2010's Top 15 EPs/Singles

2010 has proved a fruitful year in terms of releases from the world of UK bass/dance music. New styles have come to the fore, as well as a handful of extremely talented producers beginning to build themselves solid reputations. As dubstep slowly branches out in an ever diversifying scene, house, garage, funky and juke have really made an impression on my tastes in this past year. Labels such as Hotflush, Hessle Audio, Planet Mu, Swamp81, Ramp, PTN, Doldrums, Well Rounded and R&S amongst others have been pushing interesting sounds, some of which occupy this list.

To mark the end of 2010, I thought I'd gather a list of my 15 (originally I planned 10 but couldn't cut the list down) favourite EPs and Singles from the year. There are many brilliant releases which haven't quite made the cut, but I believe these are the releases that have made the biggest impact on myself in the past 12 months. The list is arranged in no particular order. I had a tough enough time cutting the list down to the final 15, and I believe such an ordering would be aimless and limiting. However, I do have a top artist for the year. Although by no means a prolific year in terms of release, Peter O'Grady (aka Joy Orbison) has without doubt been the focal artist in my world this year. The man doesn't make bad records. Both his releases feature in my top 15, and if more of his unreleased workings were available, I get the feeling this list would be dominated by J.O. Doldrums are on it.

Top 15 EPs/Singles of 2010 -

Joy Orbison - 'The Shrew Would Have Cushioned The Blow' (Aus Music)

This EP still sounds just as good as it first did when released back in March. It guaranteed that J.O. wasn't here just for the one single, but that he has a collection of wonderful records that make for beautiful listening. 'The Shrew Would Have Cushioned The Blow' is more minimal than what has gone before, with a driven stripped beat, grumbling bass, accompanied by rising synths and a distant vox'd vocal sample. 'So Derobe' is outstanding. Incredible intricate percussion that leaves you completely bemused, aquatic sound synths that satisfy with every listen, and an excellent choice of the soulful Boys II Men vocal sample that compliments such elements. Essential.

Martyn - 'Miniluv' (Ostgut Ton)

A work of pure brilliance by Martyn. 'Miniluv' is almost a meeting of techno and deep house. The track begins a strong 4x4 beat and skipping techno patterns, something which animates the first 3 minutes of this track. The turning point and real beauty of this track comes just after the 3 minute mark, as a 4-note chord arrangement that wouldn't sound out of place in the realm of Detroit house begins to take dominance from the surging beat. It is without doubt one of the warmest and most alluring melody's you'll hear this year.

Addison Groove - 'Footcrab/Dumbshit' (Swamp81)

A release which announced the arrival of both Swamp81 and Addison Groove. Headhunter's juke alter-ego made one of the biggest impacts of 2010, and 'Footcrab' will be up there as one of the most played records by underground DJ's. Comprised of juke styled 808 percussion, adapted to the more UK bass friendly tempo of 140bpm, the track pounds away, continuing to keep feet moving. The rapid-fire sample that repeats 'footcrab' an innumerable amount of times will seep its way into you unconscious, and you'll soon find yourself repeating the word in very ordinary situations. 'Dumbshit' provides a strong b-side. This takes the edge ever so slightly over 'Work Them' for me.

Deadboy - 'Fireworks' (Well Rounded)

One of the most beautiful records I've ever heard, let alone in 2010. Deadboy's remix of Drake's 'Fireworks' is simply astounding. A low-swung house rhythm slowly develops beneath a soft piano arrangement, one which continues to patiently build over the six minutes. The distorted vocals provide an extra emotional layer in this soulful track, one which really does pull at the heart-strings. A thing of real beauty.

Breach - 'Fatherless' (PTN)

Who would have thought Ben Westbeech would have been responsible for one of the underground UK bass anthems of 2010? 'Fatherless' sounds like a tribal anthem, and it has certainly acted as the linchpin of many a DJ's set over the past 3/4 months or so. The rhythm is contagious, with devilish beat working up a storm, one that is dictated by swarming looped flutes and the cold vocal sample that so effectively states 'fatherless'. The b-side 'Man Up' is a very strong track that has been overlooked due to the status of its a-side. Doc Daneeka also provides a very strong remix, one which proves far more bass heavy than the original mix.

