Best Tracks of 2015 - Part 3

Our last two instalments lined up some of the very best tunes of the last year, but now we’ve got the absolute crème – White Noise’s twenty favourite tunes of the year.

20. Denis Sulta – It’s Only Real [Numbers]

Glasgow’s Denis Sulta’s two releases on Dixon Avenue Basement Jams marked him out as a serious new talent, and this single-sided outing on Numbers showed that he could pull of an anthem too. It’s Only Real is deceptively simple, essentially an unchanging drum loop and one showstopping melody, but it tears apart dancefloors like little else.

19. Pender Street Steppers – The Glass City [Mood Hut]

Scene favourites Pender Street Steppers offered a perfect distillation of their sound with this year’s The Glass City, an ultra-chilled confection of gentle percussion, fluttering melody and a broad bass swagger.

18. Bicep – Just [Aus]

Honestly, we didn’t expect to see Bicep on this list again. After the trend for balls-to-the-wall 90s diva house faded, we rather thought the Northern Irish duo would disappear along with it. But we’ll be the first to admit where we were wrong. Bicep turned out the winning Just in 2015 and rightly dominated dancefloors. While earlier Bicep tracks were instant-gratification affairs, Just is sinuous and subtle, its earworm synthline calling out like a siren til the soaring scifi keys reach boiling point.

17. Khotin – Sorry Sequence [Normals Welcome]

We expected great things from Dan White on his split EP with Khotin, and we got them, but we never thought he would get so dramatically upstaged. Sorry Sequence is a stunner, raw yet melancholy with its stainproof rhythm, cycling melody and corrosive acid flex.

16. Soichi Terada – Sun Showered [Rush Hour]

It was hard to pick a single tune from Hunee’s superbly curated compilation of Soichi Terada’s forgotten house gems, but Sun Showered hits the sweet spot of rhythmic drama, colourful melody and flat-out optimism that makes all his tracks so winning.

15. Merle – Mimi Likes 2 Dance [Stripped & Chewed]

Chicago outpost Stripped & Chewed did a stellar job reissuing this lost beauty from ’99. Merwyn Sanders even reworked the original lead single, with a new vocal line and cleaner production (and a change of title as a nod to his wife). With its catchy pop vox, funky backbone and urgent synth sweeps, this cut adds a pinch of joy to any set.

14. Whispers Beirut – Away [Unreleased]

Still officially unreleased, this collaboration between Baba Stiltz and Petrodollar caught us off-guard with its simplicity and its melancholy. A yearning synth rules the track’s first half, before a slack hip hop beat picks up the pace. Sometimes less is so much more.

13. Hidden Spheres – Waiting [Distant Hawaii]

If you’re going to open a sub-label just for one release, it better be a good one. Lobster Theremin heeded this rule when they opened Distant Hawaii for a single summer release by Mancunian Hidden Spheres. Opener Waiting was the most sublimely chilled house track we heard all year, a breeze of warm melodies wafting over a textured drum workout.

12. Palms Trax – Sumo Acid Crew [Dekmantel]

Two years after Equation, Palms Trax went one better with this elegant slice of acid. Here the 303 is far from its alienating roots, burbling beside warm Chicago pads and harmonising with a soaring synth climax.

11. Harvey Sutherland – Bermuda [MCDE]

It’s easy to see why Motor City Drum Ensemble snatched up this synth-maestro for his own label – in 2015 Sutherland brought the funk like no other. Bermuda is an absolute masterclass in songwriting, from its virtuosic opening to its astonishing climax which crams in more melodies than we would’ve ever considered coherent. But Sutherland pulls it off with flair. More please.

10. Florist – Final Bounce [All Caps]

After a long gestation period on Soundcloud, one of the Vancouver scene’s best releases showed up unexpectedly on the Glaswegian All Caps imprint. The Phenomena EP was a winner, the feather in its cap Final Bounce, a spare slice of house with aquatic vibes and a soulful choir that rises magnificently from the mist.

9. Haydn – Booty Meat [Junk Yard Connections]

Buried on the B2 of a V/A release from Sweden’s underlooked Junk Yard Connections imprint, Haydn’s Booty Meat is the definition of a secret weapon. The unusual combination of gentle keys and a racy vocal line keeps dancers on their toes, and when that mighty rhythm kicks back in after the dubby breakdown everyone on the ‘floor will drop to make it clap.

