So I promised more music, and less of me waffling on about all my mischief, so I feel now is the time to just unload all the tunes I've been rinsing lately and put them all up for your enjoyment. I would like to think of it as a little gift package, and a thank you to those who have been reading, and hopefully will continue to read SOTW. We are approaching our year 1st birthday soon and so far our humble little blog has gone from strength to strength. Our mission has stayed the same since day 1: to provide our small, focused and intelligent audience with regular updates on the developments in the electronic music scene, from two people who are a little obsessed with it.

I'm sure you'll find something in this selection to fall in love with, some of these tracks go back a month or two but are still all doing the rounds in sets all over the place. Unfortunately, none of them are the track in the video above, which was taken at fabric's birthday weekend last year during Damian Lazarus's Sunday evening set. It took a while to have any idea what the first track was (the second track is Russ Yallop's I Can't Wait), and still nobody can be totally sure, but I'm 90% certain it's called Much Too Much, by Art Department and it will be included in their forthcoming album, due to be released in late April. Why do I think this? Well a couple of good reasons I believe: Firstly, as a DJ, Damian Lazarus certainly doesn't hold back using his label's finest output, which although could come across a little self-indulgent, you can hardly blame him considering the ridiculous success of Crosstown Rebels. It's worth noting he also dropped this when he appeared at Eastern Electrics NYE party. Secondly, listen to the lyrics: "Love you, love you, love you, love you much too much", and on Art Dept's album there is track called Much Too Much. Those clues are enough to convince me, but either way I can't wait much longer for this, another early contender for one of the year's best tracks, whatever it is.

Anyway, without further ado, here's the best of the last while.

Afrilounge - Lux Dementia (Not at all new I'm aware, but it's inclusion in Steve Bug's fabric mix, who I'm seeing tomorrow night, has rekindled my love for this classic)


Cut Copy - Take Me Over (Mylo Remix)


BeatauCue - Behold


Random Factor - Convergence


Benoit & Sergio - Walk & Talk


Geddes & Alex Jones - Tubular (Lauhaus Remix)


Ernesto Ferreyra - Letting Go (Guillaume & The Coutu Dumonts Remix)


Jay Haze & Ricardo Villalobos - The Darkest Disco


Agoria feat. Carl Craig - Speechless


Freaks & 012 - Conscious of my Conscience (Dubstramental)


Maya Jane Coles - Play The Game


Frivolous - Back Into The Deep


Steffi feat. Virginia - Yours


Tame Impala - Why Won't You Make Up Your Mind? (Erol Alkan Rework)


dOP & Seuil - Prostitute (Visionquest Remix)

I couldn't think of a better way to welcome back Now We Rave and its eleventh installment, as always bringing you the very best filthy, abrasive, synth-heavy electro sounds of now. I'm also going to use this as an opportunity to discuss the events of last night, which involved me, Chris and most importantly our old friend Erol Alkan at Kill Em All in fabric, in what was a classic rave of pure maximal electro/techno pleasure on Chris's birthday, to make things a bit more of an occasion.

Despite my roots in electronic music owing a lot to the noisy, savage electro from the likes of Justice, Boys Noize and SebastiAn, I would be kidding myself if I said I went to many events with this sort of flavour anymore. It's not that my love for the style has at all diminished , in fact my passion for good electro productions remains as strong as ever, but the intense nature of the style makes it difficult to keep going back for more, which is perhaps why I now see electro nights as something of a treat. While my doses of more minimal beats is ten for a penny these days, being reunited with the old electro kings such as Erol, is something I can never contain my excitement for. Maybe it's just nostalgia, and the associations I make with the sound and the DJ's I first really fell in love with, but whatever the reasons are, a good old-school electro rave is simply unbeatable, as the Filthy Dukes proved once again last night at fabric with their Kill Em All residency.

