Its about that time of year where everybody gets bombarded with lists of “my top 10 from this year” on Facebook. So we thought – why not do this for ourselves?

Its an opportunity for us to reflect on some of the best music from a busy year for electronic music, which has given us new material from the likes of The Chemical Brothers, The Orb & Brian Eno.

Of course, there are far too many albums we could list here, but we really want to know what music really floated your boat… so let the discussion begin!

When Scuba’s first album, Antipathy was released in 2008, I noticed that this was no ordinary dubstep album. Truthfully, I’m not even certain it was a dubstep album. Sure, it was dark, but it was also melodic…and really, really beautiful.

The follow up, Triangulation, is a wonderful evolution from Antipathy. It falls comfortably in the borderland in-between techno and dubstep. Sure, Triangulation is murky, ala 2562, but it is profoundly murky. Lets say, murky with intention.

Just when you are lulled into a drone-induced stupor, Scuba reminds you that you are still stuck in traffic by unleashing icy kick drums that seem to come out of nowhere. The song Tracers comes to mind immediately for this reason. The overall production of the album is crisp, and the balance of texture and melody is spot on. Sure, it can be dark in places, but one can feel purpose in the darkness.

Scuba presents this darkness in the perfect light… balanced against the edge of clean beats and shimmering sub-sonic bass. I highly recommend this album.

Descent
Latch
Three Sided Shape
Minerals
On Deck
Before
Tracers
You Got Me
So You Think You’re Special
Heavy Machinery
Glance
Lights Out

I have never heard of this London-based duo, but with good reason – discogs.com shows their first 12″ as being released in 2006. This then is their debut album. Italoboyz (aka Marco Donato and Federico Marton) are described as ‘minimal techno’ and ‘characterized by organic elements along with large doses of funk and energy’. Okay then.

Actually i couldn’t have put it better myself. The album sets off with a brave 12 minute builder called ‘Where is London’ with a subdued techno bassline, and a fantastic baroque sounding piano piece… and a massive ‘Big Ben’ chime sample along the intro and outro. It sounds like it shouldn’t work, but it does. This is the merging of genres in its truest form.

The album continues with some menacing upbeat bouncy rhythms and plenty of percussion. Im sure i heard a saxomophone in there somewhere too. The tongue-in-cheek vocal sampling in ‘Chinese’ with put a nice grin on your face. So at the very least you get a laugh for your money =)

The whole album is rounded off quite nicely with a live track called ‘The Pink Unicorn’ which is a delightful 8 minute melody and soft hi-hats.

This is the the perfect album to listen too in the comfort of your armchair, or a great way to wind down after a hard night of partying.

Rating (out of 5) : 5

Genre: Techno / Minimal / Instrumental
Release Date: 21/09/2009
Label: Mothership
Cat No: MSHIP023
Tracklist:

1. Italoboyz avec Masomenos – Where is London
2. Taka Taka Tashhh
3. Chinese
4. Edo Breiss
5. Techno Tower
6. L’Anagramme
7. Italoboyz vs. John Coltrane – Bahia
8. Oh Mio Dio
9. The Pink Unicorn (live in Tokyo)

mp3 release: http://www.boomkat.com/item.cfm?id=225408
cd release: http://www.boomkat.com/item.cfm?id=226739
flac release: http://www.boomkat.com/item.cfm?id=225408&highlight=225419

Official Website: www.italoboyz.com

Press releases promise a broad range of collaborative vocals textured in synthpop. Synth-pop? More like Synth-poop!

‘Until We Bleed’ features the croaking vocals of Lykke Li, and possesses a deep atmosphere with string orchestra. ’3am’ is perked up with angelic vocals from Marit Bergman, but still sounds like something that belongs on a 1987 film score. I was curious about Neneh Cherry’s collaboration, but sadly with the addition of an unnecessary adolescent choir, this just makes you sick before you get to the end.

The non vocal tracks ‘Chords’, ‘Sad Boy Smile’ and ‘Tower of Trellick’ could have easily been mistaken for work by Mylo.

The two good pieces of work come from the only commercial releases Kleerup has had. ‘With Every Heartbeat’ * and the latest single ‘Longing for Lullabies’ with Titiyo (which only seems to getting regular airplay on BBC Radio 2). Actually on reflection, ‘Hero’ is really catchy in a uncomfortable sort of way, with its rising synth undertones and powerful baseline.

I don’t know who this album is trying to appeal to. Commercial buyers will be disappointed by the lack of catchy hooks. Fans will be disappointed by the lack of quality. This just seems like a producer jumping on the current electro-pop bandwagon for the sake of it.

At best, the album feels like a bunch of B sides to a modern dance classic (let’s face it, one which was only really made famous by a blonde Swedish babe). I have been inspired by albums from Tiga and Rex The Dog in the past, but i’m sorry i wasted my money on this.

Rating (out of 5) : 1

* Factoid: ‘With Every Heartbeat’ is the only song that i know of in recent times to be released on an album by separate artists (i.e. Robyn & Kleerup)… unless you can name me at least three more!

Suite were kind enough to offer me a promo of their debut album back in November. I must admit, I do get sent a number of promos every month that vary in quality from ‘alright’ to ‘i will leave some polite feedback’.

They say never to judge a book by its cover, but I was immediately fascinated by the presentation standard that they have achieved, for something that was intended as a debut promo.  The CD is heat printed, there is a small fold out artwork booklet and its all enclosed within a fantastic glossy digipak.  Such precision is very impressive.

So, the enclosing letter promised a ‘left of the dance floor material’ and ‘the first record you reach for after returning from a nights clubbing’.  In my own words, I would describe it as ‘minimal industrial tech’.  But hey, whats the point in putting things in boxes nowadays?  It is definitely back room lounge material.

