Best Tracks of 2015 - Part 1

It's been another scorcher of a year for electronic music, and our year-end list is looking more diverse than ever. Here's the first helping of 2015's best cuts, as we run down from #65-40. 

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65. House of Doors – Starcave [Mood Hut]

Pacing burner from the Mood Hut camp, capped off with a catchy reedy synthline.

64. Lipelis – Weirdshit Xu Paelk  [L.I.E.S]

The best of Lipelis’ strong edits collection on LIES, a dangerous bassline and Thai vocals make for a scorching piece of wonky funk that lit up many a dancefloor.

63. Ekman – GMMDI (Breaker 1 2 Remix) [Berceuse Heroique]

One of the year’s darkest scorchers came from Breaker 1 2, who many will know better as Greg Beato. His flip of Ekman’s GMMDI is black as pitch, with a raw rhythm and lethal synthwork.

62. Palmbomen II – Leo Danziger [Beats In Space]

The affecting coda to Palmbomen’s LP on Beats In Space was short but heart-rending, a bittersweet dirge for a fantasy funeral.

61. Entro Senestre – Rosegold [W.T. Records]

ES’ neon-soaked outing on W.T Records came with this propulsive opener, a moody house roller to rival Detroit’s finest night-drive anthems.

60. Imaabs – Voy [Naafi]

Few tunes this year got dancefloors popping as surely as this one from Chile’s Imaabs. It may be short but its punchy drum section and pinch of dramatic synthwork would get your gran throwing shapes from her chair.

59. Kornél Kovács – Pantalón [Numbers]

Kovács’ discoid anthem with its tunnelling bassline and nonsensical Spanish vocal line is catchy, fun and huge.

58. Kirk The Flirt & Peter Pressure – Never Ever Give Up [1080p]

In another strong year for 1080p an LP from Berlin’s Physical Therapy stood out with a selection of prime club cuts. The strange whistling hook and deep pads made this cut the highlight.

57. Call Super – Migrant [Houndstooth]

JR Seaton’s ace two-tracker was another refinement of his elegant sound. Here the melodies and effects come to life as a dense rainforest, a sound that makes you want to crawl inside and nest.

56. Mark Barrott – Saviours Or Savages [International Feel]

The I-Feel label head put out one of his best balearic cuts to date with these swooning melodies and crystalline synthscapes.

55. Foreign – B1 [BAROC]

The edgy BAROC imprint came out with some real thunder on Foreign’s raw machine-driven outing. The A1 is dancefloor killer but it was with the ghostly ambience and lost animal cries of the B-side that he struck platinum.

54. Chaos In The CBD – Midnight In Peckham [Rhythm Section]

Bradley Zero continued to tease out the jazzier side of house on Rhythm Section this year, with a starring role played by this Kiwi duo. Trumpet and piano serenade each other over a dusty drumtrack in this timeless cut.

53. Andrea – Outlines [Ilian Tape]

It’s not easy to make a techno track that’s both epic and raw, but Andrea managed it with the soaring synths and canny rhythms of Outlines.

52. Adesse Versions – Pride [Numbers]

Deadly in its simplicity, here Adesse Versions paired a diva vocal with the most vicious piano line this side of Prosumer.

51. Local Artist – Feelings [Rhythm Section]

One of the wonkiest cuts to come out of Canada’s house scene in 2015, Feelings was an unlikely anthem whose curious effects and hazy ambience shone through a scene crowded with similar artists.

50. Kasra V – Last Order [Make Love In Public Spaces]

Heavyweight house that lopes along with a searing bassline and a cinematic sense of drama.

49. Obas Nenor – Change Got To Come [Mahogani Music]

Either side of Nenor’s ace 12” on Moodymann’s imprint could have made this list, but we favour the darker B-side, which shifts from a dirty dancehall riddim to catchy twilight disco in the blink of an eye.

48. Bleaker – Hype (Funk) [Unknown To The Unknown]

Another example of deadly simplicity was Bleaker’s flip of a classic on Hype (Funk). A propulsive rhythm track, a brief late melody and that loopy vocal make for raw dancefloor killer.