Very rarely do I step foot inside fabric on Friday nights anymore. This is not just down to the style of music pushed by the club on Fridays, but also because of the awful crowd that gather there too, who I blame entirely for the theft of my iPhone when I reluctantly agreed to go with friends from university sometime towards the end of last year. It does baffle me that for a club I couldn't possibly love any more on Saturdays, I actually genuinely dislike it on Fridays. There is one exception to this though, and I thank Tim Lawton and Olly Dixon of The Filthy Dukes who since they began their quarterly residency at fabric have provided me with at least one Friday every now and again I can fully trust to give me a top quality electro fix.

So far they have not once disappointed, with the two events last year I attended being nothing short of complete successes. Guests such as Four Tet, James Holden, Gold Panda, Floating Points, Carte Blanche, Jamaica and Brodinski among many others made sure that all angles of the indie-electronic spectrum were covered, while the Dukes themselves ensured their sets remained consistently fresh and exciting. It was in their Room One set last Autumn that I was first introduced to one of the year's biggest hits, Tensnake's sensational Coma Cat. For their first event of 2011, as they did at almost the identical time last year, the duo enlisted Erol Alkan to headline, with Paul Chambers in Room One, while over in Room Two, Hey Today! and Shadow Dancer were the pick of the bunch.

By the time we arrived at fabric, our childish excitement got the better of us at first as we were embarrassingly refused entry for apparently being 'too drunk'. Co-operating wholeheartedly with the fear of not getting in at all, we returned soon after, as suggested by the door staff and made our way to Room 1 where Erol was soon at the helm once again. Now I can't say I can recall much in any great detail, by this time I was well and truly in the rave spirit, but I remember Erol laying down a typically magnificent two hour set of classic, top-quality electro with plenty of his own acclaimed productions with Boys Noize used. Having lived in London for the best part of 4 months now, if there's one thing I can be sure of it's that Erol Alkan is one of this city's most celebrated and respected DJ's and events with his name in are almost always sold out. If fabric was not at its capacity during his set then it wasn't far off as a densely packed Room One leaped about wildly to all the devastating bombs Erol had up his sleeve. It didn't take long for him to unleash his recent edit of 2009's Death Suite he created with Boys Noize, something we confidently anticipated after recently (and technically prematurely) acquiring Boys Noize's new Super Acid Compilation. The edit is arguably the star track, giving far more dance potential to the original with a more solid, regimented beat and it was obvious to me and Chris that Erol would be desperate to road test it on Room One's soundsystem. When he did, it received a predictably raucous reception, the edit proving to be one of the night's special moments. Other highlights included the compulsory Pacha On Acid that never fails to reek havoc, and both Lemonade and Avalanche, two of last years greatest releases from Erol and Alex.

It was an unforgivably maximal affair that epitomized the thrilling nature of when Kill Em All arrives at EC1. After bouncing around feverishly to every explosive drop in Room One for a duration I'm unsure of, we made our way to the rumbling smoky chasm of Room Two where German duo Hey Today! were delivering a searing session of more merciless electro-techno. The experience was essentially a blur, but I recall genuine euphoria and a frenzy of embraced arms and bodies with my companions when we sensed Boys Noize's Yeah gradually sizzling in from those gargantuan Martin Audios. This was followed immediately by Hey Today's own bleepy electro cut Talk To Me which elicited poor attempts of trying to recite the elementary lyrics from me and Chris. We finished off what had been nothing short of splendidly hazy night back in Room One where resident Stopmakingme kept things moving right until lights-up with more fantastic synth-heavy beats. One tune that made a lasting impression on me, due to the instantly recognizable Twin Peaks sample used, I soon discovered was an obscure little number called Stop by an artist called Dekker. I knew it definitely wasn't Moby's rave classic Go that I was aware used a TP sample, but I made it my mission to find out what it was and thanks to the Filthy Dukes' willing assistance I managed to track it down. Unfortunately it's unreleased as of yet, but enjoy this magnificent production on Dekker's myspace page.

As way made our way out at what I believe was a time close to 7am, I felt undeniably shattered yet remarkably energized. I forgot why I loved the brutal sound of electro and why I was hardened electro-kid not too long ago, but this night reminded me exactly why. Maybe this is why it's such a treat these days.

