Making a list and checking it twice: Tim's 2011 Pop Revue

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70. Ronny & Renzo - Heartbreak Theme (C2 CinermxMix)

I think Ronny & Renzo hit their creative zenith with 2009's "Me, Myself & Good", which was their biggest and also final torpid darkside disco groove, a steady descent into an endless maelstrom of machine loops and apocalyptic horns. Since then, as if aware that they probably can't top that, they've been drifting in more of a steely grey house/techno direction, and while the results are still unimpeachable, the one drawback is this is a much more crowded field. "Heartbreak Theme" is as reliably epic and widescreen as ever, spending its near eleven minutes gradually shifting from misty dub-house through to eerie Blade Runner synth work, absolutely enveloping and not a little unnerving, and featuring a very very melancholy rave arpeggio breakdown that itself gets swallowed up in a bottomless well of robot hums. It's fine stuff, but this is Carl Craig's home turf, and like a master craftsman coming in to lay the finishing touches - a bruised bassline here, percussive effects so tactile you could almost touch them there - with a minimum of fuss he raises "Heartbreak Theme" to the level of world-beater, its aching synths spiraling out with an intergalactic sense of yearning, the lonely cry of an entire solar system of people about to be lost forever. Rather than ever quite turn into all-out banger, "Heartbreak Theme" broods with ominous disquiet, preferring to fill your head with visions of the destruction it could mete out rather than put on a demonstration - a weapon more scary for never having been used. When that ghostly arpeggio finally arrives again the sense of accumulated dread is near overwhelming, a climax as only Craig knows how to do them.

69. Richelle - Mascotte

Nominally post-dubstep or "global bass" or whatever, "Mascotte" resembles nothing so much as a megamix of Jammer instrumentals circa 2002, a dizzying mutational melange of reedy pipe synths, urgent strings, lugubrious tuna horn bass and chattering beats somewhere between juke, "Grindin" and "Countdown". That chatter effect is very 2010-2011, but rather than merely deploy it as a nod to the sound design du jour, Richelle seems interested in how giant bassdrum stomp and ceaseless electro snap can interrelate with one another to create rhythms that work topographically, impacting different parts of your body almost violently, while tickling your ears with their intricacy (the b-side "Bendin" betrays an indebtedness to funk carioca, which makes sense in this context - the best Brazilian funk being that which simultaneously explores ideas of rhythm as absolutely rigid and absolutely loose); as with early grime, Richelle gets so caught up in the internal conflict of the groove that the fact of the production sounding a bit cheap and rickety is strictly a secondary concern (that, or "Mascotte" is deliberately fetishising grime's cheap adventurism; I'm not sure which explanation is correct). Beyond the basic sonic architecture, Richelle steals from grime its short attention span in a mix context, with a new motif or idea or sound intruding every ten seconds or so to send "Mascotte" careening in a new direction, in a game of ante-upping that presumably only ends due to sheer exhaustion. I was actually very surprised when I discovered it was all one track.

68. Mr Vegas ft. Teairra Mari & Gyptian - Pum Pum Shorts (Remix)

Tracks which blur the line between dancehall and US rap or R&B aren't merely fun for how they familiarise the former while spicing up the latter; the best efforts create a third space of stylistic ambiguity where the switch back and forth between the different components itself generates a kind of friction, heightening the drama and raising the stakes. "Pum Pum Shorts" (or "Boy Shorts") was already a fine Mr Vegas track from 2010 - topical (sorta), boasting a fantastic sing-song melody from Mr Vegas, and possessing one of those ridiculously sexed-up beats mainly comprising of luridly quivering radioactive synth-bass, the sound of booty actually shaking (does anyone remember Sizzla's "Love & Affection"? Just like that). The remix simply and straightforwardly ups the ante: it would be enough that Gyptian faux-morosely interpolates the Lambada (probably a nod to J Lo rather than Kaoma or the like), but the real star of the show is Teairra, who after several vamps offers a stunning guest verse of her own, sung, but too swaggering to really code as R&B (I'm reminded of Beyonce's version of "In The Club"). In a succession of great bits my favourite is her high-pitched delivery of "Baby make me scream and sho-ou-out / throw me a pillow if I get too lo-ou-oud / but I gotta protect my clou-out / so you better not run your mo-ou-outh". I only noticed several repeat listens in that everyone on "Pum Pum Shorts" is walking a different singjay tightrope, which is maybe one reason why its culture-clash sounds particularly definitive: everyone here is too lust-struck to sing and too lust-struck not to. Some gratuitous extra recommendations: Mr Vegas' stripped down, booming "Certain Law" with Harry Toddler, and Teairra's simply wonderful, massive "Body", a 2010 track too but I think it only got a video clip this year.

67. Gail Scott ft. Lil' Twist - Dip It Low

"Dip It Low" makes for unusually unmusical R&B: Scott sings in a flat, affectless monotone with barely a movement up or down the scale, while the beat trudges methodically behind her, pushed along by the repeated (slightly) screwed chant of the title; Lil' Twist's high pitched, yelpy rap is probably the most melodic thing here.The song is attractive for precisely these reasons, its stern, workmanlike devotion to booty somehow more affecting than a more histrionic and worked-over approach would have been. But it's not like this is one of those grimly robotic club numbers that have been held up favourably in contradistinction to R&B's more emotive tendencies for the past ten years plus; there's a certain charming smallness to "Dip It Low", a cobbled together amateurism that I find totally endearing and lovable: you can hear it in the sudden floods of trancey synths, the almost perfunctory guitar licks, Scott's dead-eyed rhythmic vocals. All of which make the tune sound fairly 2011, and for reasons both rational and inscrutable in my head I associate it with Nicki Minaj "Moment 4 Life" - except with ostentatious self-aggrandisement replaced by no-nonsense floorwork. There always needs to be more tunes like this: rather than apocalyptic club anthem or overblown autobiography, the meaningless "Dip It Low" vies for the status of the secret personal favourite, its firmly set horizons making it infinitely playable and personalised. But there's room for surprise here too: when in its closing bars the background melody takes on a slight oriental lilt, the effect is like watching the sun bursting out from behind clouds.

66. Mousse T - Horny (Radio Slave & Thomas Gandy Just 17 Mix)

Dance music revivalism accretes rather than shifts: like a survey of the last ten years of house music, this tune revives, well, "Horny" obviously, but also "The Whistle Tune", primitive early Chicago records and most of all massive early 90s piano house (and I mean massive). After a typically Radio Slave-ish brooding opening (shared by his more available "Off World Dub" version), the Just 17 mix of "Horny" quickly adds a lovely bouncing bass line, an unnecessary but charming whistle hook, and then some of the most fabulous piano vamping ever, brilliant in its own right and also housing the central hook as well as or better than the original - pounding into your head with an enthusiastic insistence over a lazy handclap swing while the belated announcement "I'm horny" elicits the kind of goofy hysteria you'd expect at a much less stylish venue than wherever you actually managed to hear this. I've been waiting patiently for people to start reviving tunes like Jinny's "Keep Warm" and K-Klass' "Let Me Show You Love", and frustratingly the dance world seems determined to disprove my previous confident predictions of their imminent entrance into fashionability; hopefully this distressing state of affairs will end soon, but in the meantime this track is the perfect salve for my wounded pride.