47. Sabre – Ghetto Prophet [Royal Oak]

Portugese duo Sabre knocked it out of the park with this maximalist house epic, masterfully building tension with operatic drums and polished synthwork to an enormous climax.

46. Suzanne Kraft – Flatiron [Melody As Truth]

The enormously talented Suzanne Kraft dropped some gorgeous ambience and guitar work on his Talk From Home LP, the centrepiece being this blissed-out cut, all smoky riffs and featherweight percussion.

45. PCK – Amen Garage [The Final Experiment]

Everything that Shed touches is gold, and this year we were particularly wowed by a high-octane slice of jungle under a new moniker, PCK. Lightning-fast breakbeat juggling and an urgent vocal meant that this one’s power more than made up for its brief length.

44. The Horn – Villager [Workshop]

The first reissue to enter our list is this ’96 synth piece that featured on Workshop’s ace mixed artist release early in the year. Why does it deserve to come back after twenty years? The reverb-drenched melody conjures a lingering nostalgia, the snappy electro beat the bittersweet need to move on. More emotions than your average album, all in seven minutes.

43. DJ Koze – XTC [Pampa]

Koze’s annual entry into the year-end list is unusually straight. On first listen it’s a normal (though subdued) deep house cut. Then you hear those jagged synths, the constant bass pressure, the misty ambience, and that ambiguous vocal that creeps under your skin. He’s got you.

42. Sound Stream – Bass Affairs [Sound Stream]

With his release rate of seven singles since 1999, any year that Sound Stream drops a release is a blessing. His is disco-house polished to perfection, oozing funk and charm, dynamite on the dancefloor.

41. Paxton Fettel – Dots On The Skyline [Greta Cottage Workshop]

One of the highlights of Paxton Fettel’s superb debut album was this elegant construction which fuses a hefty hip hop rhythm with delicate harp and a jazzy acid line.

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Come back for part two in a few days.

Best Albums of 2015

Best Albums of 2015

 12. Grant – The Acrobat [The Lauren Bacall]

The Awful Truth

An unknown artist on an unknown label was responsible for one of the year’s most mesmerising deep house LPs. Grant’s sound is decidedly subdued yet his production talents should not be underestimated. Grainy rhythms and swooning pads are everywhere yet this is no standard house-by-numbers – flashes of warehouse techno, sublime ambience and snarling acid are teased into a single slinky package. Like the striking photo on its cover, these tracks are rich moments of suspended animation: joy, movement, and grace.

11. Sven Atterton – The Cove [Omega Supreme]

The Cove

Omega Supreme and People’s Potential Unlimited have spent the last few years issuing the very best of modern funk, and nothing came better than Sven Atterton’s early 2015 debut The Cove. An outstanding musicality stalks through these sun-drenched jams, played out through sinuous keyboard solos, hazy pads and languid basswork. Absolute killer for the summer chill.

10. Palmbomen II – Palmbomen II [Beats In Space]

 

Mary Louise Lefante

"As a Dutch transplant to LA, Hugo is clearly a sun-worshipper, a fact abundantly clear in his colourful, saturated take on club music. The sun blazes through a thick haze over these tracks, which corral burbling house, dew-eyed new age melodies and the occasional foray into gurgling acid into a memorable, mesmeric package… It’s a winner, an album that invites you to wander through an alien landscape guided by a warm, comforting hand. It’s a walk you’ll want to take time and again.”

Read the full review here

9. Linkwood – Expressions [Firecracker]

Off Kilter (No Midi Mix)

“It’s been four years since the last Linkwood emission, and six since his debut LP, and you can hear how slowly these tracks have matured, offering a richness and attention to detail uncommon in the fast-paced dance scene, particularly when it comes to albums. Whether you come for the gorgeous ambient meditations, the compelling club cuts or the whole opulent package, Expressions is an album you’re not going to want to leave anytime soon.”