MUSIC Please...?


As I mentioned earlier in this post, Boys Noize has just released his Super Acid compilation- a collection of the finest and rudest acid techno he and his friends have been destroying dancefloors of late. You would have had to have been hiding somewhere pretty remote to not have noticed the burgeoning trend for the acid sound last year, and Boys Noize has certainly not hidden his passion for this classic style with several of his productions and pretty much all of his sets last year littered with that notorious squelch. His tribute compilation is a perfect collection of ravey acid cuts from the likes of Jan Driver, Brodinski, Feadz and Erol Alkan, who's also aforementioned edit of Death Suite is arguably the show-stealer of the compilation. We have it, but its official release date isn't until next Monday, so until then we'll leave just a couple of tracks to whet your acid appetite...

Joakim & Krikor - Azid


Erol Alkan & Boys Noize - Death Suite (Erol Alkan Edit)


Super Acid compiled by Boys Noize is out on 31.01 on BNR - available on Beatport

Keeping things BNR focused, Shadow Dancer has just released his new 5 track EP Murder Room. The title track is a typically sharp, ruthless electro outing, with plenty of top-quality rave credentials, but we like the far more disco-themed Parallax which is sure to get hands in the air. Available now on Beatport.

Shadow Dancer - Murder Room


Here's a few more bludgeoning bombs that have been incessantly irritating my neighbours and frying my ears of late. All three have interesting stories behind them: Falcon Punch comes from The Japanese Popstars latest EP titled Controlling Your Allegiance and is yet another demonstration of the Irish act's proficiency in producing savage yet often quite interesting work. If you haven't already been exposed to the hype surrounding the release of David Lynch's new two track EP Good Day Today / I know then it's worth checking what all the fuss is about, especially as Alex Ridha (yes, him again) among several others has remixed Good Day Today. And finally Jori Hulkkonen's dub mix of Villa Nah's All The Days is another gem from Turbo Recordings.

The Japanese Popstars - Falcon Punch


David Lynch - Good Day Today (Boys Noize Remix)


Villa Nah - All the Days (Jori Hulkkonen Dub Mix)

So we've named our top events of 2010, and also our favourite DJ sets of the year but now we start to tackle the most important aspect of any party, any event: the music. Compiling our top 25 remixes and our top 25 tracks of the year was far from an easy task. Horns were locked between me and Chris on several occasions, as you can expect. Despite having remarkably similar musical radars, inevitably we both had our own ideas about what tunes should be featured in these posts. The rate at which we acquire music I can assure you is actually quite overwhelming at times, and actually listening to all of it is near impossible. The result of this is that we are often listening to different things and so therefore stumble upon different tracks of distinction. There were a certain number of tracks that planted themselves in our list with no discussion necessary, simply because they were undisputed works of pure genius that you would find difficult not to find in any list of similar nature, but the aim of our list is to provide what we thought were just great productions from the past year. Free from bias, prejudice and bandwagons, this is a completely honest and independent review. Some of them may come as a surprise but we will do our best to explain why they made it into our top 25.

We'll start with remixes. Electronic music is as rich with remixing as it is with original production, it's part of the game. But surely the guiding philosophy of a remix is to simply make the original even better? In many cases this is strikingly evident and we wish to pay tribute to the creativity of those who have tweaked, twisted and turned a good track into a great one. Boys and girls, SOTW's top 25 remixes of 2010...

25. Nelski - Body Pop (Radio Slave Remix ft. Thomas Gandey)


Like a huge number of great songs, this one starts with an incredibly simple idea that slowly develops into something quite brilliant. Straight from the 3 note piano riff that begins the 11 minute neo-jazz tech house voyage, it is obvious that the original had really been raised to new levels of contortionism by the veteran producer as there really are no apparent similarities between this masterful take and the original, which in this case can only be a good thing.