James Blake - 'CMYK' (R&S)

James Blake was always going to feature on my list, it was just a matter of which release I would select. As much as 'The Bells Sketch' and 'Klavierwerke' are worthy of places, it was always going to be the 'CMYK' EP that would get the nod for me in what is probably his most upbeat and dancefloor friendly work. The title track steals the show. Featuring a typically complex Blake beat, the track combines a rough and ready rhythm with with a repetitive piano chord arrangement. His vocal sampling of Aaliyah's 'Are You That Somebody?' and Kelis' 'Caught Out There' is almost as impressive as J.O's sampling, a selection that makes this track even more soulful. 'I'll Stay' (track 3 of the EP) is also a very impressive effort by the 22 year old, a track which his own wonderful vocals, manipulated in such a way to evoke maximum emotion, in keeping with the tracks construction.

Elgato - 'Tonight/Blue' (Hessle Audio)

What a debut release on Hessle Audio from the revered DJ, and now producer Elgato. This came out of nowhere in October to become one of the highlights of 2010. It really is an example of emotional dance music at its best for me. Both 'Tonight/Blue' are brilliant efforts, and can be placed under the house/funky bracket, although they are very considered and reserved tracks. 'Blue' is a patient 8 minute builder. Deep synth organs sit alongside a soulful vocal sample that constantly wails 'my dreams', backed by a rigid 808 drum beat and reverberating subbass. Great debut. I expect we'll be hearing a lot more from this man.

Jam City - 'Refixes' (Night Slugs)

I don't even know where to start with this one. I had an extremely hard time choosing which track to feature in the video, with each of these Jam City remixes being absolute killers. There's no two ways about it, this is one of the best EPs I've heard. Combine the brilliance of the remixes with the audacity the artist had in choosing the tracks to remix, and you can come someway to understanding why this EP is held in such high regard. Ecstasy's 'Engames', DJ Deeon's 'Let Me Bang', and Devil's 'Shut The Lights Off' all go under the Jam City refix here. And wonderfully so. You need this.

Joy Orbison - 'BB/Ladywell' (Doldrums)

Deep Detroit house vibes from J.O. I doubt there was a release in 2010 I had waited longer for (just over 8 months), but my word was it worth the wait. With this release, the second on O'Grady's Doldrums label, J.O. moves away from his previous garage/dub-house attempts, progressing towards a more Detroit house influenced sound (Parrish and Omar-S notable influences here). 'BB' is excellent with it's rolling percussion, structured 4x4 beat, dirty synth stabs and a vox'd vocal sample. However, my love is for 'Ladywell', a track so smooth and filled with emotion that you can't help but feel a connection to it. The beat swells, supported by deep kicks. But it's the retro 80s sounding chord arrangement that is introduced later, alongside the Usher 'Burn' vocal sample that really gets this track moving, something which enters full fruition once the handclaps are incorporated after 3 and a half minutes of patient build up. An absolute dream of an EP. Will Bankhead's artwork for it is almost as lovely as the music itself. Essence for you.

George FitzGerald - 'Tell Me' Remix (White)

George FitzGerald is a talented lad, something he has already proven with his debut release on Hotflush earlier in the year ('The Let Down/Weakness'). However, it was the recent white label 10" release of his remix of Groove Theory's 'Tell me' that impressed me most. FitzGerald's remix is a superb reworking of the classic 95' R&B track. The only recognizable feature left from the original is Amel Larrieux's soft vocals, which are manipulated in terms of tempo to fit the needs of FitzGerald's production. Add to the angelic vocals a swirling subbass, smooth garage rhythms, and tidy chord arrangements. George FitzGerald has a formula, one which has worked on all works as of yet.

Braiden - 'The Alps' (Doldrums)

Braiden's debut release on the Doldrums imprint has proved to be one of the biggest releases of 2010, one which obsessed many for the 4/5 months that we had to wait for it's arrival. The track first gained attention in J.O.'s Sonar set, and led to MAH pushing the track as one of the best of the year. After years of working as a reputable DJ, Rinse FM's Braiden has now taken to the production game, and he does so in a big way with 'The Alps'. The track is almost a cross between UK funky and techno, showing the wide raging styles which occupy Steve Braiden's eclectic sets. A pounding 4x4 beat, keyboard tones that range in both sound and length, playful cowbells, an ice cold sample and bass so enormous that the dancefloor will erupt each and every time this 12" is dropped. A huge debut, haunting yet forcing your feet to move. and one which is supported by a big remix from the excellent German house/techno producer Kassem Mosse.

