could argue that it never went away, and certainly many (including yours truly) are happy to see producers pulling out their 303s again. Hitsafe, a duo of established producers operating under an enigmatic new moniker, make a compelling argument for the return of the squelchy sounds with their Acid Dreams EP on new label Shaddock Records. “Let The Acid Out” pairs a subdued 303 line with jacking 707 percussion for some immediately retro vibes. Narration about “letting the acid out” and how our narrator “saw the things that acid could do to you” complete the picture. “Dreams of Love and Dreams” uses the 303 as a perky bass line, its flattened piano and organ chords providing rhythmic support as much as tone color.

If you’re going to make an acid themed record, you can’t do much better in the remixer department than Tin Man. It seems after a couple of releases exploring more downtempo music, the Vienna-based producer has once again caught the acid bug that made its mark on his early records as well. Tin Man adds his own vocals to “Let the Acid Out,” hitting some high notes on “aceeeeeeiid” with plenty of extra 303s in tow, resulting in one of my favorite tracks so far this year. Newcomer Isis takes on “Dreams of Love and Dreams” by smoothing the whole thing out with some modern technology, resulting in a driving, new school take on Hitsafe’s decidedly old school original. With such a strong first record, vinyl buyers should be sure to lookout for what Shaddock has planned for the future.

If the prospect of a new Tin Man record sets the butterflies in your stomach aflutter, then 2011 has been an extremely busy year for your belly. Though a permanent fixture in discerning record bags, one of techno’s most distinctive voices has been only a fleeting presence in record shops and a virtual nonentity on the club circuit. This ultimate drifter, however, seems to be settling into some kind of limelight. Kicking off the year strong with the heavy-hitter “Nonneo” for Absurd’s Acid Test series, Tin Man shows no interest in letting up, with at least two more albums and tantalizing remixes slated for release. In advance of his appearance at The Bunker Unsound Edition in Brooklyn on April 9th, LWE checked in with the man behind the mask, Johannes Auvinen, to find out what the heck we did to deserve this sudden bounty, why he won’t be settling into a multi-release deal anytime soon, and what sounds and places inform his inimitable body of work. He also contributed LWE’s 78th podcast, a mix of his own tracks that provides a jaw-dropping preview of his forthcoming material.

LWE Podcast 78: Tin Man (69:28)

Tracklist:

01. Tin Man, “Untitled sketches” [white*]
02. Tin Man, “Electric Blue” [Salon Records*]
03. Tin Man, “Untitled sketches” [white*]
04. Tin Man, “Rocker Ravers” [Salon Records*]
05. Tin Man, “Untitled sketches” [white*]
06. Tin Man, “Invisible Man” [Salon Records*]
07. Tin Man, “Untitled sketches” [white*]
08. Tin Man, “Perfume” [Salon Records*]
* denotes tracks which, as of the time of publishing, are unreleased

You’re not really known for being prolific, but you’ve had a pretty busy release schedule so far this year. Did you just have a hefty backlog of music, or did you make a conscious decision to step up your game?

Johannes Auvinen: A bit of both. I write musical sketches all the time. Those sketches eventually fall into groups that become albums. So, at any given moment I have an overview of what the next few records will be. Last year I decided to hurry things up and I am now aiming at producing two solid albums a year. Having more experience, and especially more experience working with limited resources, means I can work harder-faster-better-stronger.

You haven’t been terribly loyal to any one record label recently (even though your sleeve design has stayed for the most part pretty consistent). Is there a reason you’ve been releasing music through so many outlets? Might your label Global A make a comeback at some point?

By no master plan, I find myself at the moment enjoying another side of “the underground.” Not enjoying being part of a social scene, but rather enjoying being able to produce works through boutique labels run by individuals who have a vision and participate in the productions on a fundamental level. I find it great to work with these people on such focused terms. I hope in the future to work with even more boutique labels in different cities. I will continue only to release my own project through Global A on rare occasion.

Aside from your vocals, a heavy debt to acid has long characterized your sound. When did you first hear acid? And did hearing it make you want to produce?

Probably the first impressive acid tune for me was Planet Soul’s “Set You Free.” At some point I ended up with Phuture’s “Acid Tracks” which is, for me, still the most definitive and first acid track. Well, it stuck on me, and from there I dug into the history. Inspired, I saved up some cash for a 303, and started making jams. The release Acid Acid was essentially a thank you letter to acid music. I have continued always with some acid in my music because I feel fundamentally connected to the acid bass flow.