24. LCD Soundsystem - I Can Change (Tiga Remix)


Tiga has certainly been a busy boy this year, programming a show-stopping global tour with Planet Turbo while steering numerous releases on his Turbo Recordings label to underground acclaim (see Gesaffelstein, Sei A and Azari & III among others). But he has also honed his remixing skills, the best being his take on LCD Soundsystem's I Can Change. Keeping James Murphy's instantly recognizable lyrics, Tiga sharpens the synthetic qualities of the original, adding more bass and a few typically Tiga touches, making the whole thing even more energetic and danceable.

23. Crookers feat. Yelle - Cooler Couleur (Junkie XL Remix)


Listening to the original of Cooler Couleur you would be forgiven thinking it wasn't the work of Crookers at all. Where was all that electro-fidget noise? Junkie XL obviously decided a makeover was in order and squeezed all that Kitsuné charm out and replaced it with a stomping bassline and a monstrous electro-guitar riff that was a huge hit over the summer with the likes of Erol Alkan and other kings of electro.

22. Friendly Fires vs. Aeroplane - I Crave Paris


Not strictly a remix, but when Aeroplane smudged their fingerprints all over Friendly Fires' stand-out track from their last album Paris, one of the year's most beautiful, elegant and inspiring collaborations was born: I Crave Paris. If the original didn't make you want a weekend break in the French capital then this will do exactly what the name suggests. The main synth-line from the original is taken, chopped up only slightly and laid crisply over a trademark groovy disco-house bassline courtesy of the Belgian duo. Together with some sensual female vocals and it's a thing of total beauty.

21. Swedish House Mafia - One (Congorock Remix)


Swedish House Mafia's ridiculously huge summer hit One became boring as quickly as it became really good. In short it desperately needed to be remixed if it was to survive the test of any length of time beyond Ibiza season. It was a perfect canvas for remixing too with those big synths and even bigger drops and crescendos and no one took advantage of this better than Congorock. Taking a chainsaw to the whole thing and slicing it into savage, dangerously sharp shards, what was left was an even bigger, scarier and lets face it uglier shadow of the white-suited, Ray-Ban wearing original, and that is exactly why we love it. It filled all the wholes the original had created for itself with such a mainstream persona, producing something that was ready for the most daring, most brutal of dancefloors.

20. Emmanuel Jal - Kuar (Olof Dreijer Remix)


The general consensus seems to say that the Henrik Schwarz remix of Emmanual Jal's Kuar is the favourite of the two released on the EP, but we like Olof Dreijer of The Knife's version. Buzzing and bubbling with so much energy and enthusiasm, the remix is classic Dreijer with so many influences from his time as one half of the Swedish electronica duo. The child-like African chanting of the original is kept, but Dreijer lays down a splendid bassline made up of steel drums and other beefy percussive elements, resulting in a genuinely unique and refreshing approach to the whole thing.

19. Uffie feat. Pharrel - ADD SUV (Armand Van Helden Club Mix)


Yes it may have been played in some of the country's notoriously shit mainstream clubs, but Armand Van Helden did a fine job of turning Uffie's electro-pop-hop release from her debut album into a massively danceable summer house banger. Pounding bassline, cleverly rearranged lyrics and some sparkling extra synth work made this one of the year's undeniably biggest hits.

18. Gonzales - Never Stop (Erol Alkan Rework)


Once again Mr. Alkan sprinkles his magical reworking skills all over a Gonzales classic. Chewing up the vocals into a distorted chant that often gets full crowd interaction, Erol turns the original into a funky number that is almost faultless.An incredibly bouncy, driving bassline with a synth ready to shock your grandmother, the usual intimidating Erol snare rolls and a lead line that never fails to shape a smile. Oh and it was released on gold vinyl.

17. Para One - Kiwi (Noob Remix)


Sound Pellegrino have had a fantastic year, that's for sure and Para One's Kiwi/Toadstool EP was one of their finest products, but the person really responsible for this was the mischievously brilliant Noob. His adaptation of Kiwi is something both me and Chris still marvel at even now, about 9 months on from its release. We're still yet to hear tech house as relaxed and humourous, with Noob's trademarks all over it. Littered with so many daft, hilarious, cheeky, wonderful little sounds on top of a seriously groovy bassline, it was destined to go down well, but going on a year and it still sounds as good as ever... It's everything a remix should be in both spirit and concept.