8. Raw M.T. – Untitled [Mörk]

After he wowed us with the brittle techno of Walkman Is Dead a couple of years back, Italian producer Raw M.T. was back with a vengeance this year. In the middle of a superb EP on Lobster Theremin offshoot Mörk was Untitled, a humid house killer with exotic vocals and a malevolent bassline. Intoxicating stuff.

7. Nebraska – Emotional Rescue [Mister Saturday Night]

White Noise’s favourite party-starter of 2015 came from the reliable MSN stable courtesy of Nebraska. On the diverse Stand Your Ground EP a disco killer nestled on the B2, a shot of euphoria served over filtering brass and earworm vocals.

6. Route 8 – The Sunrise In Her Eyes [Lobster Theremin]

We’ve got a bit of a fetish for melancholy deep house heavy on the ambience, and few producers bring the feels as magically as Hungarian talent Route 8. The opener to This Raw Feeling is as dreamy as its title suggests, warm pads caressing the ear like a gentle tide, a quickened pulse and hopeful chimes leading us deeper down the rabbit hole.

5. Fatima Yamaha – What’s A Girl To Do [Dekmantel]

Okay, so maybe everyone’s sick of hearing about this tune by now. But if we leave aside the bittersweet melody, searing synth lead and solemn bassline, we’re left with a hopeful story.

Keeping up with the lightning-paced electronic music world can lead us to treat tracks as disposable tools, each EP skimmed for parts, forgotten by the month’s end. The fact that a house tune from 2004 caused such a stir in 2015 proves that longevity and beauty can triumph over disposability. We are capable of treasuring our beloved music like the art it is.

4. Dude Energy – Renee Running [Animals Dancing]

Not content just issuing a fine album under his Suzanne Kraft moniker this year, Californian wizard Diego Herrera also dropped one of our favourite club tunes of the year as Dude Energy. Combining impressive bass weight, razor snares and a mesmerising melody that sounds plucked from a gypsy songbook, this tune was a shot in the arm of samey dancefloors throughout the year.

3. Leon Vynehall – Midnight On Rainbow Road [Rush Hour]

From the very start, Leon Vynehall has had a way of evoking complex emotions with his music that few artists can parallel. His only release this year was a solitary tune on Gerd Janson’s lovely Musik For Autobahns 2, and, though beatless, it's one of his greatest compositions to date. A glittering melody flutters through a rain-streaked landscape, accompanied by skipping snares, traffic sounds and a heaving ambient wash. It’s music to get lost in, and you won’t want to be found.

2. Fit Siegel – Carmine [Fit]

Detroit’s Aaron Siegel doesn’t put out much music, but when he does it’s practically buy-on-sight. This year’s Carmine was an immensely emotive slice of house that takes you places that little music can reach. A delicate construction of gossamer synthwork, filtered snares rattling through the scales and a taut electro rhythm, this was the tearjerker to rule every 5am dancefloor in 2015.

1. DJ Sotofett – Nondo [Honest Jon’s]

Sex Tags head DJ Sotofett has risen to underground legend status over the last few years, and it’s not hard to see why. With an excellent label and mix series, an adventurous DJing style and a penchant for explorative, breakbeat-fuelled remixes, Sotofett (and his crew) stand as rather unique figures in an often homogeneous scene.

Yet one of the reasons why Sotofett’s releases are so successful is how adeptly he adapts and works with a stream of varied collaborators. This is the story of White Noise’s favourite tune of 2015. On a superb album chock full of ace collaborative efforts, the standout tune had Sotofett jamming with Karolin Tampere on drum machines and synths while Maimouna Haugen offered hushed, sinuous vocals. With a seductive synth motif and spare afrobeat percussion it’s a simple piece, but all the deadlier for it. It’s easy to feel jaded by the 4/4 scene if you don’t keep searching for something different. Sotofett always provides.

*** 

That’s all for 2015, we’ll be back soon with fresh coverage for the new year. Hope you enjoyed the roundups, check out all our Best Of articles below:

Best Albums 2015

Best Tracks Part 1

Best Tracks Part 2

Guest Mix: Moth - Dawn Sketches

The third in our guest mix series turns to sun-soaked house, but focuses on 6am sunrise constellations rather than sweaty bangers. Enjoy the jazzy vibes and the tracklist exclusively on White Noise. More to come.

