Soundcloud Roundup – Best Tracks of 2013 So Far

It’s been an incredibly long time since I’ve done one of these! Now that the year is almost exactly three quarters through felt like a good time to collect together what I’m somewhat bravely calling “Best tracks of 2013 so far”. In reality we all know it will most definitely end up being a list of songs highly skewed towards the stand out tracks from the last few months. Not that that’s such a bad thing, 2013 has seen the release of vast amounts of incredible new music –  is it really any surprise I can’t remember all of it..?!

As ever the list is roughly weighted with the “best” first, but really its meant to be viewed as a collection.

1. Angel Haze – No Bueno (Island Records)

This is how you do a diss track! Although it doesn’t call out anyone in particular its pretty clear it was written with at least half an eye on Miss Azeze Banks. “I’m your motivation bitch you owe me.” With this track Angel Lays down a solid intent for Dirty Gold – her upcoming album – be better than everyone else, something you get the feeling is pretty much guaranteed!

Sonically I’m not sure who the producer is but it’s got that Clams casino smoky hip-hop vibe, with a beat that is both intense and laidback, constantly building to a big pay-off that never materialises. As a result it’s pretty much impossible not to give this a straight rewind.

Whilst supposedly finished Dirty Gold is still lacking a release date, so for now why not go and have a look through her extensive back catalogue of mixtapes.

2. Sophie – Bipp (Numbers)

If any track deserved to be the song of the summer it’s this. Unfortunately for Sophie (Who potentially confusingly is a man, not that it really matters), our cruel and unpredictable British summer had other ideas, leaving this to be a pretty big track but not the summer smash that it truly deserved  – For that you’re going to have to look to Breach. I can’t help feeling that without the internet fracturing music fans into ever smaller cliques big cross over tracks and collective cultural “I was there” moments the type our parents and their friends reminisce over are becoming increasingly sparser. That said even my notoriously difficult to please little brother was into this sugary sweet and incredibly hooky piece of House.

3. Roses Gabor – Stars (Girls Music)

Not strictly this year, but released right at the tail end of the 2012 through Toddla T’s Girls Music, I decided to include this on the basis that its “Close enough”.

With production by the man like Redlight this was always going to be a bit interesting. The result is a chopped UP slice of R&B that feels just as at home in the club as it does, well any where else really.

4. FTSE – St Tropez (Lucky Number)

Music is all about context, so maybe I’m a bit bias about this one. The first time I heard it I was heading to the south of France with a broken ankle. Maybe that’s why the lyric “Life’s hard and it aint getting any better, grab your shit we’ll go to St Tropez together, when we go we forget about it all.” Resonated so strongly with me. Personally though I like to think that it’s because he’s summed up the essence of life, and what it is to be young for my generation, but maybe I’m just over thinking it.

Either way coupled with what is essentially a dreamy chilled piece of synth pop, FTSE has managed to produce one of the most though provoking escapist tracks of the year.

Its out on lucky me September 30th, head over to bandcamp to pre-order.

5. Mount Kimbie – Made To Stray (Warp Records)

The first single taken from their now released second album “Cold Spring Fault Less Youth” made to stray contains all the hallmarks of a great Mount Kimbie song but at the same time marked an interesting departure from their previous material. Pretty much exactly what you want in a lead single.

A big theme in releases this year seems to be teasing the listeners, with slow delicate build-ups and short sweet pay-offs. Something incredibly well executed in Made To Stray. Building up slowly over almost three minuets, finally the vocal pay off arrives pulling the whole thing up yet another level before disappearing almost as quickly.

6. A-Minor – Thinking Bout The Things

If anything can be considered a Soundcloud hit then this is it. A warm disco house cut that has you reaching for the volume control and heading for the dance floor simultaneously.

Other than any information you can glean from his website, twitter and facebook very little seems to be known about A-Minor, with production this on point it seems unlikely that it will remain that way for too long.