65. Gunplay ft. Waka Flocka Flame - Rollin

I always have immense difficulty writing in any detail about apocalyptic street rap, and "Rollin" as much as usual, mainly because I have little insight to shed on Gunplay's shouty performance. For such a heavy anthem the lyrics for "Rollin" are still pretty sharp and distinct, but I've never really tried to learn them except for the chorus and the great hype-inducing intro ("My dog says we gon' be rich one day / lay it down, don't say a sound, gunplay!") because for the most part the enjoyment for me resides in the ceaseless head nod to the tune's exhausted-with-destruction grind, seismic bass shudders, clock tick drums, punctuation mark gunsounds, and gratuitous but essential foghorns (which seem to merge almost imperceptibly with the chanted songtitle). As with my previous favourites in this style ("B.M.F", "Hard in da Paint" etc.) for all its monolithic implacability there's a certain surprising grace and agility to the way in which "Rollin" ponderously descends downhill, like a massive boulder somehow navigating a car driving test route: still utterly destructive, and perhaps somewhat indiscriminately, but always intentionally. Which counts for something, I think.

64. Azealia Banks ft. Lazy Jay - 212

The beat on "212" isn't nearly as weak as detractors say it is: in 2012 you've basically got to outright distrust any critical line premised on the all-importance of bass to dancing - how passe, frankly. In fact, the beat's simple combination of clattering snares and post-electrohouse bleeps (D. Ramirez's "Yeah Yeah", basically) is more than enough for any dancefloor's needs, if anything offering the tune a certain bouncy levity which I think works in its favour (I'd go so far as to say that too many tunes in 2012 are weighed down by their over-privileging of bass). Of course "levity" isn't something people tend to look for in dance tracks unless there's something else on which to focus, and of course the focus of "212" is Azealia all the way. I liked her, of course, but didn't really properly feel her performance until I heard this played out, which not only saved the song from seeming like a strictly internet nerd phenom (though barely: nowadays most no-name club DJs seem to be internet nerds in any event) but also underlined the achievement of crafting a song which has people singing along even if they've never heard it before - and in particular, the crass populism (a musical impulse which ought never be resisted) of choosing to EQ-loop the most memorable line just to drive the gimmick home; all up, on the scale of 1 to "Whatta Man" it scores pretty highly. More than Azealia's words, its her faux-disaffected voice for a good two thirds that sells "212", not as something you can believe in, but as something you can have fun trying on for three minutes like a mask in a two dollar shop; if she is vulnerable to charges of playing dress ups, the upside is that it's a game the listener is welcome to join.

63. Lana Del Rey - Video Games

My friend Catherine has an on again / off again Italians Do It Better style icy disco diva project, which actually slightly predates the rise of IDIB, but that particular aesthetic has been "in the air" for some time prior I guess. I like to think of myself as some kind of svengali advisor, but in honesty I've not been very helpful; my most substantial contribution was a few years back, recommending she make a bloodless snow queen take on Maria McKee's "Show Me Heaven". Her resulting demo was pretty great - sadly I wasn't consulted when the soundtrack for Drive was being compiled (I also recommended "No Ordinary Love", but Catherine never got around to it, and now Diddy - Dirty Money have beaten her to the punch). "Video Games" adds harps and some Nancy Sinatra via Shivaree sultriness to the mix (meaning that basically all of its influences are filtered through popular nineties film auteurs), but otherwise it's pretty close to my original idea, a ghostly pledge of devotion whose unreality is self-reflexive, the incorporeality of the expression of desire a reminder that desire always is incorporeal, a projection onto a blank canvas who just happens to be a living, breathing, thinking, wanting human being. Del Rey literalises and lyricises this dynamic, becoming the personification of accommodation: "I tell you all the time / heaven is a place on earth where you / tell me all the things you wanna do". Asking the question "does she mean it?" is about as useful as asking if coke ads or pornography or hallucinations mean it. What makes "Video Games" moving as well as clever is partly how pretty it is - a prettiness which vaults over Del Rey's archness - and partly the throaty tremble in her voice, the way lines like "I say you the bestest" are delivered with a Betty Boop stylised fragility (simultaneously too-young and old as the hills) that convinces even as it smirks at itself, as if Del Rey is watching herself sing from out of a mould she's been poured into and cannot escape.

62. Swindle ft. Roses Gabor - Spend Is Dough

"Spend Is Dough" opens with a portentous "the audience is listening" style intro, which you guess is a red herring even before it devolves into the song itself, as light and fleet-footed a vocal dance number as you could imagine. Lex said (or implied) somewhere that this is his favourite uk funky tune of 2011, a statement which surprised me only in that it hadn't occurred to me to think of "Spend Is Dough" as a uk funky track, less because it fails to be one and more because it succeeds so well at being a mongrel tune that can slide easily into a dozen different contexts - uk funky, sure, but also grime, bassline, post-dubstep in its R&B-loving guise, straight house, and, of course, pop - in the finest tradition of Basement Jaxx. That mental categorisation probably cemented itself in my head after r|t|c jokingly tried to pass the tune off as a superior Jaxx number somewhere (it actually reminds me of "U Can't Stop Me"). Needless to say, it's far better than anything that duo has done in many many years. Probably the single feature of the tune that most supports this chameleonic quality is the way the snappy, stilted groove (danceable, but unexpectedly or perversely so) moulds itself to suit Gabor's vocals, flitting between high pitched chants and a kind of sing-song dancehall style patter (but not patois), rather than try to make sense on its own. It's no criticism to say that "Spend Is Dough" doesn't really make sense as an instrumental tune. There's hardly any deficiency musically: the sharp handclaps on the four, the sludgy bass riffs, the rollicking background percussion, all betray a total mastery of groove. But such mastery is required to subordinate the groove to an ulterior purpose with such exacting precision.

61. King - Hey

Thanks to Rev for putting me onto King's The Story EP, which contains just three songs of utter perfection (the release's brevity underscoring my anxiety that its particular brand of perfection may be unrepeatable). Of the three, "Hey" is most perfect of all (very very slightly ahead of "Supernatural"): a gossamer web of sparkles, deliquescing guitar licks and the R&B trio's gorgeous harmonies, gradually drifting into a slow motion four by four thump that for once (and unusually for this post Flying Lotus world) sounds utterly graceful and without a hint of self-conscious awkwardness. It's musically gorgeous, but what astounds most of all about "Hey" (and their other songs) is the sense of boundless generosity that flows out of King's vocals, a kind of gentle delight at the world that sounds as pleasurable to give voice to as it does to lend ears to, and it's for this reason that the surprised awakening of love that "Hey" makes its focal point feels so sincere, so tangible. This is not really about "soul" per se, not least because I simply have no idea whether King would work nearly so well making music expressive of some inner pain, and on the evidence of The Story, it's entirely possible that they wouldn't even want to. Perhaps they would and they will, but for now "Hey" stuns not by harrowing depths but by its sublime surfaces, a gorgeous study in beauty for beauty's sake, and comfort and nourishment for the joy of giving and receiving.