16. Fever Ray - Seven (Seth Troxler Remix)


As brilliant as Fever Ray's intensely personal, melodic electronica is, it's not really dance music. Not that this is a problem, her live shows have demonstrated how effective her music is for a large audience, but then they weren't on a dancefloor in the truest sense. There have been several remixes of Seven, taken from her groundbreaking debut album, but by far the best effort came from one of the more unlikely candidates. I could never see Seth Troxler even listening to Fever Ray, let alone taking the time to actually remix it, but I stand corrected as the party animal morphed the atmospheric original into a glorious swaggering house gem.

15. Cassius - 1999 (Tim Green Remix)


2010 marked the return of Cassius. Zdar and Boombass joined forces with Busy P and Justice to form Club 75 which swept Pacha Ibiza away in the summer, they released a brilliant new EP on Ed Banger, but what possibly really got their name on the tip of people's tongues again was Tim Green's resurrection of the classic 1999. The original was Cassius at their French Touch best, but TG stepped in and decorated it with a gorgeous tech house bassline and all of a sudden Cassius were once again back in the house.

14. Tiga - You Gonna Want Me (Hey Today! Remix)


We debated long and hard where to place this in our top 25 remixes, but we decided that quite high was about right. Ok Tiga's original is an electroclash classic and this remix removed that brilliant, fizzing bassline we loved it so much for, but Hey Today! have still managed to treat it in a genuinely daring and interesting way. Although it is predominantly just loaded with various layers of high-octane, chopped-up synths, the short break around midway where Tiga's immortal chorus from the original filters in is what makes this a truly stand-out remix of the year. It helps that it was also a staple of one of the years greatest tour of parties, Planet Turbo.

13. Murphy Jax feat. Mike Dunn - It's The Music (Alden Tyrell Remix)


Acid. The sole notion of that oh so sweetly unique musical reverberation is enough to get me itching to hit an underground party. Alden Tyrell's remix of Murphy Jax's It's The Music has one of those delicious acid-laced basslines that provide overwhelming dancefloor satisfaction. On top of that it's punchy and engaging at heart and with the welcome inclusion of the original lyrics, which are are as poetic as you'll find in a track drenched in the acid synth.

12. Radio Slave - I Don't Need A Cure For This (Kenny Larkin Remix)


Oh the Kenny Larkin Remix of Radio Slave's I Don't Need A Cure For This. Whether you already know it or not you've most likely heard this dropped at some point. It was a divine reshape of the deeply sweaty original, embedding those instantly recognizable piano patterns onto that surging house bassline. But what was strikingly obvious about this remix, unlike many others, was the invention and imagination behind the concept of changing the original. They are both entirely different dancefloor animals, yet still obviously feel like Slave's work. Kenny Larkin has worked wonders at creating such graceful identity to something crudely underground.

11. Gonzales - I Am Europe (Djedjotronic Remix)

Another remix infused with an addicting piano sample, this time coming from the Bordelais producer Djedjotronic. Quite easily his best work to date, which is saying a lot in itself, he takes the brilliance of the original and improves it ten-fold. If the chiming piano driven drop at the start isn't enough to invoke a plethora of smiles all around, Gonzales' novelty lyrics in the break should more than suffice.

10. Boys Noize - Sweet Light (Boris Dlugosch Remix)


Boris Dlugosch's merciless approach to dance music is something that should be totally celebrated. Boys Noize's overall mastery as a producer is something electronic music needs, so when Dlugosch decides to redesign one of Rihda's finest works, the result was always going to be formidable in our opinion. It sure was, and what came out the other end is nothing short of a superb house transformation with a shuddering, thumping main drop and squelchy bassline, but still kept those wonderful mechanical synth stabs and other glittery sounds that made the original fantastic.