You don’t live there anymore, but Los Angeles, where you grew up, figures heavily into your lyrics. What does L.A. mean to you? Is Tin Man inseparable in your mind from that city?

Having been gone four years, L.A. seems a lifetime away. And, honestly said, I was happy to leave. I just could not find my life there. That said, of course I feel it is still a part of me. I am still all of Steinbeck’s and Carver’s and West’s and Fante’s worst characters, and I am still a space case with a dream hoping to make it big in Hollywood.

As dark and pessimistic as some of the music is, Tin Man has always felt like a very particular kind of pop music to me. Is Tin Man techno? Can techno make for great pop music?

Tin Man is techno imagining a world where techno is pop. I think the world of pop and techno are exclusive. Techno at its core is rooted in a dystopian vision of a broken society. I think from there it represents the disaster of the human endeavor thus far, and then imagines possible futures. Pop music normalizes. Its perfect crystalline structure seems to echo a world in motion and gently pushes you along your way, always whispering “continue…continue” softly in your ear. I think pop can, and will, quote techno, but for techno to be pop the whole society would have to be pretty disillusioned. I remember my Mom getting excited about the potential popularity of the Wasteland record as she thought it reflected perfectly the fallout of the financial crisis. It was not so popular.

Talk to me about Rashad Becker, the Duplates & Mastering cutting engineer and your longtime musical collaborator. How did you guys first start making music together, and are you continuing to work closely with him on your productions?

Rashad helped me record and mix Cool Wave and Wasteland. I will likely work with him again soon.

Your tracks for the Absurd’s Acid Test series, “Nonneo” and “Accumulated Acid,” feel like a real departure from your recent work. How did that material come together? And how did you hook up with Donato Dozzy for the “Nonneo” remix?

Absurd asked for some acid. I sent something like 15 tracks, but they were only keen on having “long melodic acid lines.” Eventually, I wrote the new pieces that are the record. I was happy with the result, as I feel it represents a stylistic contribution to the history of acid. I am now working on a whole album for Absurd with long melodic Tin Man acid lines. Yes, the acid is back. Absurd made the Donato connection. I loved his approach, and I contributed a remix to his upcoming Acid Test 12″.

Speaking of Donato Dozzy, that remix felt like such a brilliant meeting of the minds. Are there any other producers or artists you’re dying to work with?

Pan Sonic, Yasutaka Nakata, Aphex Twin, Benny Blanco/Dr. Luke, Brian-Michael Cox, Chilly Gonzales, Paddy McAloon, Christian Vogel, and Patrick Pulsinger.

Your new album, Perfume, is a veritable love letter to the piano, an instrument that I don’t believe has figured so prominently in your sound before. Did you set out to write a piano record, or was it just the right sound for these tracks?

Writing Perfume was a departure from my usual studio noodlings. Usually, I start with sound design, and this time I started working out all the songs at the piano. So I was sitting and really composing the harmonies, melodies, and structure in the way that you tend to do with a piano. Later I built all the synths around, but much of the piano stayed because it has that certain special charm.

Is Vienna still home base for you? How’s life there?

Yes, Vienna is home. I have to say it is pretty good here, there is plenty this compact and particular city offers. I have just finishing a record now called Vienna Blue. It’s a more classical and romantic record, for which I recorded a trio of violin, clarinet, and cello. There you can find some thoughts on the subject.

You’ll be in New York for the Unsound Festival in April. What do you have in the works as far as shows in the near future?

I do not tour around too much, but I will play a warehouse party with the Absurd crew in L.A. April 16th. And I will play in Vancouver April 22nd.

What’s in store for you as 2011 continues? Will the latter part of 2011 be as busy as the first?

It should remain busy with albums and remix work. The Vienna Blue album is next. Then comes the Absurd Acid album. I also have a collaboration project called Love & Affection, and we have a summer album seeking label. And there is more simmering on the back-burner. On the mix I gave are some sketches that showcase some of the moodier things in store.