 7. Kanye West – Blood On The Leaves (Roc-A-Fella / Def Jam)

It’s almost impossible to pick a best track off of Yeezus, one of the most progressive and forward thinking Hip-Hop albums since last time Kanye decided to change the game (Especially if you compare it to Jay-Z’s totally un-inspiring Magna Carta). I’ve gone with what is arguably the most obvious choice. When you think about it blood on the leaves has been a long time coming in many ways sounding like a re-visit to the themes of 2008’s “808’s & Heartbreak” updated for 2013. In places it can feel a bit try-hardy “When she tried her first molly” – yeah we get it Kanye you’re still relevant – but to hold that against it is possibly to miss the point a little.

I’m not convinced this is the best track on the album but if you haven’t listened to the whole thing at least 100 times by now quite frankly were have you been?

8. Maya Jane Coles – Burning Bright

Lets get one thing out of the way – sure we all know that “Everything” is far and away the best track on Comfort, but that’s largely due to the presence of Karin Park’s vocal coupled with the fact that it feels as though it could have come straight off the second Knife album we’re all craving – so I’m discounting that.

Beyond that Burning Bright stands up as one of the albums high points. Kim Ann Foxman delivers an incredible almost pop star vocal working perfectly with Maya’s warm bassy sound. Comfort is yet another record that is totally worth checking out in its entirety.

9. Chase & Status – Lost & Not Found

In years to come this song will be the one that people hold up as the time when Chase & Status started the transition from underground stars to proper all out pop stars.

Whilst it definitely has a strong Chase & Status vibe Lost & Not Found is a more grown up, more relaxed song than the majority of their previous offerings. It almost sounds like it was written for mainstream radio play but not in a bad Connor Maynard kind of way. Listening to this you can feel the euphoric bliss dripping out of it. It’s almost impossible not to transport yourself back into some hazy 4 AM festival memories.

10. Dels – Black Salad (Ninja Tune)

And finally – Not that I set out to write 10 it just sort of ended up like that – Dels with black salad. Our interview with Dels is still by far and away (Like hundreds of times) the most read piece of content on the site.

This track is sort of half incredibly catchy if slightly weird, and half intro to the “Black Salad EP”. Either way it works for me. Also worth a mention on the EP is Bird Milk.

Deco Child – The full Interview

A while back we got Ninja Tune artist Deco Child down to the studio to record an exclusive interview and guest mix, for The Plasticine Box radio show.

After sitting on (read forgetting to post) it for a while, it’s about time that the listen again links were posted up on the blog. For your aural pleasure we present the interview and guest mix separately, or if you have an hour to kill then why not check them out in the context of the whole show?


Radio Show Track Listing:-

Paper Diamond – Turn The Lights On

Deco Child – S&G

Toddla T – Alive ft. Shola Ama

Four Tet -128 Harps

Azealia Banks – Nathan

Wiley – Step 14

Frank Ocean – Whip Appeal

No Ceremonies – HOLDONME

Deco Child picks his “Get out of Jail free” Records

A couple of weeks back, I met up for a chat with hot new Ninja Tune signing Deco Child, amongst other things I asked him which records never leave his DJ bag. Those “get out of Jail” records for when the crowd aren’t quite going your way. Listen below to find out which tunes he picked, discussed by the man himself….

Get Out Of Jail Free CardCan’t listen? Here’s the list:-

1 -Toddla T – Take It Back (Dillon Francis Remix)

2 – Floating Points – Obfuse

3 – TNT – Hot Gyal

4 – Capac – Circle, yes

5 – Clockwork – Squad Up (Torro Torro Remix)

6 – Gregor Salto Feat. Melissa Fortes – Madalena (Team Jaguar Remix)

7 – Clicks & Whistles – Raw Passion

You can check out the full interview on The Plasticine Box radio show broadcast via on monday the 2nd of July 2012 from 8 PM.