Tim F, Wednesday, 4 January 2012 22:29 (2 years ago) Permalink

as if Del Rey is watching herself sing from out of a mould she's been poured into and cannot escape.

yes! i've been thinking of her performance on that line particularly as though she's having an out-of-body experience, watching herself *act* this devoted girlfriend part - as you say, detached but unable to stop herself playing it.

lol @ placing "212" and "video games" next to each other, should've gone with "gucci gucci" for the triple.

all i see is angels in my eyes (lex pretend), Wednesday, 4 January 2012 22:48 (2 years ago) Permalink

i think i've said of "spend is dough" elsewhere that it's the kind of song basement jaxx would be making nowadays if they were still any good - surprised to see it so low on your list

all i see is angels in my eyes (lex pretend), Wednesday, 4 January 2012 22:48 (2 years ago) Permalink

As per your list I think lex, the order from about 21 up is pretty arbitrary!

Tim F, Wednesday, 4 January 2012 22:56 (2 years ago) Permalink

What really breaks my heart are all the tunes that I wanted to write about but couldn't even fit into a top 101. Is there a music crit hashtag equivalent of #firstworldproblems?

Tim F, Wednesday, 4 January 2012 22:59 (2 years ago) Permalink

yeah i had to honestly put "video games" in my top 20 given how much i played it on loop last year. i wish discussions of it didn't turn into referendums on *her* though, it's like you have to either love her or hate her, whereas i love the song, partly because of how stylised it is, but i'm not so taken with how she applies the shtick elsewhere.

only realised quite recently what makes "212" such a great song - pretty simply, it's the way the "ayo" section functions as a massive dancefloor break, which means that WHATCHU GON DO WHEN I APPEAR becomes a huge, huge moment - you could argue about the relative merits of azealia vs other new bratty female rappers like brianna or reema major, but their big singles last year didn't have *that moment*.

all i see is angels in my eyes (lex pretend), Wednesday, 4 January 2012 23:01 (2 years ago) Permalink

Both songs are more enjoyable the more I can divorce them from their status as internet events.

Tim F, Wednesday, 4 January 2012 23:15 (2 years ago) Permalink

i wish discussions of it didn't turn into referendums on *her* though, it's like you have to either love her or hate her, whereas i love the song, partly because of how stylised it is, but i'm not so taken with how she applies the shtick elsewhere.

iawtc

I think Video Games is a marvelous song, if not a little lyrically juvenile. While I have no real opinions of her as an artist or person, I think this one song may have been a fluke though. Nothing else she's got does a thing for me.

Johnny Fever, Wednesday, 4 January 2012 23:18 (2 years ago) Permalink

Both songs are more enjoyable the more I can divorce them from their status as internet events.

I can add some empirical backup to this as I basically missed the internet blowups of these and love both of them with no reservations

but basically I came here to say, thank God for Tim Finney

TracerHandVEVO (Tracer Hand), Thursday, 5 January 2012 10:22 (2 years ago) Permalink

where have i heard 'hey' before???

ok just got it. it's sampled (?) on the kendrick lamar album.

love it

tpp, Thursday, 5 January 2012 11:57 (2 years ago) Permalink

ok wow that King record is amazing

TracerHandVEVO (Tracer Hand), Thursday, 5 January 2012 12:36 (2 years ago) Permalink

it really is. and the ron basejam one. thanks tim!

tpp, Thursday, 5 January 2012 12:38 (2 years ago) Permalink

the king ep is my #1 album :)

The Reverend, Thursday, 5 January 2012 12:41 (2 years ago) Permalink

is there no place to buy it as a physical item?

TracerHandVEVO (Tracer Hand), Thursday, 5 January 2012 12:43 (2 years ago) Permalink

i don't think so

The Reverend, Thursday, 5 January 2012 13:12 (2 years ago) Permalink

i've been meaning to make a king thread all year :/

The Reverend, Thursday, 5 January 2012 13:13 (2 years ago) Permalink

so excited to read this, tim!

max, Thursday, 5 January 2012 13:53 (2 years ago) Permalink

ok wow that King record is amazing

― TracerHandVEVO (Tracer Hand), Thursday, January 5, 2012 12:36 PM (1 hour ago) Bookmark Suggest Ban Permalink

questino (seandalai), Thursday, 5 January 2012 13:57 (2 years ago) Permalink

unbelievable remix of "hey hey" as well - i think this is the first time i've liked moombahton!

TracerHandVEVO (Tracer Hand), Friday, 6 January 2012 12:04 (2 years ago) Permalink

60. TOK ft. Sleepy Hallowtips - Heroin Needle

Thanks to r|t|c (surprise!) for "Heroin Needle", which must have been the scariest fake Ward 21 track of 2011 from the masters of fake Ward 21 isms (to the point where I'm half inclined to accuse Ward 21 of fake TOK isms): a relentless onslaught of knocking beats and sawing cellos and horns and of course TOK themselves. As always, the primary appeal of TOK (together with Sleepy Hallowtips here) is how each of their voices is so utterly different from the others, from baritone grunt to snitchy high-pitched squeal to strained holler to methodical menace - but whoever is rapping here, they sound like they plan to ride right over the listener with a kind of dogged determination that requires neither rhythm or rhyme. That they manage to hold onto both is as remarkable as the beat managing to keep it together; none of these things seem assured while you're listening. One thing I love about dancehall is how unproblematic the contrast of voices on a tune like this is taken to be. It's tempting to say that TOK don't sound like they really care about convincing the listener. This isn't quite right: they care, but it's what they want to convince you of that's slightly different - on "Heroin Needle" all they demand of you is a generalised suspension of disbelief, a willingness to sacrifice yourself to the torrent of their overlapping voices for barely more than two minutes.z

59. Sess 4-5 and Keedy Black - I Luv Dat Boy

"I Luv Dat Boy" is bounce rap X R&B I guess, but something about its delirious, unsettling artificiality reminds me most of Swizz Beats' populist tracks circa 1999 - "Gotta Man" and "Girls' Best Friend" etc, those tunes that at once were addictively charming and yet somehow unreal and dangerous, like a sugary treat banned in most first world countries for causing sugar high mania. I also flash on the first wave of crunk&b, especially fake examples like Houston's "I Like That", tunes so impressed with their ingeniously smooth blending of lightness and lasciviousness that they ended up sounding like one long smirk (only a smirk that you want to smirk along with). Chalk it up to the song's sickly-sweet female chorus and blunt stuttering kicks, not to mention Sess 4-5's sturdy collection of sex jokes and metaphors (let alone Keedy's own rap: "he fuck me like he should... I love that mushy stuff... Oooooooh and I like it"). But most of all, just its general too-intense joie de vivre, handily lifting it above and beyond its constituent parts. "I luv dat boy! / he make me feel!" Keedy sighs inanely and somewhat out-of-tune-ly on the chorus, like an expiring lovestruck animaniac. It's a pose I unexpectedly identify with. NB. Deej got me onto this, as well as the marvelous mix-tape N.O. to the B.R. which houses it and heaps of other fabulous tunes besides - definitely one of my favourite "albums" of 2011.