Tracklist:

Leon Vynehall – Midnight On Rainbow Road

Jack J – Something (On My Mind)

Local Artist – Feelings

Jodan GCZ – Crybaby J

New Musik – Warp (ILO Edit)

Merwyn Sanders – Mimi Likes 2 Dance

Project Pablo – Movin’ Out

Lord Of The Isles – Ultraviolet

Daniel Jacques – End Of My World

Pepe Bradock – Deep Burnt

Florist – Final Bounce

Kerri Chandler & Jerome Sydenham – Powder (Deep@Legends Mix)

Laguna Ladies – Egyptian Bag (Moomin Remix)

Damiano Von Erckert – Work For Love ft Tito Wun

August / September Roundup 2015

Here's White Noise's favourite songs of the last two months, including a few that slipped through our net earlier in the year. It's a bumper package spanning all our favourite styles, get stuck in.

We kick off on the sunny side, with top soulful house from Damiano Von Erckert, Braque, Chaos In The CBD, and new blood Flørist. Things get deeper and stranger via new material from top producers John Roberts and DJ Richard, alongside new slices from 45 ACP and CAll Super. Bicep and Midland keep the heat up in darker waters, before we descend to full-on electro with Helena Hauff, Aurora Halal and intriguing new voice Rita Furstenhof.

Tracklist:

Leon Vynehall - Midnight On Rainbow Road [LP Review]

Damiano Von Erckert - We Flow ft Amalia

Flørist - Final Bounce

Laguna Ladies - Egyptian Bag (Moomin Remix)

Braque - Diners En Ville

Chaos In The CBD - Midnight In Peckham [EP Review]

Bell Towers - Hyper - Realised - Self [EP Review]

DJ Richard - Vampire Dub [LP Review]

John Roberts - Orah

45 ACP - Fjm

Call Super - Meltintu

Jayda G & Fett Burger - Velvet Vortex (Sleep D Rainforest Version)

Severed Heads - Greater Reward (Piano Power Edit)

Paradise 100 - Heat.Wav

Lipelis - Weirdshit Xu Paelk (ft. Simple Symmetry)

Khotin - Sorry Sequence

Midland - Stop (Don't Let The Beat)

Bicep - Carmine [LP Review]

Rita Furstenhof - Hadron Collider

Helena Hauff - L'Homme Mort

Aurora Halal - Shapeshifter [EP Review]

Andrea - Outlines

2 8 1 4 - 恢复

As ever, here's the one we couldn't find on Youtube:

Kasra V - Last Orders

Various Artists - Musik For Autobahns 2

Label: Rush Hour

The art of DJing has long been a synthesis of two skills: technical expertise and curation. The arrival of digital mixing possibilities has made the former an option rather than a necessity, but the importance of sequencing, reading a crowd and picking great tunes remains the measure of a good DJ. Given all this, it’s a shame that more of the dance world’s best DJs don’t put their time into releasing compilations.

German DJ Gerd Janson has made his name largely as a record-slinger. This is an increasingly rare feat in a world whose club scene initiates are now asked to be masters of both production and selection. Not content with sharing his curatorial skills one dancefloor at a time, three years ago Janson put out his first Music For Autobahns compilation, a compelling selection of cuts that explored the melodic possibilities of the dance scene.

Now he’s returned with another collection of cuts handpicked for a house-head road trip, taking in Kraftwerk-era electronics, ambient house and even synth pop. Here we have new talents exposed and old hands trying new tricks, and a compilation unafraid to explore colour and light in a scene so often stuck in monochrome.

The collection is inspired by trips along German highways, and in true road-trip mix-tape style the LP is varied, dreamy and propulsive. Roughly half of the cuts are variations on melodic, electro-indebted house, and here the more familiar names tend to shine brightest. It’s not that their tracks are technically better, but more that a handful of these producers are more adept at eliciting emotion from the melodies they weave.

Fort Romeau’s Seleno snaps along with an Italo-disco bounce, as melancholic synths soar and ripple across the surface. Melody-maestro Orson Wells drops the 90s-indebted Orbiting Jupiters, whose cheap reed synths are eaten away by a boiling acid line, the two later entwining in a bittersweet coda. For a closer Bicep drop the LP’s best club-track, the churning Carmine, where an endlessly mutating synth line and tunnelling bass are counterpointed with a deft balance of muscle and patience.