Deco Childs Second single “S&G” is released 02/06/2012 on Ninja Tune, it’s up for pre-order now, along with b-side “Diamond Drops” via the Ninja store. You can listen below.

Interview: DELS

This is a super old Q&A from back just before the release of Gob, me and Rob Hakimian (now of Beats Per Minute) did for Under City Lights Magazine. I thought i’d post it up here to celebrate the release of the Kwesachu vol. 2 mixtape. Which you can download now.

For people who haven’t heard about you before, describe your sound to them; what can they expect from you?

DELS: Hip-hop, raw, honest, experimental… that’s it basically. Simple.

What sets you aside from the other hip-hop artists that are around at the moment do you think?

I don’t know. It’s not something I really think about really, but I guess that with the producers that I’m working with it’s got like a different sound to what’s currently out there.

I wanted to ask you about your choice of producers actually because you’ve worked with some really interesting producers – producers I really like –so I was wondering were you involved with those choices or were they suggested to you by the label? How did that come about?

I’ve been working on this record years before I signed with the label last year and I’ve been friends with Micachu, Joe Goddard from Hot Chip and Kwes since like 2006. That’s around the time when I started getting into their music, ‘cos before I went to university I was straight like hip-hop, dancehall music, stuff like that and then when I went to uni I met different people and got into different types of music and I guess that’s the reason why my music sounds the way it does. I don’t really listen to hip-hop that much anymore and I spend time listening to other interesting sounds.

So you mentioned you started way back in 2006 and then I think in 2008 you released a single with Moshi Moshi?


So what have you been doing between that release and releasing ‘Shapeshift’ on Big Dada?

Well, after that in 2009 I had ‘Shapeshift’ ready. We shot the video in 2009. So we’ve been sitting on that for a very long time and I only got to release it last year in July. I was just kind of trying to work out my live show, cos now I’ve got like a proper band and I thought a hip-hop show can be a bit boring when it’s just DJs and a guy on the mic. I just wanted to build that process you know. And make sure that when I’m onstage I’m communicating something to the audience because I feel like hip-hop could be so much more interesting if you have some great musicians around you.  I’ve also been working on my record. I finally finished it at the beginning of the year and it’s coming out in May.

How has your live show changed over the course of writing the album?

It started off with me and a CD player, to me with a DJ, to me with a drummer and a DJ, to now with two keyboardists, singers, delay pedals, bass guitar. I’m really happy with it, but the next step is to add visuals; I want my instrument to be a visual.

How long ago was you and a CD player?

Last gig was in Hull in a dingy club with about four people looking at me and that was in 2009.

Wow, that’s quite recently. I was thinking it would have been back when you were in college.

No, no, no it was recently!

Why is the album called GOB?

Just because I like the word “gob”. It’s very British, it’s something that my mum used to tell me to shut up all the time like “shut yer gob”. My friend Kwes who’s producing on this album he made this track called ‘Gob’ and I just thought it was so punchy. It’s gonna be the next single.

Are you going to make a video for it?

Yeah definitely. We’re shooting a week Tuesday.

You do all your own graphics and videos and things don’t you?

Yeah. With another design studio.

Does that make you feel like you have greater ownership over the whole project?

Yeah for sure. That’s how I’ve always wanted it to be. I’ve always said that I wanted this DELS project to be equally about the audio and the visual, because the times that we’re living in now everything’s online and people are interacting with music in different ways. I think pushing the whole visual element is a really interesting concept for me and that’s something that I’ve been interested in for the last few years. And coming from a graphic design background it’s kind of like a natural progress.

And my music might not last. I might fuck up in a few years time. So I don’t want to go to an interview at a design studio in London and they’ll be like “Ok so what have you been doing for the last few years?” – “Oh I’ve been making music.” But they want to see evidence that I’ve still been thinking in a visual way. So that’s like my plan b.

So it’s like at the same time you’re building your portfolio.