58. Phaze 2 - Spaceship (Billy Kenny Remix)

I'm not sure if this is considered Bassline? But I heard it on DJ Q's excellent BBC 1xtra show, so mentally I class it that way. I suspect Kenny is actually one of those disloyal grasping types operating in some kind of dutch house / bassline / pop-grime / commercial club urban interzone. But what is it really? What indeed: how do you square its snapping shares, oddly slow and stalking creep that steals just enough from 2-step to get away with the theft entirely, and that ridiculous bassline, not actually like "Bassline" at all (more on that later)? It doesn't really matter, given "Spaceship" is congenial enough to slide cleanly into just about any setting. A masterpiece of construction, from the opening blade-like synth slashes to the wonderfully awful lyrics courtesy of Phaze 2's original tune ("This ship was built by NASA, baby / new improved sexual arousal / show me your planet, lady / allow my tongue to orbit all around you..."), into the discombobulated bassline, bouncing around like some kind of damaged android comprising no head and six thighs struggling to do up its zipper on the dancefloor. And then the most gorgeous, scintillating, live-feeling syncopated electro arpeggio imaginable, the kind of thing you might expect to Isolee to unleash if Isolee was in the habit of making tunes for Tinie Tempah and the like.

Tim F, Wednesday, 18 January 2012 10:41 (2 years ago) Permalink

Yay!

Best EOY list.

Looking forward to more. Thanks Tim!

MikoMcha, Wednesday, 18 January 2012 15:59 (2 years ago) Permalink

2 weeks pass...

Soz for the delay everyone.

57. Beth Ditto - Do You Need Someone?

I liked all of Ditto's sparkling nu-disco eponymous EP, but this final tune far and away most of all, in part because it's the one that drifts furthest from Ditto's habitual self-sufficiency into territory that emphasises the unknowable darkness of the idea of pop she's playing with as well as its sweetness. Beth offers herself up to a taken guy while scorning his girlfriend, in lyrics that could have been written by Taylor Swift, but I suspect there's a qualitative difference to this presentation of quasi-delusional devotion in such a glamorous electronic setting, Beth appearing as unreal as the dude she slavers over. While the lyrics cast her on the ground looking up, she sings from the stage looking down, a glassy diva backed by a kaleidoscopic swirl of rhythms, hooks and effects, the rococo overproduction as much 1985 as it is 1982, a shifting pattern of garish wall-hangings masking the ministrations of a master manipulator. It's really that dense, heady arrangement - together with Beth's distant, perfect chorus - that makes this, so carefully sculpted and pruned that turning down its open invitation would seem a calculated affront to beauty.

56. Yelawolf ft. Trae The Truth - Shit I Seen

"Shit I Seen" almost makes me wish that Yelawolf would go down that louche cinematic route of Rick Ross from a few years back. I'm talking about backing music not flow obv, since in so many ways Ross and Yelawolf could hardly be more different. This partly can be discerned in what a louche cinematic sound means for each of them; hardly celebratory or triumphant or even in control, "Shit I Seen" sounds jittery and nervous - somehow a more extreme adjective for rap than "paranoid" - the cocaine glitter already implying its flipside truth that things aren't what they seem, today's glossy drama the direct result of yesterday's loss-filled trauma, unable to compensate for it (Yelawolf of course is an expert at nursing grudges; he can't rise above anything). It helps that for such an expensive-sounding arrangement (trilling flutes, harps, calm trumpet refrains) "Shit I Seen" is so tense and portentous, its rolls of kicks hurtling towards a big crunch that makes even Yelawolf's most ego-puncturing stories (like when a friend brings a gun into the club and while his crew is all laughing Yelawolf is "scared as fuck") seem like epic revelations.

55. Danny Daze ft. Louisahhh - Your Everything

When I started this poll I already expected "Your Everything" to carry the burden of standing in for Lee Foss' brooding "Keep My Cool". Then Infinity Ink's gorgeous "Games" came out and I had no space for it, so now the tune basically has to act as representative of everything great about Hot Creations' seemingly endless parade of ludicrously bottom-heavy disco-house efforts. Wallowing in their big basslines and dreamy synth chords like hippopotami, each of these tunes in their own way recalls the scintillating, spacious surround-sound disco aesthetic of early Get Physical, tunes like DJ T's "Freemind" and M.A.N.D.Y.'s "Our World (Our People)". If eight years or so seems too soon for a revival, remember that those particular tunes, for all their modishness within the exploding electro-house scene, were most remarkable for how they gestured towards something timeless and idealised in the disco-to-house continuum, perfectly empty prisms for house is a feeling expansiveness. Hot Natured releases can be a little bit more camp than that, a little more perverse: on "Your Everything" the lugubriously swampy bassline pounds home a world-wearied whispery baritone while the beats rip and tear around them and descending clouds of moans and sighs drag the groove down into a bottomless well; but this perversity, such as it is, is also formalised, stylised, a tribute to its own inescapable intertwining within house music's ever-regenerating DNA.

54. Big K.R.I.T. ft. 2 Chainz, 8Ball & MJG - Money on the Floor

I was too young (or rather, too young and Australian) for any original g-funk except for "Gin & Juice" and "Regulate", and a decent chunk of my rap listening since has been some kind of half-conscious process of compensation, frequently drawn only to the smoothest, slivery synth efforts smothered with the slickness of dudes who know they don't have to work hard to get what they want, be that housed in actual g-funk revivalism or in other more new-fangled styles that just happen to facilitate that vibe. "Money on the Floor" is my favourite take on this general idea in ages, its throbbing creep (stop/start bass, shimmering guitar, gorgeously probing synth lines) and sliding chorus evoking impossible analogies of cords of soft metal burnished to a deep gleam twisting around one another. Big K.R.I.T. sounds indifferent to the majesty of the beat, or rather he simply takes it in stride, his verse accelerating and decelerating easily and seductively. The succession of guests here also is so perfect, each of 8Ball, MJG (especially) and 2 Chainz's voices upping the ante merely by grabbing the camera and pointing it to yet another corner of irresistible debauchery; but somehow the heavy inevitability of the slowed-down sampled vocals in the chorus seem most delightful of all. The video is perfectly judged as well.