LWE Podcast 78: Tin Man (69:28)

01. Hercules & Love Affair, “My House”
[Mochi Mochi Recordings] (buy)
Although Hercules & Love Affair is best known as a disco group, Andrew Butler often worked elements of influential American house music into their songs. In fact the band’s first single since 2008 is the spiritual successor to their charged Chicago house track, “You Belong.” “My House” seems to inch forward in time to the late ’80s and early ’90s and integrates touches of a New York sound in its Windy City foundation. Its mellifluous bass and dexterous percussion form a muscular core that pulls the track through live-wire synth hums, vocals exhorting listeners to “Get up! Get up!” But what always sells me on Butler’s compositions is the songwriting. From its ebullient chorus declaring “My house / is in order,” to the clever verses and extraordinary bridge/breakdown, the song has fan-turned-vocalist Shaun Wright belting out an endearing tale about the peace of mind accompanying a stable relationship which doubles as an excellent house track. If you had any concerns about how H&LA would top their early peaks, “My House” should put them to rest with yet another high watermark for the group.

02. RNDM, “Hideaway Lane” (Dub) [Laid] (buy)
Oliver Kargl hasn’t seemed rushed by dance music’s mercurial ways, releasing only occasionally as half of Pigon with Efdemin, and just as sparingly when flying solo as RNDM. Slowly but steadily he’s established himself as a canny house producer with a few tracks for Dial, a tune for Naïf, and a 12″ for Laid. Hideaway Lane, his second, latest release for Laid, represents a leap forward for the Berlin-based producer. The Dub mix emerges as my favorite for bringing together the tuneful bass of the Shine mix and the spiraling, airy treble of the original. With its soothing pads and soft, tuneful synth undulations, the tune conveys a calm that’s only made more inviting by the lathered up bass line. Tender and limber all at once, “Hideaway Lane” strongly affirms the promise of Kargl’s measured ascent.

03. Lone, “Cloud 909″ [Magic Wire Recordings] (buy)
In spite of his prolific nature and the hype surrounding his “Pineapple Crush” track, Matt Cutler aka Lone didn’t really get my attention until the arrival of his late-2010 album, Emerald Fantasy Tracks. Over the course of its eight tracks, Cutler refined the sun-warped house sound of “Pineapple” into something a bit breathtaking. Opening track “Cloud 909″ is exemplary of this; hyper and housey like Underground Resistance’s “Jupiter Jazz” but furnished with a micro-textured sound akin to DJ Koze or Pepe Bradock. The result is sprightly and somewhat dazed by its own ostensible age — exultant and familiar but too singular to be pastiche. It’s a style few producers can pull off and Cutler does so repeatedly across his fourth long-player. I eagerly await his work 2011.

04. Sandwell District, “Speed + Sound (Endless)” [Sandwell District] (buy)
Sandwell District, both the label and collective, first established itself as a bastion for bleak, uncompromising techno. But as time passes the stony facade has crumbled and a more hopeful and melodically inclined face has revealed itself, starting with the sampler EPs and coming to a head with their long awaited album, Feed-Forward. Although critical consensus has lifted “Falling The Same Way” as the album’s peak, I find myself returning to its closer, “Speed + Sound (Endless),” for repeated eardrum massages. As with much of the album you can pick up any number of influences from the tune, mostly from the electronic side of Krautrock: Manuel Göttsching as Ash Ra Tempel, Harmonia, Tangerine Dream, Cluster, or even Kraftwerk. Balmy and pulsing, crested with gorgeous, swelling chords, minute hi-hats ticking along without disturbing the flow, the track gives the listener the sense Sandwell are as content to conjure soothing moods as dreary ones.

05. XI, “Gamma Rain” [Orca Recordings] (buy)
After a very prolific 2010, Toronto’s XI (Christian Andersen to his friends) begins 2011 on an auspicious note with his Gamma Rain/Medicate single for quickly rising imprint Orca Recordings. Side A dominates the proceedings with a hyper kinetic garage tune that imagines frantic sax lines being beamed through a wormhole, their notes and composition turning inside out, ripping apart and smacking back together with cosmic force. Both the interstellar mood and jazzy nature of “Gamma Rain” smacks of latter day Flying Lotus, but its limber yet straightforward percussion arrangements have more in common with garage/bass music than Dilla’s most revered disciple. Reaching uncharted corners of the sonic universe last aimed for by drum n’ bass producers, “Gamma Rain” is an impressive way to begin a year and potentially the catalyst for more concerted interest in XI.