9. Breakbot - Baby I'm Yours (Aeroplane Remix)


The virtually unanimous positive reception to Breakbot's summer disco anthem on Ed Banger made it hot property for remixing, but a slippery project too. Keep all the lyrics, or just the chorus? Remove all the quaintness and make it more classically Ed Banger? All these approaches were probably considered by numerous producers of various styles, but we think the best came from a pair who are disco house through and through regardless. Aeroplane's striking remix caught our attention first at EXIT when it was dropped several times. The deep, synth-heavy opening is seriously effective, but then the stomping disco bassline and Irfane's words are introduced soon after and it all feels so, so right. Aeroplane made the remix feel like the original, shaping it in such a natural, organic style but giving it slightly more muscle for the dancefloor.

8. October - That Placid (Ewan Pearson Remix)


Ewan Pearson's reputation as one of the finest remixers out there is certainly no secret. One of the most inventive, innovative and experienced producers, those who have been remixed by him should not only be proud to have been selected, but are always left with something that is always utterly compelling. Maybe this comes from Pearson's love for such a wide scope of electronic music, always eager to express his appreciation for varying sounds. His remix of October's That's Placid was a massive success, charted by DJ's from John Digweed to Boys Noize, and it's not difficult to understand its popularity. Snappy, unpredictable and ebbing with a seductively deep, strutty personality, it was both good to mix and relentlessly captivating.

7. The Gathering - In My System (Jef K System Remix)


In My System has been remixed by several others as well as Jef K, but it was this particular adaptation that was the choice of so many DJ's over the course of 2010. The first time I heard it played was by Ricardo Villalobos in fabric all the way back in March, and it subsequently caused quite a stir. Nobody knew what it was, and those soothing, repetitive lyrics were interpreted so differently by many that identity became an elusive task. After it was eventually pinned down, it was an instant favourite in the nightclubs, an exquisite work of house bliss, with anthemic, unifying effects on the dancefloor.

6. Marc Romboy vs. Blake Baxter - Muzik (Kink Remix)


Marc Romboy is no novice in rocking dancefloors. His pulsing, swaggering house belters have been doing just that for a long time, but as with even the very best producers, sometimes an outside spark is needed to really bring a track alive. Kink was that spark on Muzik, where originally Blake Baxter joined forces with Romboy, and generated a phenomenally potent remix that became a staple in sets from the likes of Tyrant (Craig Richards and Lee Burridge). Progression is the key; building and building to a frightening crescendo, the main bassline, immersed in floor-shaking sub-bass blew soundsystems all over, and those chilling lyrics that whisper all through complete a genuine blockbuster remix of 2010. But its lifespan is nowhere near over yet...

5. The xx - VCR (Four Tet Remix)


The xx may have swept all the mainstream gongs for their sensational self-named debut album, but there has been plenty of use of their tracks underground too. Jamie Jones and Tiga are just a couple of a handful of influential producers who have slapped a bassline onto the band's melodic dream-pop and created something pretty good. But there was something about the prospect of a Four Tet remix that made superiority inevitable, and sure enough we were all right. It doesn't need me to introduce Kieran Hebden as one of the most talented, creative and original producers out there (although I do every time), but for these reasons nobody else could have possibly remixed VCR better. It's still blissfully dreamy and eloquent, but given a deeper electronic backbone and not at all in a crude way, an easy mistake to make considering how perfectly brittle The xx's melodies are. So far, no remix of the band can touch Hebden's and it would be a great surprise if one ever did.

4. The Chemical Brothers - Swoon (Boys Noize Remix)


2010 also marked the explosive return of The Chemical Brothers, who were back rocking things with a new album that was an undisputed success. A fortunate bi-product of this was also that the album provided ample perfect remixing material for those able to use it properly. One of those who certainly did was Boys Noize, which was certainly no surprise to us. The Swoon Summer Mix was perhaps the tune of the summer for us, and was the highlight of Ridha's set at EXIT. It didn't change the general shape of the original all that much, nor did it inject any typical Boys Noize electro madness, but it was given so much life and energy with a several brilliant drops and other tweaked components. What we love so much about this remix is its simplicity. Rihda didn't impose the maximal techno style he so famously enjoys on the piece, with crunching, blistering synths, but just raved-up the original a bit to staggering effect. It's seriously addictive, and the original lyrics are undeniably easy to shout along to. So we did.