Tim F, Friday, 3 February 2012 09:58 (2 years ago) Permalink

:)

etc, Friday, 3 February 2012 11:32 (2 years ago) Permalink

:D

uberweiss, Friday, 3 February 2012 15:13 (2 years ago) Permalink

Looking forward to more of this, but I do feel for Tim having to live up to the standards he sets himself.

MikoMcha, Tuesday, 7 February 2012 15:31 (2 years ago) Permalink

1 month passes...

Is more of this happening? I'm curious to see how it ends!

Somewhere between Fergie and Jesus (Alex in Montreal), Saturday, 17 March 2012 23:05 (2 years ago) Permalink

The list is done and several of the pieces are half-written, but I keep on having to put it aside for actual deadline work (of a music writing and non music writing variety).

Tim F, Saturday, 17 March 2012 23:06 (2 years ago) Permalink

1 month passes...

could you post the rest of the list tim?

groovemaaan, Sunday, 29 April 2012 10:18 (1 year ago) Permalink

go on

r|t|c, Tuesday, 1 May 2012 13:59 (1 year ago) Permalink

heh i think maybe in the future tim should think about STARTING with #1 and then seeing how far he can work his way down the list from there

some dude, Tuesday, 1 May 2012 14:08 (1 year ago) Permalink

otm

hologram ned raggett (The Reverend), Tuesday, 1 May 2012 19:16 (1 year ago) Permalink

I would still prefer to do the write-ups as that was the point of it more than the list itself. OTOH it seems the choices generate some reaction whereas what is said about them generates little if any (not a complaint: it seems typical of ILX really), so maybe I'm just being precious.

I don't think i will do the list next year though, time to let the concept retire.

Tim F, Tuesday, 1 May 2012 22:56 (1 year ago) Permalink

no.

♆ (gr8080), Wednesday, 2 May 2012 02:26 (1 year ago) Permalink

kickstarter

frogbs in the trap (J0rdan S.), Wednesday, 2 May 2012 03:00 (1 year ago) Permalink

print & bind them & ship them by march 2013 along w/ an accompanying youtube playlist or w/e and i'm in for... $20? $30?

frogbs in the trap (J0rdan S.), Wednesday, 2 May 2012 03:01 (1 year ago) Permalink

hand made wooden box

♆ (gr8080), Wednesday, 2 May 2012 04:30 (1 year ago) Permalink

srsly, i enjoy reading tim at least as much as listening to any boring ol records, and no more year-end lists is a dismal prospect given the ailing blog. if there was a coffee table book that you could plug an audio cable into, the world would maybe be ready for this - actually, come to think of it the technology is already more or less there:

lucas pine, Wednesday, 2 May 2012 05:25 (1 year ago) Permalink

It doesn't have to be a top 101 though, why not slim it down?

MikoMcha, Wednesday, 2 May 2012 06:28 (1 year ago) Permalink

presumably slimming it down would take a lot of decision time that could just as well be spent writing (or doing other, non end-of-year-best-of, things, if such things even exist).

c sharp major, Wednesday, 2 May 2012 07:52 (1 year ago) Permalink

Well, in the future, I mean. iirc weren't older versions less a countdown and more of a collection of genres and styles?

MikoMcha, Wednesday, 2 May 2012 08:37 (1 year ago) Permalink

i think obviously people would like the write-ups above all but since it had been understandably assumed that there wasnt to be any more of anything at this point closure was sought in the form of just the list.

however i am glad to see you arent making any complaints regarding reactions as any expectancies however latent would plainly have been misguided.

personally speaking as someone generally harbouring opinions4u and being unlikely to find something i hadn't already heard before it's difficult to really add anything further constructive to the blurbs given you tend to be almost monotonously spot-on and encapsulate a given track's merits beautifully. and obviously in doing so this rather elides the usual eoy chart kerfuffle of arguing the toss about what places where and what deserves more or deserves less.

r|t|c, Wednesday, 2 May 2012 10:28 (1 year ago) Permalink

fwiw in particular i was genuinely delighted to see 'dip it low' called meaningless and be exalted for it; cosign in blood straight from the heart as the saying goes.

r|t|c, Wednesday, 2 May 2012 10:35 (1 year ago) Permalink

however i am glad to see you arent making any complaints regarding reactions as any expectancies however latent would plainly have been misguided.

haha. I do increasingly try not to have expectations about reactions (let alone endorsements) because I see how petulant it looks when others demand it.

If there has been a broader point behind doing this each year, it's been motivated by finding the aesthetics of ILXOR posters in aggregate (yes, what they like, but more specifically what they like about what they like) really fascinating, so doing my own self-involved thread is kind of a reverse tribute to that. But more than doing this thread I wish there were more threads like the J0rdan Listening Club, which is actually less interesting for its stated purpose ("lets foist X on j0rdan and see what he thinks) than for people really thinking about another poster's taste in a manner that isn't just for servicing zings or their own narc of sd.

Would start such threads myself except that if the thread fails then it's not only embarrassing but also creepy and obsessive-looking.

Tim F, Wednesday, 2 May 2012 10:55 (1 year ago) Permalink

I didn't notice it before, so glad to see your thread alive again! I was afraid it was lost to sandbox forever

V79, Wednesday, 2 May 2012 11:33 (1 year ago) Permalink

I don't think i will do the list next year though, time to let the concept retire.

― Tim F, Tuesday, May 1, 2012 6:56 PM (Yesterday) Bookmark Flag Post Permalink

no.

― ♆ (gr8080), Tuesday, May 1, 2012 10:26 PM (Yesterday) Bookmark Flag Post Permalink

karl...arlk...rlka...lkar..., Wednesday, 2 May 2012 13:51 (1 year ago) Permalink

the people have their hand out and refuse to retract it.

r|t|c, Wednesday, 2 May 2012 14:13 (1 year ago) Permalink

if tim threatens that he's going to stop doing it for free enough, some editor will comission him do the 2012 one for their pub/site, i'm sure

Neil Young’s social media channels (some dude), Wednesday, 2 May 2012 14:20 (1 year ago) Permalink

tim you should totally try and get paid for this, i've always been amazed that you put so much effort in for free.

that, or just recast it as a rolling thread - people can be a bit burnt out on talking when EOY stuff comes around. for almost all of these i've either agreed with you throughout the year and you've crystallised it best, or i've disagreed with you throughout the year and dredging up an argument we've done isn't a ideal

liberté, égalité, beyoncé (lex pretend), Wednesday, 2 May 2012 16:46 (1 year ago) Permalink

lol rtc

flopson, Wednesday, 2 May 2012 18:23 (1 year ago) Permalink

Who had the 10 millionth post on ILX?

flopson, Wednesday, 2 May 2012 20:42 (1 year ago) Permalink

utterly delicious

r|t|c, Wednesday, 2 May 2012 20:51 (1 year ago) Permalink

does the suicide bomber still blow up the store if he gets the millionth customer award? tune in next week folks

r|t|c, Wednesday, 2 May 2012 20:57 (1 year ago) Permalink

1 month passes...