06. Lauer, “Banned” [Live At Robert Johnson] (buy)
07. Audio Werner, “Guteaussichten” [Story] (buy)
08. Tin Man, “Nonneo” [Absurd Recordings] (buy)
09. Obsolete Music Technology, “Latency”
[Machining Dreams] (buy)
10. Roman Flügel, “How to Spread Lies” [Dial] (buy)

Staff Charts:

Chris Burkhalter
01. Digital Mystikz, “Education” [DMZ]
02. Lone, “The Birds Don’t Fly This High” [Magic Wire Recordings]
03. Kassem Mosse, “2d” [Kinda Soul]
04. Moritz von Oswald Trio, “Restructure 2 (Digital Mystikz)” [Honest Jon's]
05. Aardvarck, “Nosestep (Cosmin TRG remix)” [Rush Hour]
06. Rolando, “Junie” [Ostgut Ton]
07. Sandwell District, “Svar” [Sandwell District]
08. Tin Man, “Nonneo” [Absurd Recordings]
09. Area, “So Many Fireflies” [Kimochi]
10. Juju & Jordash, “Quasi Quasi” [Dekmantel]

Luke Hawkins
01. Bodycode, “I’ll Hold Your Hand” [Spectral Sound]
02. Newworldaquarium, “The Force” [NWAQ]
03. SND, “Atavism 2″ [Raster-Noton]
04. Ø, “Helium” [Sähkö Recordings]
05. Flying Lotus, “Parisian Goldfish” [Warp]
06. Moritz von Oswald Trio, “Restructure 2″ [Honest Jon's]
07. Actress, “Purrple Splazsh” [Honest Jon's]
08. Hieroglyphic Being, “Belief and Reality” [Mathematics]
09. Rick “Poppa” Howard, “Do What You Have To” [Rush Hour]
10. Tin Man, “Nonneo” [Absurd Recordings]

Steve Kerr
01. Andy Ash, “Freak” [On The Prowl Party Breaks]
02. Cally, “Wake Oops” [Fear Of Flying]
03. Virgo Four, “Look Into Your Eyes” [Rush Hour]
04. Tony Wilson, “New York City Life” [Bearsville]
05. Elphino, “I Just Can’t” [Somethink Sounds]
06. Roche, “Sk Rhythm” [Solos Recordings]
07. Brooks Mosher, “Intermetro” [Dolly]
08. Kowton, “She Don’t Jack” [Idle Hands]
09. Ital, “One Hit” [100% Silk]
10. Nina Kraviz, “Tanya” [Rekids]

Kuri Kondrak
01. Martyn/Mike Slott, “Pointing Fingers” [All City]
02. Shake, “Trackin” [Fit]
03. Tevo Howard, “The Age Of Compassion” [Buzzin Fly']
04. C-Beams, “Thumbling” [Uncanny Valley]
05. Ever Vivid, “Abandoned Virtues” [Open Mind]
06. BitterSuite, “Squeeze In” [Atmospheric Existence Recordings]
07. Juanpablo, “Dream” (J.T.C. Remix) [Frigio Records]
08. DMX Krew, “Worm Hole” [Fresh Up]
09. Arne Weinberg, “Motive Force” [Diametric]
10. Kassem Mosse, “2D” [Kinda Soul]

Chris Miller
01. Steffi ft. Virginia, “Yours” [Ostgut Ton]
02. Margaret Dygas, “We’re Not The Same” [Perlon]
03. Scuba, “Feel It” [Hotflush Recordings]
04. Tin Man, “Nonneo” [Absurd Recordings]
05. Joy Orbison, “BB” [Doldrums]
06. Tyrez, “Functional Love” [Dolly]
07. Kassem Mosse, “Untitled” [Trilogy Tapes]
08. Sepalcure, “No Think” [Hotflush Recordings]
09. Martyn x Mike Slott, “All Night” [All City]
10. Owen Jay & Melchior Sultana, “Days Gone By” [Underground Quality]

Jordan Rothlein
01. Tin Man, “Nonneo” [Absurd]
02. Steffi, “Reasons” (feat. Virginia) [Underground Quality]
03. Sepalcure, “No Think” [Hotflush Recordings]
04. Pawel, “Kramnik” (John Roberts Remix) [Dial]
05. Lauer, “H.R. Boss” [Live From Robert Johnson]
06. Steffi, “Nightspacer” [Ostgut Ton]
07. Mayhem & Distal, “Frozen Barnacles” [Surefire Sound]
08. Knifeshow, “Hallways” [Fancy Restaurant]
09. Rolando, “Junie” [Ostgut Ton]
10. Margaret Dygas, “We’re Not The Same” [Perlon]