Elsewhere similar styles are attempted ably but with a little less finesse. Conga Radio’s 168 North is an upbeat house burner combining Nugroove synth washes and chiptune melodies, while Disco Nihilist’s Melancholy is saw-toothed construction of shimmering synths and a beetling bassline that doesn’t quite conjure its titular feeling. Lauer’s Autofahrn is a moody retro cut with a Kraftwerk-esque vocoder, whose closeness to its inspiration makes it sound more parody than regeneration.

The other half of the long-player is occupied by more intriguing variations which range from good to excellent, the best being Leon Vynehall’s superb opener Midnight On Rainbow Road (his second cut referencing Nintendo). Here is a stunning slice of sound design, as a glittering motif plays out over subtle percussion and shifting ambience, evocative of rain-streaked windows at night and feelings more complex than your average musician can conjure. A rare Joy O track continues the relatively unshowy musical path he’s been walking recently in his work with Boddika, most notably TMTT. Here A213 is restrained but impressive, with fluttering synth figures occasionally brought to the boil over a woody rhythm section.

Janson includes some stranger variations which still manage to fit the aesthetic snugly, such as Orlando Voorn’s spindly Turn Left Here or Running Back alum Shan’s Awakening, who turns the mechanics of dub techno up to eleven with a huge aqueous synth bounce and a glittering lead. Perhaps most unexpected of the lot is AKSK’s Breaking (produced by the chameleonic Suzanne Kraft), a cut of retro-leaning synth pop that proves particularly catchy over repeated spins.

On any compilation you’re bound to like some tracks more than others, but Janson has done a wonderful job eking gems from talents old and new, sticking to a strong core aesthetic while providing variation and style. He makes it look easy.

8/10

Best Tracks of 2014: Part 2

Here's our final rundown of the year's very best tracks.

25. DVS1 – Black Russian [Klockworks]

This tight slice of techno is as essentialist as you can get: propulsive forward momentum, a single showstopping synth that builds but never peaks, and the leanest of percussive tweaks to keep you on your toes. Engrossing and devastating.

24. Leon Vynehall – Inside The Deku Tree [3024]

There was so much to love about Vynehall’s Music For The Uninvited release on 3024, but it was this unusual opener really stood out from the bunch, from its Zelda-referencing title to its grand orchestral sweep. Another winner from one of the UK’s brightest stars.

23. Traumprinz – Messed Up Jam [Giegling]

The first cut from Traumprinz’ stellar All The Things EP was melancholy deep house par excellence (you may have noticed that we’re fans of the style here at White Noise). Meditative and moving, Messed Up Jam moves with pitch-perfect reluctance and grace.

22. Daywalker + CF – Supersonic Transport [LIES]

LIES’ best cut of the year came in the form of this galactic stormer, a propulsive journey comprised of an army of synths: twinkling, churning, swooning, stabbing, and an adamantine percussive skeleton.

21. Lnrdcoy – I Met You On BC Ferry [1080p]

The most emotional cut from Lnrdcroy’s sublime Much Less Normal LP was this 8-minute voyage into nostalgia, a skittering 2step beat tied to a hopeful synth line, its tune later echoed by a resonant bassline, the ghost of a melody.

20. Moodymann – Lyk U Use 2 (feat. Andres) [KDJ]

This dream collaboration worked as well as could be expected, albeit at an unusually high tempo. The heartache of Dixon Jr’s lyrics (narrated with his tongue firmly in his cheek – “eight and a half is not enough for you anymore?”) adds a certain melancholy to the buoyant production, with a deep soulful melody and some expertly chopped disco samples towards the close certainly courtesy of Andres.

19. Andy Stott – Faith In Strangers [Modern Love]

The most surprising cut on Andy Stott’s superb new album was its title track. Having chopped, distorted and generally abused the vocals of his ex piano teacher Alison Skidmore, here Stott lets her voice take centre stage, accompanying her pop-referencing melodies with twilit synths, a diving bassline and jittering percussion that never feels anxious. If this is Stott doing pop, we’re eager to hear more.

18. John Roberts – Ausio [Dial]

With his productions becoming increasingly knotty, it was great to hear a proper dancefloor track from Roberts. Ausio is superb for setting the scene: that harrowing bass threatens to break out for the 3 minutes, and when it finally does the track bristles, rather than bursts, into life: a field of searing synths, nervous atmospherics and insectoid chittering. Superbly moody and full without ever feeling crowded, this track showed Roberts back on fine form.