53. Nick Hannam - Love You Girl

Hannam's rumbling bass-driven house remix of Thicke's "Wanna Love You Girl" is so congenial, so easy to introduce into any context and claim it has been there all along, I'm surprised it hasn't generated more momentum. On the other hand, maybe its congeniality works against it: Hannam's greatness is the kind you take for granted, he makes everything sound so easy, thoughtless even. Indeed, the specific genius of "Love You Girl" is realising that, while Thicke's vocals capture perfectly that vibe of murmuring romantic bs on the edge of sleep or waking up, the Neptunes' chilled production was still not chilled enough. So while "Love You Girl" is a bit faster than the original, it appropriately manages to feel more lethargic, more sluggish and enervated. Hannam has one great trick - or two, perhaps, but we'll come to the second in a bit - being the way his quiet bass riffs always seem to suggest something more exciting around the corner that never quite arrives, but instead hangs over the tune like portentous thunder clouds. That's the difference between lethargic and lazy: "Love You Girl" is a lion on a hill, considering whether to pounce. UPDATE: Hannam's 2012 "hit" "You Want Me" is just as good if not better, and listening to it together with "Love You Girl" confirms that Hannam's second trick is his great appreciation for vocals declaring depthless obsession while sounding like they're lying on hotel beds by themselves watching adult movies.

52. Denyque - When We Touch

Given the ubiquity of Dawn Penn's "No No No", it's surprising that you don't see more lugubrious female reggae-pop rising to the top (or at least middle) of the charts; who could deny those luxurious vybez? "When We Touch" is a bit smoother and shinier than that, more depressive than mournful, but its neatly packaged heart rests in the same place, its lilt and soft bounce speaking of desire and disenchantment and the desire that survives beyond disenchantment, worming its way through yr heart long after its final destination has skipped town. I like how sculpted "When We Touch" is (so sculpted in fact that it's hard to believe the arrangement supports a host of dancehall performances - I have banished all memory of alternate versions from my mind in some meaningless pledge of fidelity to Denyque), its urgency and bite deriving less from Denyque's restrained emoting than the calm, studied pirouettes of her auto-harmonised choruses, Denyque a ghostly everywoman simultaneously speaking from and to every listener. "I know that it's wrong to love you / so why can't I just let go of you": pop is rarely so eloquent as when it captures the longing that the singer cannot understand, the touch that you shrink away from but still slide towards again and again.

51. Mano Le Tough - Let's Not Talk About Love

So much Le Tough to love in 2011, but "Let's Not Talk About Love" towered above nearly every other contender (by Le Tough or by anyone else) by virtue if its sheer nonchalant perfection. And perhaps by virtue of this thing that Le Tough does that I think deserves special mention: at 1:25 of this already supremely sexy house tune there arrives a kind of metallic synth riff echoing and scraping in time and in tune with the bassline in a manner that somehow becomes the unlikeliest of oversexed seduction routines in a year with a fair number of them. Less than a minute later Le Tough grows bored of this (never mind that it's one of my favourite "sounds" of 2011) and opts for twinkling steel drums instead. Whatever particular foliage it pushes to the front, "Let's Not Talk About Love" simply takes for granted that you've already swooned, already succumbed to its charms such that it no longer has to work for your attention. I'm tempted to use the word "swagger", but even that suggests a certain energetic effort that is out of step with the unconcerned glide Le Tough adopts so naturally and so effectively here. Even the title's polite demurral carries a coy double meaning: this music hardly needs to talk about love when it wins it so easily. My only regret is not having heard the tune played out, as that metallic scrape-riff would be perfect for shape throwing.

50. Todd Terje - Snooze 4 Love

"Snooze 4 Love" slides forward without friction, even its ear-tickling delays and hesitations only reinforcing the sense of the ground flowing inexorably beneath and behind you, the tonal colour of trees and stop signs and houses and people whipping past the car window, their immediate obsolescence even as they first come into view simply underscoring the importance of the journey itself, on which there are no breaks or detours or diversions. Given the majesty of Gottsching's "E2-E4", you'd think there'd be heaps of miniature tributes along these lines (at or about the original's becalmed tempo, at any rate), except that "Snooze 4 Love" actually reminds me that Underworld (used to) do this quite often, by virtue of sounding something like a missing link between those two points, all surround-sound panoramic vision and house-as-trance-as-inevitability, dance music's logic of build-ups and breakdowns submerged within an endlessly unfurling vista, a descent into a sun-filled valley in the middle of winter (has this tune been optioned for a car advertisement yet?). The only real problem with "Snooze 4 Love" is that it reminds me of my latent desire for oxycontin, which re-emerges any time I lie on my bed, dead tired, and listen to tunes like this. Luckily then this is filled with moments - like when a resonant horn line is dispelled like mist by the reemergence of the throbbing bassline - that provide their own sense of chemical immersion.

49. Fatima Al-Qadiri - D-Medley

"Vatican Vibes" may be the most startling, fascinating Fatima tune, and the one that caught my ear first and hardest, but "D-Medley" has been the tune that I've continually returned to. In part, for how in its twinkling, chiming simplicity, it imagines so many alternate universes simultaneously: LTJ Bukem making gothic ambient, perhaps, or Bel Canto discovering the Caribbean some seven years before they actually did (seriously, this could be the great lost instrumental from White-Out Conditions). In a crowded field of post-grime-whatever practitioners Fatima is distinguished by her lack of fear of big, solemn gestures, and "D-Medley" is Fatima at her most solemn, the rippling steel drum melody and choral harmonies and ominous bass thrums evoking a sense of the world's hugeness and terrifying indifference to your fate with a precision that never feels like precision (after all, in its indifference the world cares not whether and how you perceive it). It's the kind of music that demands fruity critical overreach: imagine being trapped in a snow-storm on a glacier, or lost in an endless underground cavern surrounded by glowing stalactites. The very fact that "D-Medley" demands this kind of reaction perhaps rightly prompts a certain skepticism, a desire to resist the premeditated strategy behind its charms. But I've never claimed to be a strong person.

Tim F, Sunday, 3 June 2012 05:30 (1 year ago) Permalink

:-)

Just love love love reading these.

tim you should totally try and get paid for this, i've always been amazed that you put so much effort in for free.

Surely there is a kickstarter project in this?

toby, Sunday, 3 June 2012 14:24 (1 year ago) Permalink

The wait has been so epic this round, but still worth it!