Andrew Ryce
01. Kevin McPhee, “Get In With You” [nakedlunch]
02. XI, “Gamma Rain” [Orca]
03. Croms, “Invisible Cities” [Exit]
04. Boddika, “Daze That Were”
05. Joel Mull, “Holographic” [Truesoul]
06. Salva, “Icey” [Friends of Friends]
07. Steffi, “Reasons” [Underground Quality]
08. Contakt, “Not Forgotten” [Local Action]
09. Mode, “Stepping Stone” [Exit]
10. DJG, “Automatic” [Brownswood]

Jack Scourfield
01. Gil Scott-Heron & Jamie xx, “NY Is Killing Me” [XL]
02. Braiden, “The Alps” [Doldrums]
03. Sepalcure, “Your Love” [Hotflush Recordings]
04. Krystal Klear, “Tried For Your Love (Hudson Mohawke Remix)”
[All City]
05. Vindicatrix, “Hume” [Mordant Music]
06. Bakey Ustl, “A Tender Places” [Unthank]
07. Cassie, “Me & U (Brackles Remix)” [Local Action]
08. Chasing Voices, “Ex Nihilo Nihil Fit” [Preserved Instincts]
09. Katy B feat. Ms. Dynamite, “Lights On” [Rinse]
10. Mzo Bullet, “Casablanca” [New State Music]

[Absurd Recordings]

Johannes Auvinen, best known as Tin Man, is the ultimate techno drifter. He’s wandered geographically (from Los Angeles to Vienna) and sonically (from twisted post-apocalyptic Chicago etudes to acid-tinged synth pop), and he’s never been particularly choosy about his passport (he followed an EP for techno mainstay Cheap by one for outré-indie boutique label White Denim). For an artist so in line with our handcrafted, old-school-obsessed moment, Auvinen is hardly a major player in the zeitgeist. His invisibility might be a shame for dance music, but I’m guessing being “neglected” suits the eternally downtrodden Tin Man just fine.

But mark my words: the mystery won’t last through 2011. It can’t. His latest 12″, this time for LA-based Absurd Recordings as part of their new Acid Test series, is just too good. It would be an incredible record if only for “Nonneo,” a new Tin Man joint which is brighter, punchier, and more floor-ready than practically any other record in his discography. But the fact that Donato Dozzy, the Italian techno shaman and elite member of mnml ssgs’ spank bank, has supplied a remix of “Nonneo” — one which transforms the original into one of the most otherworldy instrumentals to grace my inbox in a few minutes — seems destined to shine a very bright light on one of techno’s palest denizens.

“Nonneo” hardly even plays like a Tin Man track: gone are the nihilistic vibes, the creeping sense of dread, and, most noticeably, the severely out-of-it vocals that have been the hallmark of his last three releases. Build around a tantalizing and surprisingly emotive bass line — acid enough to qualify for inclusion in a 12″ series dedicated to the stuff, but heaps smoother than so many of today’s throwback tracks — “Nonneo” swells with colorful details. Anyone familiar with “Constant Confusion” must think I’m pulling their leg, but should Tin Man’s creation hang around until summer it may find itself soundtracking many a long and humid evening. “Accumulated Acid” feels like the perfect morning-after accompaniment to whatever party introduced you to “Nonneo”: merging the Trax back catalog with Brian Eno’s greatest ambient hits, it sounds like a sunrise you’ve long been awaiting.

On the flip lives Dozzy’s “Nonneo” rework, and you’d be forgiven for putting the needle to it first: Dozzy and Tin Man aren’t exactly a match made in heaven, but something about the combination immediately sets a techno fanboy’s mind aflutter. It’s unfortunate that Dozzy didn’t get his hands one of Tin Man’s vocal cuts, but he’s found a world of trippiness in “Nonneo”‘s bass line, which he milks to maximum hallucinatory effect. The remix neither bests the original nor falls short of it, instead providing a minimalist and thoroughly in-the-zone contrast that at times sounds more Tin Man than the man himself does at the moment. But with a release as good as this one, Johannes Auvinen has plenty to smile about. The year is quite young, but I for one already have a favorite record.