Yeah, exactly!

What kind of themes can we expect to hear lyrically on the album?

Basically the album’s all about the coexistence between fantasy and reality and it’s like an exploration of that space in between.

Yeah that’s what I got from the track titles…

Yeah. ‘Hydronenburg’: that’s about alcoholic water and it’s all about changing. There’s a lot of things where I’m talking about changing objects or changing myself or changing things about other people and stuff like that. So it’s kind of like this distorted view of reality. That’s what I was interested in for this album; just because it lends itself to such a rich visual. Cos if you just base everything on reality it’s too regimented but with fantasy you can do anything.

Are you inspired by things you read?

Yeah things I read, I love Aruki Murakami, the way he writes, he’s a Japanese writer.  Also I love Hayao Miyazaki, he’s amazing; and I just love the whole story element. That’s why when I was growing up I used to like people like The Streets, Roots Manuva or even like Notorious B.I.G. just because they all told stories and that’s what I really like.

And you’ve got Roots Manuva on the album, how did that come about?

Yeah! Oh my god. To be honest that was quite random how that happened. I played his night at the Queen of Hoxton and he came up to me out of nowhere and was like “Yeah let’s make a song.” I didn’t even meet him yet! We were label mates but I’d never met him and he’s like “let’s make a song” and he’s talking to me like he knew me. It was quite weird but I was really excited at the same time. I was trying to compose myself. He’s one of my idols and to make a song with him was just amazing. That was done with me, him and Joe Goddard and we had a brass section. Yeah it sounds really cool.

So you’ve got many different producers working across your album, how do you think all of their different sounds and styles tie together to make the finished product?

Because the beginnings of the instrumentals that they sent through to me I picked them while keeping in mind “how can these all go together?” So I wasn’t just picking any old instrumental, I was thinking “Nah that’s not right, we need to work on this.” And then as the album was coming to its completion we kind of just tied the sounds together. It was supposed to be Joe Goddard producing but it ended up with Kwes producing six tracks on the album, Joe Goddard having three and Micachu two. So that was quite interesting for me. The project was originally going to be a joint project with me and Joe Goddard and we were going to come up with a name for it, but we couldn’t think of a name; we came up with all these shitty names. Then he said “you might as well just call it DELS” and I became a solo act basically.

Speaking of names, how did you get the name DELS?

It’s a nickname from when I was a kid. This teacher got me confused with this boy called Delroy and everyone started taking the piss, calling me Delroy every day and then it kind of stuck. My mum calls me Dels. I’d quite like for people to start calling me Kieran again you know? Cos it’s like, just lost in the mist somewhere.

How did you end up signing to [Ninjatune subsidiary] Big Dada? Were there a lot of offers coming in?

They were the ones that were really passionate about what I’m doing and I felt like they understood my vision. That was the most important thing for me. I also wanted to make sure that I have creative control over what I’m doing, that’s important.

I noticed on the b-sides to ‘Trumpalump’, the Joe Goddard remix isn’t so much of a remix; it’s pretty much a whole new song.

Yeah I know!

Do you end up with a lot of extra lyrics that you don’t use?

I thought about using the same lyrics again, but then I thought that would be cheating the audience. I wanted to give the audience something fresh. And it’s quite a heartfelt lyric; it’s about my granddad. I don’t know, I just wrote it. Joe said we were gonna do a remix and I always wanted to do something with my friend Ghostpoet at some point because I think he’s a great artist. He did his verse and when he did that I said to Joe that I thought we should do a quiet remix, stripped down, less crazy, and I just wrote that verse and then that was it.

I wanted to ask you about Ghostpoet because in a lot of the press I’ve read you two have been touted together as a “new wave of hip-hop.” So with his verse on that track did you meet him, do you know him? Or was it something that was hooked up?