MikoMcha, Sunday, 3 June 2012 14:49 (1 year ago) Permalink

thx tim!

just sayin, Monday, 4 June 2012 10:38 (1 year ago) Permalink

echoing the love

Fas Ro Duh (Gukbe), Monday, 4 June 2012 15:49 (1 year ago) Permalink

Also this:

The only real problem with "Snooze 4 Love" is that it reminds me of my latent desire for oxycontin, which re-emerges any time I lie on my bed, dead tired, and listen to tunes like this. Luckily then this is filled with moments - like when a resonant horn line is dispelled like mist by the reemergence of the throbbing bassline - that provide their own sense of chemical immersion.

I haven't wanted any oxycontin since I threw away the last of my post-surgery ones two years ago, but this almost makes them tempting again.

toby, Monday, 4 June 2012 16:55 (1 year ago) Permalink

48. Nadia Oh - Taking Over The Dancefloor (Kate Middleton)

Probably my most hated act of the 00s was Vandalism, a local post-electro-house duo who took the affected disaffection of Who Said Funk's already-dispiriting "Shiny Disco Balls" to a grim and gruesome nadir with the bored, nasal recitations of their irritating debut "I Might Like You Better (If We Slept Together)", the painful intensification of the blueprint on follow-up "Smash Disco" and the apocalyptically awful zenith of "Creeps (Get On The Dancefloor)", the capacity of which to harangue the listener while still sounding utterly disinterested in itself making it a deserving nominee for the decade's worst tune, worse still because, by mutilating the barely-dead corpse of Steve Bug's remix of Freaks' "The Creeps", Vandalism managed to compress an entire depressing three-book tale of electro-house's decline and fall into four grisly minutes. Here we must distinguish between affected disaffection - the limited creative potential of which the past decade has thoroughly depleted - and the disaffection of the singer who doesn't realise they're meant to sound like they care. This too must be distinguished from the further avenue of affectlessness - the sheer absence of emotion one hears in some (though only some) post-autotune pop, which can seem to move beyond questions of caring or a lack thereof - leaving us with a surprisingly thin strip of pop where the singer actually sounds like they'd rather be sleeping off their comedown (even Paris Hilton mined this territory only occasionally). What makes Nadia Oh appealing to me is how effectively her nonchalance walks the tightrope between disaffection and affectlessness, her robo-frankenstein's bride chants of "we gon' take your money", "throw your wallets in the sky" and "SWAG!" suggesting she's "just like that", the kind of person who says everything in a voice implying sarcastic deadpan even when she's being totally sincere. In fact Nadia still might not be that appealing except that her persona offers the perfect foil for the euro-moombahton backing track, its efficient compression-packed travel bag of whistles and sirens and handclaps and rave synths and most of all its monolithic yet slothful beat suggesting a dance that goes through the motions in a manner that ought not be satisfying but absolutely is. And even leaving aside all of the above, "Taking Over The Dancefloor" would deserve this position due to the marvelous yet too-brief new keyboard melody that lays siege to the outro.

47. Vybz Kartel - Coloring Book

For the most part I was left a bit cold by Vybz's swing circa Pon Di Gaza towards downbeat but sweet autotuned balladry, not so much in and for itself but because over multiple tracks (and especially in the context of an entire album) I find the cumulative effect kind of oppressive (and certainly depressive), the moistly thick plod-throb of the riddims and Vybz's dreary half-sung melodies always putting me in mind of that suffocating, disoriented feeling I get after falling asleep in the afternoon. "Coloring Book" is in this vein yet not, its stuttering piano groove and eerie violin sweeps thoroughly lachrymose and yet utterly sharp and crystalline, the sadness now piercing and even chilling. It's matched well to Vybz's ambivalent ode to his tattoo obsession, which peddles a sad tale of addiction even as it implores listeners to get their own inks. "When the tattoo needle start fi bun / Mi kill off the pain with Street Vybz rum" he quasi-boasts in deadened fashion, but he also seems to need the pain: "Stylist push the needle through the epidermis / hotter than a macka hype bun you like a furnace / pretty when it finish but it hot when it a service / you only hear the needle go so "eeennn" and get nervous / from me start me cant stop, everyday me say dis a last two..." As much as anything, "Coloring Book" derives its power from Vybz's vocal range, veering from deep baritone to adenoidal tenor and back again as if to observe his fixation from every possible angle, from pride to anxiety to hardened bossman indifference. And if he wasn't truly scared of himself, why did he choose to tell this story over such a consummately melancholy riddim? Whatever his motivations, "Coloring Book" is one of very few tunes of last year that can leave me feeling sad some time after it finishes.

46. Groove Theory - Tell Me (George Fitzgerald Remix)

I always adored the louche grace of the original "Tell Me", which never fails to bring to mind Amel Larrieux in the video clip, bobbing her head and swinging her hands back and forth in almost absent-minded time with the beat. Aside from the fact that it's a great song, "Tell Me" doesn't necessary seem like the perfect fit for a post-dubstep syncopated house reworking (if you'd pitched it to me I would have been slightly scared), but from its first seconds - the insistent kicks, the gorgeously throbbing synth-chords, Amel's slightly pitched up vocal now signifiying impatient need as much as boundless generosity - Fitzgerald's effort is so thoroughly right-seeming that even the memory of doubts is banished alongside the doubts themselves: this was always meant to be, and always meant to be perfect. Much like the 2012 work of Disclosure, Fitzgerald's bubbly, hesitant remix offers yet another reimagination of the meaning of "garage", its trebly delicacy and pillowy atmospherics and sensuous, meticulously timed percussion (the hi-hats alone are unbelievably beautiful) simultaneously recalling Deep Dish's remix of De'Lacy's "Hideaway" and Dreem Teem's remix of Amira's "My Desire" in its evocation of an intoxicating vulnerability, a desire constantly falling forward yet deeper into itself, Amel's sighs laying her bare before you while the music promises understanding and empathy without limitation. There's nothing street about it: just desire as champagne bloodrush, ecstatic and overwhelmed and utterly impossible.

Tim F, Monday, 18 June 2012 13:33 (1 year ago) Permalink

SWAG!

karl...arlk...rlka...lkar..., Monday, 18 June 2012 23:41 (1 year ago) Permalink

5 months pass...

only 45 left to go!