3. Boys Noize - Kontact Me (Rynecologist Turbine Remix)


Maybe it was because of the relentlessly intense hype prior to its release, with all the effectively edited YouTube videos, amateur footage and tantalizing speculation, but the Rynecologist remix of Kontact Me was arguably the greatest of the many, many Boys Noize remixes in 2010. Why was it so good? Because it made the original even more savage and terrifying, which we didn't think was possible to do without making it ridiculous. There is little technical analysis I can discuss regarding this particular track. It is just loaded with even more blistering heat and energy, with an even more pounding bassline, and roughly chopped up for good measure. The result: 2010's most savage electro remix.

2. H.O.S.H - Cash The Chord (Audiojack Remix)


There were only a select few in our top 25 that me and Chris agreed on with absolutely no discussion necessary. The Audiojack remix of H.O.S.H's Cash The Chord was one of those few, an attitude shared by almost the entire electronic community it seemed when it was first doing the rounds. Charted by many, and played by many more, Craig Richards and Sven Tasnadi being just two that we heard slip it in their sets, it was just simply irresistible. That gorgeous piano chord ducking in and out all the way through and that perfectly groovy tech-house bassline was enough to make it really good, but its greatest success was the break at around halfway as that piano chord suddenly becomes isolated, snowballing into a fizzing main drop that got dancefloors madly jumping about with no exceptions.

1. Four Tet - Sing (Floating Points Remix)


There is something about Four Tet and Floating Points that complement each other so well. Floating Points accurately, if not modestly describe their music as 'electronic bliss', and while Four Tet hasn't labelled his style in such a way, it could be construed very similarly. Flirting between dance music and ambient electronica, both Four Tet's and Floating Points' music is notoriously difficult to pin down, but it is this elusively dreamy sonic potion that has made almost everything the two produce utterly delectable. Remixing Four Tet is a brave thing to do, and success often depends on how well Hebden's peerless melodic imprint is preserved while the new dimension is constructed. This is where Floating Points were head and heels above the rest, not just regarding this particular track, but what we believe was any remix last year. Their remix of Sing demonstrated why producers should remix others' work. While the original quivered with all those beguiling, relentless bleeps, the remix removed that pattern and rebuilt it into an epic 13 minute masterpiece for which almost 6 minutes is technically just a build up. As I mentioned previously when I originally posted it, any track that lasts 13 minutes has to be for a good reason, and in Sing not one minute is redundant. The build up is so captivating that its actual duration is easy to forget. Every beat, every snap and all the other divine sounds that Floating Points either stitched in themselves or are kept from the original work in glorious harmony to produce something which moved me, in both an emotional sense and a physical one.

Now I know the Now We Rave series are posted at sensible intervals, like at least 5 days or so generally, however on this particular occasion there is so much to post I feel I might as well get it all out the way now. There really is so much music being released it is proving quite difficult to find time to download it all, write about it, upload it whilst preparing ourselves for University.

That aint gonna stop us trying though!

Here a few awesome tunes that have found their way into my library recently, which as you will notice excludes the recent Boys Noize EP, which you can buy here.

Firstly the two most recent:

Gonzales - Never Stop (Erol Alkan Rework)

Finally released on digital! Been kept waiting for a long time on this one. Doesn't disappoint.

Xinobi - Japanese

The man responsible for creating some of the grooviest electro/disco house returns with a new EP, released last friday. This one feels slightly darker than previous releases, more Autumnal if you will. Pick up the EP here.

The next few are really good. That's all I feel like saying.

Bird Peterson - Zutopong (Ocelot Remix)


Hey! Today - Strange (Boris Dlugosch Remix)


Drop the Lime - Sex Sax (Tai Remix)


Tai has just released a new EP with Steve Aoki. It's madness.