17. Call Super – Acephale II [Houndstooth]

This is one of Call Super's straighter tunes, but it’s a long way from simple. A hammering kick anchors an increasingly frenetic field of crystalline synths that jostle for attention alongside an impressive range of details and effects. Listen closely for the canny use of panning and the genuinely alive feel of the track’s melodic details, each sound individually minute but powerful when put together. There's a trick to Super's best productions: they move with an unhurried pace, a central motif slowly accruing more detail, adorned with more sounds, until the force is just about overwhelming. There’s some kind of alchemy going on in Call Super’s music, and this ‘floor-ready track shows it better than any other.

16. Pender Street Steppers – Bubble World [Mood Hut]

Another genius oddity from the Vancouver duo takes the titular bubble sounds as its inspiration, cooking up a delightful plate of loose-limbed percussion, warm synth glows and a bassline that’s essentially out for a stroll. Killer mood music.

15. #####.1 - ##### [No ‘Label’]

This ungooglable cut on Rush Hour’s No ‘Label’ didn’t need a name to sell: its perfectly tuned percussion, synthetic choir and crushed melody was utter bliss, taking us into a dreamworld with every listen. The track has since been sourced to Dutch producer Aroy Dee.

14. Vril – Torus XXXII [Forum]

The centrepiece of mysterious Vril’s debut album was this slow-burn techno number, where a subtle play of percussion provides the backdrop to a building, keening synthline, leading to an emotional climax which is more about the build than any sort of payoff.

13. Kassem Mosse – Untitled A3 [Workshop]

Our favourite cut from Mosse’s superb debut LP was an expert construction of articulated percussion, searing synths and that tumbling, showstopping melody like pebbles falling through crystalline water.

12. DJ Richard – Freydis [White Material]

After a busy, hype-fuelled 2013, White Material provided only one EP this year, but it might have been the labels best. On its closer, DJ Richard combined a low-slung rhythm with alarm-like synths, a swooning wash and dramatic cuts to an eerie, inviting string section.

11. Jamie xx – Sleep Sound [Young Turks]

Jamie xx’s tracks may not be the best for getting your groove on, but he certainly has a way with making beautiful music. Sleep Sound’s lush harp melody gives way to a light, shuffling beat for the early hours, with smart, emotive vocal snips. After a gorgeous breakdown the track picks up pace, lush and melodically complex, a joy time and again.

10. Kowton – Glock And Roll [Whities]

This one was a real curveball from Kowton, best known for melting bass and grime tropes into tough techno forms. Here he goes for something prettier, as a delicate chiming melody takes pride of place over a fortified rhythm section and a vocal looped to infinity. It’s a simple construction, but the contrast between fragility and strength helped this one destroy many a ‘floor.

9. Objekt – Ganzfeld [Leisure System]

The release of Objekt’s excellent debut LP Flatland clearly wasn’t enough for TJ Hertz, and he came along to offer us one of the year’s best singles on a split 12” for Leisure System with Dopplereffekt. Ganzfeld is a mind-bender full of sudden shifts and electro flourishes, stuffed with detail but destructive on the dancefloor. You couldn’t ask for more.

8. Barnt – Under His Own Name But Also Sir [Hinge Finger]

The only release this year on Will Bankhead and Joy O’s Hinge Finger imprint was a stunning one-two punch from man of the moment Barnt, both sides of which really deserve a place in this list. While the stark Chappell detonated many a dancefloor, it was on the brilliantly-titled B-side that he struck true gold, militant percussion cutting like knives through the mournful, swooning synthwork: a sound somewhere between danger and religion. One of the year’s most singular, inspired cuts.

7. Caribou – Can’t Do Without You [City Slang]

The first cut from Caribou’s Our Love LP may have been played to death by the time you read this, but there’s a reason for that. It’s a veritable anthem, that tune that brings everyone together on a dancefloor, singing and smiling. It’s no simple production, either: Caribou plays with volume to make the track’s drop all the more effective, it all builds to a veritable fireworks display of melody, while the simple, sincere vocal line is sure to strike a chord with even the most hard-hearted listeners.