D-40, Sunday, 25 November 2012 22:41 (1 year ago) Permalink

r|t|c, Sunday, 25 November 2012 22:46 (1 year ago) Permalink

the worst thing is that it's always tim's MOST FAVOURITE tracks that get shafted

#YOLO ONO (lex pretend), Monday, 26 November 2012 12:50 (1 year ago) Permalink

heh i'm sure tim's wouldnt have been boring but generally this dreary awards season would most likely be much improved if everyone were forced to only discuss their top 20-50

r|t|c, Monday, 26 November 2012 15:45 (1 year ago) Permalink

probably true of every year really

#YOLO ONO (lex pretend), Monday, 26 November 2012 16:06 (1 year ago) Permalink

Let's get 2011 out of the way. This is just what the balance of my 2011 list has been since the beginning of the year, haven't really thought about its currency now but it looks pretty sympathetic to Nov 2012 me:

1. Diddy-Dirty Money - Sade / No Ordinary Love
2. Beyonce - Schoolin Life / Countdown
3. Fuzzy Logick ft. Myshy - Playground
4. Toddla T - Take It Back (Dillon Francis Remix) / CSS - Hits Me Like A Rock (Dillon Francis Remix)
5. Nicki Minaj ft. Esther Dean - Super Bass
6. Gucci Mane - Brrr! (Supa Cold)
7. Funkystepz - Warrior + various remixes eulogising
8. Konshens - Nuh Pull It Up
9. Ill Blu - Monsta
10. Laza Morgan ft. Mavado - One By One
11. Royal-T - Cool Down
12. Desloc Piccalo ft. Adiah - Drums
13. Artful - Could Just Be The Bassline (ArtOfficial Club Mix)
14. Schoolboy Q ft. Jhene Aiko - Fantasy
15. Britney Spears ft. Nicki Minaj & Ke$ha - Till The World Ends (Remix)
16. Purpl Pop - The Way (The Living Graham Bond Dub)
17. S.E.C.T. ft. Ben Westbeech - In The Park
18. Kelly Rowland ft. Lil' Wayne - Motivation
19. Terror Danjah ft. Ruby Lee Ryder - Full Attention
20. Dead Rose Music Company - Never Gonna Stop
21. Don P The Panhandle King - Gone Do
22. Dawn Richard - Broken Record
23. Busy Signal - Pon Dem
24. Meek Mill ft. Rick Ross - Ima Boss
25. Invisible Conga People - In A Hole
26. Cherine Anderson - Make Up Sex
27. Champion ft. Ruby Lee Ryder - Sensitivity
28. Toi - You'll Be Mine
29. Alexis Jordan - Good Girl
30. Matthew Kyle - Off My Mind
31. DJ Q ft. Louise Williams - Over Me
32. Jordanne Patrice - Ready When Yuh Ready
33. Benoit & Sergio - Everybody
34. Pitbull ft. Ne-Yo, Nayer & Afrojack - Give Me Everything
35. Natalie May - Clothes Off
36. Tanya Stephens - Shame On You
37. Selena Gomez & The Scene - Love You Like A Love Song
38. Jesse Boykins III - I Can't Stay
39. Lloyd ft. Awesome Jones - Cupid
40. S-X - Wooo! Riddim (DJ Q Refix)
41. Aisha Davis - My Loving
42. JoJo - Marvin's Room (Can't Do Better)
43. Scottie B ft. Jae Elle - Feel Nice, Feel Right
44. The Wideboys - Shopaholic (Future Garage Remix)
45. Popcaan - Raving

I post this despite thinking that lists by themselves are kinda boring, so if anyone actually wants a spiel for any of these in particular let me know.

Tim F, Tuesday, 27 November 2012 10:45 (1 year ago) Permalink

Nick Hannam & Tom Garenett ft Tom Zanetti - You Want Me
Terri Walker - He Loves Me (Artful Mix)
Pyper ft Kt Forrester - Dagger To The Heart
Vybz Kartel - Lip Gloss
Tanya Stephens - Take Good Care Of My Man

yeah can you do these please :]

r|t|c, Tuesday, 27 November 2012 11:04 (1 year ago) Permalink

Haha, there's a reason I'm getting 2011 out of the way.

Tim F, Tuesday, 27 November 2012 11:30 (1 year ago) Permalink

lol knew you'd bottle it

r|t|c, Tuesday, 27 November 2012 11:34 (1 year ago) Permalink

that finneyana reign just wont let up

r|t|c, Tuesday, 27 November 2012 11:38 (1 year ago) Permalink

Ha. Selfishly wouldn't mind a gloss on the Dillon Francis, as I didn't see many others write about moombahton (didn't catch on around here, and I think uh trap has colonised any potentially sympathetic spaces). & "One By One" for general life-affirmation.

etc, Wednesday, 28 November 2012 01:21 (1 year ago) Permalink

lol xp

flopson, Wednesday, 28 November 2012 14:59 (1 year ago) Permalink

Don P The Panhandle King - Gone Do

Wish I could find an MP3 of this. Great track.

MikoMcha, Wednesday, 28 November 2012 19:35 (1 year ago) Permalink

shoutout to brainwasher for that 1

D-40, Wednesday, 28 November 2012 20:43 (1 year ago) Permalink

Yeah Deej hipped me to that, it was the last thing I heard to make my list I think.

Tim F, Wednesday, 28 November 2012 21:05 (1 year ago) Permalink

2 weeks pass...

So, 2012...

MikoMcha, Tuesday, 18 December 2012 12:15 (1 year ago) Permalink

Coming.

Tim F, Tuesday, 18 December 2012 13:23 (1 year ago) Permalink

looking forward to it!

toby, Tuesday, 18 December 2012 13:45 (1 year ago) Permalink

you should try to get a publication to pick up on it tim - 1) it's good enough (obviously) 2) it feels weird and wrong expecting someone to be doing something this detailed unpaid 3) it would make you finish it

lex pretend, Tuesday, 18 December 2012 13:47 (1 year ago) Permalink

kickstarter

― frogbs in the trap (J0rdan S.), Tuesday, May 1, 2012 5:00 PM (7 months ago) Bookmark Flag Post Permalink

print & bind them & ship them by march 2013 along w/ an accompanying youtube playlist or w/e and i'm in for... $20? $30?

― frogbs in the trap (J0rdan S.), Tuesday, May 1, 2012 5:01 PM (7 months ago) Bookmark Flag Post Permalink

❏❐❑❒ (gr8080), Tuesday, 18 December 2012 18:35 (1 year ago) Permalink

^ cosign.

toby, Tuesday, 18 December 2012 21:49 (1 year ago) Permalink

Yeah, feels weird sort of harassing you for it, but it's clearly a highlight of the EOY... I would pay for the zine version.

MikoMcha, Tuesday, 18 December 2012 23:23 (1 year ago) Permalink

I would pay $s for just an emailed version (with e.g. youtube links for listening). But yes, obviously this is a bit weird, apologies etc.

toby, Tuesday, 18 December 2012 23:32 (1 year ago) Permalink

Basically my aversion to that kind of thing is the need to organise myself. The level of organisation required at work is already almost more than I can handle.

However I have been thinking of some sort of zine idea for a while, not for this EOY but for something next year.

Tim F, Tuesday, 18 December 2012 23:50 (1 year ago) Permalink

3 months pass...

man richelle are still something else... you hear album upon album less transportive than these here 5 minutes

r|t|c, Saturday, 23 March 2013 22:59 (1 year ago) Permalink

2 weeks pass...

Tim do you like 'Drink and Rave'?

Matt DC, Thursday, 11 April 2013 18:02 (1 year ago) Permalink


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