DJ Spinn and DJ Rashad - '4 The Ghetto' (Ghettophiles)

2010 had been a vital year in the world of Chicago juke/ghetto house, finally expanding past its previous Chicago boundaries, and slowly working itself over to the UK. A lot of credit must go the Addison Groove (aka Headhunter) who has been pushing this sound for over 18 months now in DJ sets, as well as in his production work over the past year ('Footcrab/Dumbshit' as well as future release 'Sexual/Work It'). Juke is a simple but effective genre. Composed mainly of 808/909 four to the floor kick drums, minimal use of short sharp synth arrangements, dirty vocal samples and intermittent claps, I really shouldn't enjoy the sound as much as I do. DJ Spinn and DJ Rashad in particular manage to make my head nod every single time, there is something so enchanting and contagious in their 160bpm tracks. With labels like Planet Mu promoting the sound, as well as the Ghettophiles label itself growing ever stronger, expect to hear much more of these sounds in 2011.

Bakey USTL - 'A Tender Places/Nose Candy' (Unthank)

An astonishing limited 10" release that seemingly came from nowhere. Bakey USTL is a relatively unknown deep house producer from Estonia (now based in Amsterdam), so a debut release of such quality was going to rank high in my books. So original and unique, so impressive. 'A Tender Places' begins in the format of a smooth as deep house track, with a flowing house rhythm, elevated keyboard synths and a soulful sample crying "all night long". This takes a turn after 2 minutes, with a brief pause of silence, a series of differing drum beats that clash followed by a pause and the hiss and crackle of a needle being placed upon a new record. A couple of seconds later the track is reintroduced, with a similar format to above with the soulful sample repeating "clap your hands if you wanna fuck. stomp your feet if you wanna suck". It's a devilish yet soul infused turn, that you can't help but move along to. The b-side is not of a lesser quality. 'Nose Candy' is simply brilliant, an effortless track that screams high quality control. As the sample repeats after the break, "its special". Get to know it.  

Pearson Sound - 'Blanked/Blue Eyes' (Hessle Audio)

David Kennedy has had quite the prolific year. He could feature numerous times on this list due to his production work under the alias' of Ramadanman and Pearson Sound. It was between 'Work Them/Fall Short' and 'Blanked/Blue Eyes', and the latter just gained the edge for me, representing the great year that Kennedy has endured in production terms. 'Blanked' sounds like a meeting of Chicago juke and hardcore drum and bass in it's percussive arrangement, with an 808 drum arrangement that intrigues. The occasional outlaying synth chord rings, a booming bass kick keeps things moving, and the sample ("the love. the love") brings an emotional edge to the seemingly rigid format. It's moment of class comes in its middle arrangement, where we are left only with dark and ranging synthlines that agitate alongside the mourning vocal sample. 'Blue Eyes' presents a match on the b-side of a release which epitomizes everything good about David Kennedy's work in 2010.

Joy Orbison - 'Gr Etiquette' (Unreleased)

Although technically unreleased, I must put this track in my top 15. It is possibly my favourite of the whole lot, even though I've never had the opportunity to listen to the full version of the track (I've been exposed to listening to 2 minute clips over the past 12 months in mixes from Oneman, xxxy, Ramadanman, Martyn and J.O. himself). There are very few things that I want more at the moment than a copy of this track, only a couple of things come to mind in fact. It really is that good, and sadly will never see a release. I can't exactly put my finger on what it is that makes this track so special. The smoothness of the track is something you can't help but notice, with an incredibly well formed garage rhythm, intricate layers of percussion and house synths that delight. These elements combine magnificently, however, for me it's the sampling of Jamie Foxx that completes the track. Every time I listen to 'Gr Etiquette' the repetition of the lines 'do you like I want to, kiss you like I want to' never fail to impress and provide the heart of the track. J.O.'s garage/house/dubstep coalescence at it's very best, and that is really saying something.

Top 15:

Joy Orbison - 'The Shrew Would Have Cushioned The Blow (Aus Music)

Joy Orbison - 'BB/Ladywell' (Doldrums)
Joy Orbison - 'Gr Etiquette' (Unreleased)
George FitzGerald - 'Tell Me' Remix (White)
Jam City - 'Refixes' (Night Slugs)
Elgato - 'Tonight/Blue' (Hessle Audio)

Pearson Sound - 'Blanked/Blue Eyes' (Hessle Audio)
Addison Groove - 'Footcrab/Dumbshit' (Swamp81)
Breach - 'Fatherless' (PTN)
DJ Spinn and DJ Rashad' - '4 The Ghetto' (Ghettophiles)
Bakey USTL - 'A Tender Places/Nose Candy' (Unthank)

Braiden - 'The Alps' (Doldrums)

Deadboy - 'Fireworks' (Well Rounded)

James Blake - 'CMYK' (R&S)

Martyn - 'Miniluv' (Ostgut Ton)