6. Dan White – Death Flutes [Forbidden Planet]

This techno space odyssey from Montreal’s Forbidden Planet has been on extremely heavy rotation in White Noise HQ, its slow build of ambience, gurgling acid and steady thud conjuring adventures in a bleak, desolated terrain. That the titular woodwind adds perfectly to the distressed, wistful aesthetic rather than proving a cheesy misstep only reinforces this song’s strength.

5. Efdemin – Parallaxis (Traumprinz’s Over 2 The End Version) [Dial]

Traumprinz has a way of going for big, genuine emotion without ever overdoing it, and reviving sounds that you might belong in the past with flair. He’s unafraid, and that’s part of what makes his music so enchanting. This stunning remix of Efdemin starts off as a subdued house track, its desolate vocal and cinematic synths conjuring a powerful mood. It’s the unexpected addition, just after the three-minute mark and some rave sirens turned melancholy, of a snappy breakbeat that elevates this tune to near-perfection. By the time you get to the burbling chimes that bring the track to a close, your fingers will already be edging towards the repeat button, and you’ll probably be feeling a lot of things you don’t normally feel. Viva Traumprinz.

4. Leon Vynehall – Butterflies [Royal Oak]

Vynehall’s mini-LP was a wonderful collection of tunes, but for us his best single track of the year was this follow up on Clone’s Royal Oak imprint a few months later. It’s an unashamedly upbeat slice of filtered house, with a lush piano line and an introspective vocal just on the right side of cheesy, with a rhythmic backbone tough enough to keep bring even the most reticent to the dance. The word ‘organic’ is thrown around a lot when it comes to Vynehall, and with good reason: his instrumentation has a warm, live feel that sets him apart from contemporaries, and a sincerity that allows euphoric tracks like this one to really take off.

3. Daniël Jacques – End Of My World [Mistress]

This one casts a spell: synths flicker like candlelight, open hi-hats slice through the dust, and that enigmatic vocal line is cooed over and over, seemingly acquiring different meanings with every repetition. When we appear to be heading for a breakdown halfway through, the kick disappears, the vocal echoes off, and, abruptly, the kick returns - gratification is sudden and immediate rather than delayed. That’s what makes this track more than the disco loop it appears to be: a sense of mystery that lingers long after the tune ends.

2. Jack J – Something (On My Mind) [Mood Hut]

Mood Hut’s releases have a way of prioritising vibe over innovation or dancefloor power, and that’s just why we’ve come to love them. The gorgeous B-side of Jack J’s solo EP (he’s one half of Pender Street Steppers) was an absolute masterpiece, rolling on at an unhurried pace, funky bass bumps and a lazy sax line bringing a contemplative mood to the chill. There aren’t really the words for this one: you’ve just got to relax, close your eyes, and listen.

1. Floating Points – King Bromeliad [Eglo]

King Bromeliad opens with a recording of Floating Points playing it out at his (sadly closed) home, London venue Plastic People. The sound is tinny, filtered, we can hear the crowd chattering and the speakers rumbling. Then, a switch, and the groove continues in unadulterated form, Floating Points’ immaculate sound design all the more impressive for the contrast (a similar trick was memorably pulled in Slum Village's Dilla-produced anthem The Look Of Love). It’s an example of exactly the kind of ingenious (not to mention meta) touch and real care that Sam Shepherd brings to all of his productions, and the track that follows is, unsurprisingly an utter delight. It's a rich, jazzy house tune that shuffles along at its own pace, sounding a little like the dancier cousin of Myrtle Avenue, the opener to Shepherd's superb Shadows EP. Its elasticated chords are arranged spaciously, building and receding, while thousands of melodic and percussive details bristle beneath the track's surface: it takes a great deal of complexity to come up with something that sounds so effortless.

In any list like these, the top few entries will be ordered almost arbitrarily: what makes the second best track worse than the first? We gave Mr Points the top spot not just for this excellent jam but also for his peerless musical catalogue: each release, however infrequent they may be, refreshing and joyous, while even his older cuts sound as relevant and moving as they did on first release. He might just be the best producer we've got right now.

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Join us for more White Noise reviews and features in 2015, and while you wait you can listen to our resident DJ Moth's mix of some of our favourite techno tracks of the year, embedded below or here on Mixcloud.

Best of 2014:

* Best Albums

* Best Tracks: 50-26

* Best Tracks: 25-1