No, he’s one of my friends. I met him… I met Kwes, Micachu, Joe Goddard and Ghostpoet… Sampha… I met all of these great producers and artists all on MySpace! So this was when MySpace was booming. I was always talking to these guys every single day and I’d never even met them. It was really weird. So when I saw Kwes – I remember bumping into him on the underground I was like “Whoa! You’re Kwes,” and he was like “yeah.” Then we kept seeing each other out at like gigs and stuff. But I’ve known Ghostpoet for a few years and I think he’s a great artist and I think he’s going to do some really great things.

Would you consider getting together again and doing another collaboration?

Definitely! We did a mixtape, we released it in 2009 and it had everyone on it. It was produced predominantly by Micachu and Kwes, and it had Ghostpoet on it, it had The xx on it, it had The Invisible, Golden Silvers, Man Like Me, just a crazy amount of artists and we all know each other through friends of friends. It’s called Kwesachu Volume 1 and we’re going to do a Volume 2 this year hopefully, just everyone get together and make music.

Are you looking to get the same lineup with big artists on the second mixtape or have you got some new people in mind?

I don’t know; I don’t really control the mixtape, but I’m sure there’ll be loads of new artists on there.

You mentioned Sampha. Are any of the tracks you’ve made with Sampha ever going to be released? Are they going to show up as b-sides?

Yeah I’m sure they’re going to be released in the future, we just need to finish them. He unexpectedly got really popular so then he got really busy and we couldn’t finish the tracks. I really wanted him to be on the album but I think we’re going to do something over the next month or so and finish it and put it out there because I think he’s just a wicked, wicked producer and he’s an amazing soul singer as well.

So you’ve got a few people featuring on your album, are you featuring on anyone else’s album?

Not at the moment, no. Not any hip-hop records or anything.

You still live in Ipswich and you’ve been commuting to London to record; if this album is a success will you move to London?

The plan is to move to London this summer, obviously I lived here before, I moved back to write the album. I just wanted to write it in Ipswich for some reason and it’s worked. I’m looking forward to moving back to London but to be honest I’d probably prefer to write my second album in another city like Tokyo or New York.

That’s really interesting because a lot of the press that I’ve seen says that one of the reasons your music is so fresh is because you took that step away from the “London scene” and wrote it in a different city, so is that something you’re going to try to do; write each album in a different city and see where it takes you?

Yeah I’d love to do that, that’d be a good excuse to go travelling! I’d meet loads of new people, make new friends, stuff like that and I’m sure it would have a massive effect on my music.

In 2008 you released ‘Lazy’; do you think you’re still lazy?

No I’m definitely not lazy, not anymore. <laughs> That was kind of like a reflection of my teenage years before I went to college and stuff like that.

I suppose we should whack this in: every press release I’ve read about you says you were in a two-step garage band that John Peel played. What was the band called and can people still hear the song?

No, no, you can’t find the song. It was a band before the internet age so it doesn’t exist, luckily. <laughs> We were called The Alliance Inn. If you go on the BBC website and search The Alliance Inn we don’t come up, it’s like a picture of these random four white dudes with beards. <laughs> So you won’t ever trace it back to that period.

If you take off it might come out on an old John Peel sessions CD or something.

I hope not!

Rob Hakimian, Tom Riste Smith

The First Quarter Of 2012 – Top Tracks

What with being a quarter of the way through 2012, (give or take a few days obvs) it seems the perfect time to look back and re-cap some of the great records that have come out so far this year. I’m talking tracks not albums, because right now I’m a tiny bit sceptical about the future of the album as a format, but anyway that’s an issue for another day.

Welcome to the first ever piece that I’ve written specifically for this blog. The tracks aren’t really in any real order, and the whole list is likely to be a bit heavy on more recent tracks, mainly because January was ages ago, and I don’t remember things…. If there’s stuff whose inclusion you wanna argue about then, well I don’t care, but you can complain on twitter @tomristesmith.