Read the full review here

8. Lifted – 1 [PAN]

Bell Slide

“Lifted’s debut is the rare album which feels purely next-level, like music beamed from an idealised future. The sound that the group have created is like an unstable chemical: constantly mutating, joyously effervescent. So few artists who chart fresh electronic terrain manage to do so with such lightness and joy in their sound. Because Lifted do, you won’t just follow them willingly – you’ll do it with a broad smile on your face.”

Read the full review here

7. Domenique Dumont – Comme Ca [Antinote]

L’esprit de l’Escalier

“These aren’t really tracks or cuts, they’re songs, addictive and hummable, but with a fine producer at the helm, who has a light touch but never lets things get too sugary… a curious and winning package from yet another great Antinote discovery, as if they needed another feather in their cap.”

Read the full review here

6. DJ Sotofett – Drippin’ For A Tripp [Honest Jon’s]

 

  

Drippin For 97 Mix

Honest Jon’s struck gold this year, offering us the broadest exploration of DJ Sotofett’s demented musical world yet. Here the inimitable producer teams up with an array of collaborators but takes his own tools along for the ride – birdsong, reggae rhythms and acres of post-euphoric ambience. It was a tripp that took us from future-afrobeat to humid house via beatless excursions poised impossibly between prog and Balearic. Absolutely essential for fans of the Sex Tags crew.

5. Project Pablo – I Want To Believe [1080p]

 

 
Sky Lounge

“The beats crunch and shuffle, lush pads drift like smoke, and the basslines are summoned straight from a 70s funk record. Then there’s the rising melody, hitting the perfect balance between hope and introspection. With this first track, Project Pablo hits a wondrous note which he sustains across the album without a single misstep… Listening to I Want To Believe, faces seem happier, objects prettier, and all those pesky problems seem like they might just work out okay, after all.”

Read the full review here

4. Dwig – From Here To There [Dwig]

Different Days

“It’s immediately accessible yet generous to the attentive listener, excelling in the mesmeric capabilities of the genre while pushing a varied, refreshing palette. If there’s any upside to the fact that this graceful album is unlikely to sell out or chart on critics’ lists at the end of the year, it’s that those few listeners who caught it and engaged will forge a more intimate relationship with this music, unhindered by hype or popularity. For theirs is an album of rare substance and beauty, something to treasure for them and them alone.”

Read the full review here

3. J Albert – Dance Slow [Exotic Dance]

Love Delivered

It’s a shame that J Albert’s stunning debut came out on such a limited cassette run, because this is music that demands to be heard. Deftly weaving between starry-eyed house and ruff analog exploits, Dance Slow is a twilit masterclass in 4/4 dance.

Read the full review here

2. Floating Points – Elenaia [Pluto]

Silhouettes (I, II & III)

After six years of stunning singles, we were expected big things from Floating Points’ debut. Yet Sam Shepherd’s long-awaited debut album, the fruit of five years’ work, wasn’t what anyone expected. Slow, slight, strangely ineffable, Elaenia makes you come to it. But when you do, and give this music time and attention, a world of sumptuous detail reveals itself, with a lifetime of emotions and influences ever-shifting across its dappled surface. This is a record of a subtlety and mastery that only Floating Points could achieve. We’ve rarely been so happy to be wrong.

1. DJ Richard – Grind [Dial]

Nighthawk

“DJs will find some great club tracks if they choose to skim it for parts, but that would be to miss the holistic effect of the album. This is narrative techno, and in typical artistic form, the narrative of conflict draws us inexorably towards reconciliation. This is heard on Vampire Dub, a confection of twinkling synth work, gauzy keys that leave behind calming jet-trails, and bubbling mechanical accents. Here the feelings of displacement are left behind, resolution can be found in a composition which is nakedly beautiful. This is the deserved conclusion to a great artistic accomplishment; a dance album with no fat, no misfires, every tune essential, surprising and rewarding. We hear darkness and conflict resolved through artistic expression, and we find peace.”