‘Childmind’ has a progressive sound with a moody edge, and the vocal is worked in well to add a great texture to the track.  ‘Buy Buy’ is a pleasant suprise – a short uplifting piece with soft ambient tones, leading into a retro synth and building into a live drum crescendo.  I also recommend ‘Op.1 No.5′ with its deep bass and electro stabs.

I really enjoyed listening to Opus 1, and the quality of mastering is the ‘cherry on the top’.  I can really feel the depth of sounds – and the bass rumbles have a cinematic sonic quality to them.  The value of the cover is matched by the quality of material they have produced.

Rating (out of 5) : 5

Suite are the Nottingham based production duo Gavin Kirtley and Tim Laverack.  The tracks mentioned in this review are now on rotation on the dirtyradio playlist.

Suite on MySpace.

I have listened to the full album alot recently, and I am really enjoying this!

‘Infinte Lies’ is a great example of their work: solid beats, cut up disco house meshed with throbbing filter effect.  You have also got loads of techno and acid electro sounds to keep you entertained, and some great use of vocal samples.

Their material is already being supported and played by producers such as Erol Alkan, Mr. Oizo, Modeselektor and Soulwax.  And it they like it, then you should too!

Shadow Dancer on myspace.

Rating (Out of 5) : 4.5

Albums from well known dance producers can always be a bit hit or miss, so you can imagine my apprehension.  Rex The Dog – Hit.  Futureshock – Hit.  Tiësto – Miss.

I will tell you now – this is a definite Hit, with a capital H.

‘Beep Beep Beep’ sets a nice tone to the album – catchy vocal hooks, soft pads, sweeping synths and soothing backing vocals.  ‘Mind Dimension’ (ah yes this is one i remember – a promo from last year), has some great break downs, squelches and droning bass-line that will make your speakers vibrate off the desk.

The highlight for me is definitely the epic ‘Love Don’t Dance Here Anymore’ – you will find yourself engaged in a fantastic piece of composition, with a progressive vibe with some catchy riffs.  You must also check out ‘Shoes’ just purely for the lyrical value.  This is how satire lyrics are done. (Royksopp – please take note).

The guest producers Soulwax and Gonzales add to the value.  Modern Electro-Pop at its best!

Apart from the last track, none of them are over six minutes long so it will keep even people like me with short attention spans happy.

Rating (Out of 5) : 4

Prior to this, I had only heard of Animal Collective by name — never their music — so I had no idea what to expect. I loaded the album, put on my headphones, and went on with some work.

The album started with a wash of psych-electro noise and mellowed out into a standard hippie, folk melody. Not really my taste, but it was good — I had to admit that. Then it exploded. Perfectly. And out of the noise came a thumping 808.

From there, it’s an amazing hour of great beats, psychedelic sounds, experimental distortions, and melodic vocals.

I didn’t get any work done that day.

Rating (out of 5): 5

So having finally got my mortal hands on the promo of Junior (released on 23rd March 2009), I was eagerly waiting a new, fresh Röyksopp sound.  I have heard a couple of radio plays of the track ‘Happy Up Here’ which seems to retain the original bubbly sound of their early work, whilst bringing a new sense of quality.  The track has the power to transform you from any mood into an uplifting spirit, and put a great big smile on your face.  Its like ‘eple’ Part 2, but better.  This track will be the one you hear of chill out compilations in ten years time.  What a great opening track for the album!

Most modern artists seem to bring their strongest material towards the front of the album and there is no exception here.  ‘The Girl and Robot’ features Swedish vocalist Robyn, a great artist to include on your album if you want to improve sales…!  She has huge success in the UK over the past 2 years, and her trademark moody vocals in this track are aparent, making this a commercial winner.

There are some other upbeat tracks – ‘This must be it’ and ‘Tricky Tricky’, which has a great rolling acid bass-line, but for me its spoiled by the frankly poor lyric writing.  Its almost as if the lyrics were written in a rush, so that a female vocalist could appear on the track.  it has a got a great reprise bit at the end though.

The other track worthy of a mention is ‘Röyksopp Forever’.  This starts out as a mellow instrumental piece, that soon into something resembling a dramatic film score, with some fantastic percussion.

An initial scan of the album might suggest that they have run out of ideas here, but when you give it a chance they have worked hard to produce something of quality.  And there is enough variation to keep your attention throughout your listening experience.  The interesting thing is that it does seem to be a mix of “early Röyksopp” for the ambient and downbeat tracks and “new Röyksopp” for the upbeat tracks – but nothing groundbreaking.  They played it safe.

Rating (out of 5): 3

I was sort of right. I was mostly wrong.
No one’s going to think this is anyone but Prefuse, but something clicked in Herren’s mind regarding his style and the format of his tracks and, appropriately, there’s very few cuts that push past the 2-minute mark, and many of them are under 60 seconds. It’s not an album of notes scribbled in the margins either; the tracks are lush and richly detailed without superfluous clutter imitating as such, a cut above the kitchen-sink pastiche. It’s just that nearly every good thing, whether you want it for 30 seconds or 5 minutes, doesnt last any longer than it absolutely needs to, and is often yanked away long before that. By the time “Nature’s Uplifting Revenge” introduces the third (and most uneven) act, you feel slightly shell-shocked by the flash-flood of ideas compacted in 25 minutes, and so seamlessly. It’s the aural equivalent of an effortless page-turner, and an amazing turnaround for an artist i had previously made a few crass assumptions about. Sorry about that.

Rating (out of 5): 4