1 – Ruff Sqwad – Mario Balotelli

Where to start with this one? A track about Mario Balotelli, sounds horrible right? Wrong. Admittedly I’m a bit (read very) out of the loop about what’s going on in grime these days, but this track is a total stand out. I came across it on Rinse FM, and quite literally it jumped up and down screaming pick me, pick me (ok not literally at all, more like figuratively). Normally the thing that grabs me about a grime tune is the beat, and this one’s no different, but the real hook that keeps me coming back – the amount of energy rammed into what’s a surprisingly melodic flow. I have NO idea who produced it so if anyone knows then hit me up.

Download at soundcloud

2 – Jacques Lu Cont – Church

I’m not going to pretend, like everyone else is…, that I was a massive Jacques fan prior to his comeback, sure some of his work as “Thin White Duke” and “les Rhythm Digitales” was on my radar (Most notably this), but the Lu cont moniker was a complete unknown prior to this come back. Discovering something new, but old is almost more exciting than discovering something new, new. It comes with the added fun of delving through the back catalogue, but also the spark of discovery. Oh and you’ll almost never end up saying “I preferred their old stuff”

Free download over at

3 – Jacques Greene – Flatline ft. Ango

Let’s keep on a Jacques tip for a bit. Although unlike Jacques Lu Cont, Jacques Greene may well actually be his real name..? Then again maybe not, I have no idea.
The “Concealer” EP, the first release on Greene’s own Vase Records, would no doubt have made the cut, if we were doing a rundown of albums and EP’s. Choosing just one track somehow doesn’t really do it justice. I’ve gone for “Flatline ft. Ango” because for me at least it really is the stand out. A lot of that undeniably comes from Ango, his voice lends the track some really great extra layers, and rides along almost floating on the beat. That’s not to take anything away from Jacques Greene, who really has delivered the kind of beat that exudes “dance to me” but at the same time feels a bit like I imagine sunbathing on a cloud to be. I think I’ll leave that there, because I somehow seem to have strayed into using that kinda bad metaphor that blog writers use to make it look like we know what we’re talking about type thing.

Is this as good as some of his earlier tracks? Personally I think no, but that says more about them than this…

4 – Deco Child – Pray

This should be wayyyy up nearer the top of the list, but if I start trying to put everything in order then who knows where the madness will end…

As an artist Deco Child is easily my favourite new discovery of the year, and although doesn’t agree, I’m pretty sure that it’s this Vs Ruff sqwad for most played. (I’m not really one of those obsessive scrobblers, what’s with that?)

I really don’t know what to say except listen to it. It’s beatific. And if you take a look around some of the mixes on his soundcloud ( page, it’s somewhat surprising that this is the kind of music that he writes. Either way this is probably discovery of the year.

NB – I know it’s been on soundcloud way longer that this year, but that’s when it got an official release. Through the consistently brilliant Ninja Tune no less!

5 – Gucci Vump – Feeling

I put this one in now for a bit of a change of pace. Easily my favourite straight up house track of the year. For anyone who doesn’t know Gucci Vump are Brodinski and someone from “The Shoes”, who in all honesty I don’t really know very much about. I find with music where I first hear something leaves a big impression on my feelings towards it. Thats the same for everyone right? Well I first heard this in one of “The Magicians” Magic tapes, o forget which one, but the point is, The Magician is always on point, for something to stand out so clearly in a mix of that quality it must be really great.

6 – Flosstradamus – Total Recall

I’m not really sure what the genre Trap is exactly, then again I’ve never been that hot on genres, but apparently it’s what Flosstradamus make. To me it just sounds like Hip-Hop at unusual tempo’s, but whatever it totally works. They’ve produced a few records for some other people, and as far as I know the “total recall” EP is only their second release, which makes it all the more surprising how unique but yet reassuringly familiar their sound is.