Read the full review here

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What we listened to when we couldn’t bear to hear another synth:

You can’t always listen to electronic music. Well, we can’t. Every so often you need some nice acoustic earthiness to soothe those throbbing ears. 2015 was a rich year outside of electronic music, with Kendrick Lamar pulling an astonishingly ambitious jazzfunkhiphopsoul album off to perfection that’s still got us reeling. Young Thug picked up a lot of the excess hip hop weight with an endless slew of tunes baring his half-crazed flow and stark trap production.

Meanwhile Beach House kept doing exactly what we want them to with two new albums of dreamy, nostalgic pop, D'Angelo returned after 14 years with an RnB masterclass and Sufjan Stevens bared everything on the supremely affecting Carrie & Lowell. Finally, White Noise patron saint Joanna Newsom made a welcome return after five years with the satisfyingly dense and complex Divers, packed with allusions, esoteric instrumentation and heart-rending melodies.

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That’s all for the best albums of 2015. Come back next week for a roundup of the best tracks of the year.

Palmbomen II - Palmbomen II

Label: Beats In Space

Just when words like analog, lofi house and ‘recorded straight from hardware’ become so ubiquitous that they make you want to go foetal and listen to precision-engineered techno in a padded cell, along comes an album like Palmbomen II to take the wind right out of your sanctimonious sails. For his second album, Kai Hugo has created an album which is much like the glut of retro house that has recently occupied more than its fair share of record shelves. But at the same time, it isn’t.

As a Dutch transplant to LA, Hugo is clearly a sun-worshipper, a fact abundantly clear in his colourful, saturated take on club music. The sun blazes through a thick haze over these tracks, which corral burbling house, dew-eyed new age melodies and the occasional foray into gurgling acid into a memorable, mesmeric package.

Hugo recorded each of these tracks in a single take after a day of practice, sometimes just clipping his favourite five minutes from an extended jam. And while the live feel leaves things loose and fuzzy, the tracks of Palmbomen II never meander. It’s a slow walk on a beautiful day, sure, but you never get the feeling that Hugo has lost track of where he is going. Each foray, like Cindy Savalas’ deviation from starry synthwork into a light acid workout, feels deliberate and coherent. Indeed, the live effect greatly adds to the album’s appeal. The odd shifts in time signature or missed notes make it feel human, affably rough at the edges.

There’s a lot to love here, as the LP gains momentum up to the stunning two-punch centrepiece of Samuel Aboah and Mary Louise Lefante (the tracks are named after minor X-Files characters). The former is Hugo’s supremely confident take on warehouse techno, rough and raucous, a stuttering drum flex and seething acid line assailed by a wispy ambience and a lush, celestial chorus. Though Hugo never leaves the dancefloor for long; as that 303 comes back with a vengeance, bumped a few notches further up the pH scale. Directly afterwards Mary Louise Lefante is a winning confection of wooden chimes, sugary acid and an adorably awkward cowbell that sits atop the mix.

Hugo has struck gold with his sound palette, which is warm and inviting while constantly hitting those pleasure centres. But he knows better than to repeat a single track time and again, and the album’s relentless smile starts to falter towards the end. Vic Trevino’s chirpy exuberance is beset by insistent cymbals before the fidelity is blown out and dragged down into the muck for the close.  Jesse O’Neill verges on manic, its optimistic synths assaulted by a nervous array of tight locked melodies, while Rebecca Waite sounds disjointed and unsure, its crushed drums clattering awkwardly behind lustreless melodies. These less optimistic passages make for an interesting change of dynamic as the album draws to a close.

Hugo draws emotion even from his ninety-second interludes, such as the mystical Irish lullaby of Caitlin Ross, or the gorgeous bucolic closer Leo Danziger, whose warbling synths sound like a videogame funeral that might actually make you cry. Don’t let yourself be taken in by the sense of loss though, just stick Palmbomen II on again from the start. It’s a winner, an album that invites you to wander through an alien landscape guided by a warm, comforting hand. It’s a walk you’ll want to take time and again.

8/10