7 – Diplo & Nicky da B – Express Your Self

The one person who’s had the biggest effect on my musical education (Is that even a thing?), as this list will no doubt reveal is Diplo. He’s introduced me to more new genres since I’ve been listening to his output than I could ever have imagines existed, including this one “New Orleans Bounce”. It’s a kinda high energy hip-hop, but according to wiki it’s been around since the 90’s, so you probably already know that.

Should probably put in a quick word about the track really. Well it’s boss. High energy really is the word. The first time you click play likely as not after it’s 4.37 you’ll be left wondering what just happened, all I can say is I urge you to click play again. Trust me it’s worth it.

8 – Burial

Now this I really do wish I could just put this in as a whole EP. The “kindred” EP, is stunning, breathtaking, exactly what you’d expect from burial but not in a boring predictable way. I’ve chosen “Ashtray Wasp” really only because it took me a while to really get into the record, and that was the first track out of the 3 to really click for me. Everyone has those moments with records, and burial is particularly divisive, in a room of 3 people each would probably pick a different track… What I’m really saying here is listen to the whole record.

9 – Ango – Love me

The thing that makes Ango great is his voice, as far as the “Another City Now” EP goes this provides by far the best showcase of that. Tracks like this really make me wish I could sing! The production is on point to, right from the point when the first “sunset” synth sets in over the drums. – I’m not sure sunset synths are really a thing? If it’s not then it should be, that kinda sound that slowly fades into a track, screaming out sunset and oceans.

10 – Alabama Shakes – Hold On

A bit of a change in sound, thus far the list has been reasonably electronic, but then Alabama Shakes turned up to remind us all that guitar music is still alive and well. I’ve put in a live video of this one, because it wasn’t until I saw them live that I really realised how great they are. Alabama shakes are a band that have a big future in front of them.

11 – Totally Enormous Extinct Dinosaurs – Tapes and Money

Who doesn’t love TEED? I think you have to be pronounced dead on at least two separate occasions not start dancing when one of his tracks comes on.
Tapes and Money sounds a bit like Starsmiths “Give me a break” and that really is no bad thing, a simple disco beat with catchy hooks over the top. The thing about this track is that it always leaves you wanting more. Every time it ends I can’t help wishing the “So lie so lie so lie so lie so lie (feet don’t fail me now), ” chorus was just a bit bigger. It’s for that exact reason that I don’t think I’ve ever listened to this track and not put it straight back on again when its finished.

12 – Perseus – Seychelles

Not my favourite Perseus song, but as easily one of my favourite discoveries of the year, I had to shoe horn them in somewhere. One of the brilliant acts from the “French express” stables (Check out the label they’re soo on point right now), Perseus are leading the way in bringing tropical house to a wider audience, me included. This is another discovery from “The Magicians” magic tape series.

13 – Emika – Hit me ft. Jimmy Edgar

I’m a big fan of Emika anyway, but this track is really something else. Maybe it’s the surprise of it being soo far from what I’d expect, maybe it is just really great. Probably both actually. But for me at least this has a kinda sweet disco vibe, about a long way away from her more bass heavy offerings, and if anything more on point with the kinda music I’m really feeling at the moment.

One thing that annoys me about this track – I brought it in .wav, and really doesn’t scrobble .wav files well. Now to anyone browsing my profile I look like I’m massively into that band “The Music”, anyone remember them?

14 – Usher – Climax

Yes this does say Usher, yes the track really is great. This one all comes back to me being a massive Diplo fan boy to be honest, but I really do feel like this track shows off his versatility as a producer really well. I would probably write a bit more about it but tbh I’m getting a bit bored or writing this list now, it’s taken WAY longer than I thought it would.


Well there we go. Thats a selection of the best tracks of the year so far, as picked by me. I was gunna do something cleaver like have 25 tracks, because we’re 25% through the year, but 14 took long enough.
So what have we learnt…. Basically that Diplo and the lucky Me crew, are both super on point this year. Go check them both out whilst their hot………