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Our 100 Tracks download bundles are normally an annual round-up of each year's best tracks. For our tenth birthday we decided to put together Bleep 100 Tracks 2004-2014, a collection of our 100 favourite tracks that have been on Bleep over the last ten years.
There are representatives of each year, genre, and many different artists that we admire, all of which have been selected because they mean something to Bleep. This bundle contains some never before-released-digitally tracks too, including Floating Points' 'Radiality' and Funkineven's 'Cha'.
The download is available until 12th June 2014.
Holden turns in an incredible remix of fellow Border Community artist Nathan Fake, weaving a breathtaking psychadelic synth jam.
Sugar-coated electro funk from Luke Vibert on Ninja Tune, tight drum programming balanced by whimsical electronics.
Skam artists Team Doyobi started out producing soundtracks for video art in the '90s, and their music is filled with playful structures, intricate chip tune collages built from video-game sounds.
With the album Music Has The Right To Children, Boards Of Canada hit upon a distinctive and powerful sound combining crunchy hip-hop beats with naive synthlines for beautifully, daydreaming effect.
Aaron Funk folds byte-sized digital sounds in on each other for a track of characteristic rhythmic delirium, a singular crytalline melody growing from the noise.
Taken from Bjork's sixth album, 'Where Is The Line' sees the Icelandic musician orchestrating vocals - both processed and organic - for a focused celebration of the human voice.
A piece of energetic IDM from Tom Jenkinson, bubbling patterns and a solid drum break underpin the track while gradually lengthening synth chords are added to the melodic backdrop.
French band Nouvelle Vague cover The Clash's 'Guns Of Brixton', stripping the original down to a roughly strummed guitar and little else, giving the fiery lyrics space to shine.
Lex Records release the debut album from Danger Mouse and rapper Jemini. The exuberant, almost cartoonish beats and bumps of 'Don't Do Drugs' underline the fact that this is an album more concerned with fun than sermonising.
'A Little Bit More' shows off Jamie Lidell's strengths as a singer, the velvety production fitting his voice like a soft glove, exuding confidence while also admitting a brittle and very human frailty.
Munich electro-pop band Lali Puna produce a track the contrasts cold robotic vocals with a sunny instrumental backdrop to alluring effect.
Richard D. James creates singular, alien music in the way only he can from jungle sounds. 'Laughable Butane Bob' builds up, combusts and accelerates up again masterfully.
Released on Skream's seminal self-titled album on Tempa, 'Dutch Flowerz' showed a more colourful take on deep low-end sounds, a one-note skank creating a summery track far away from the speaker-shaking weight largely associated with dubstep.
The opening track of Jackson and his Computer Band's debut album on Warp, 'Utopia' sees the producer forging a wild, romantic pop hybrid from colliding elements. An exciting introduction to his talents.
Bass pressure, lurching breaks and cyber atmospherics on this track from key dubstep players Vex'd on the seminal Planet Mu.
The Dave Sitek-led TV On The Radio open their defining album Return To Cookie Mountain with a track of shining pop abstraction, wall of sound production given a contemporary twist.
Bristol producer Pinch has consistently been one of dubstep's most inventive figures. 'Qawwali' on Planet Mu demonstrates this perfectly, a heavy and hypnotic bass-line elegantly restrained and cloaked in nimble melodies.
Burial showcases why he is such a revered figure in modern electronic music, emotive, displaced vocals and ghostly clatters of percussion are intertwined with enigmatic power.
Jimmy Edgar welds beat programming to the bump 'n' grind of dancefloor electro and digital RnB. The result is lascivious, fresh and bathed in a modernist sheen that reflects his various influences of super-stylized fashion, intercontinental nightlife and original Detroit techno futurism.
Trentemoeller on restrained but effective form. 'Vamp' grinds with Depeche Mode indebted machine groans for a playful track of lurching club music.
In a turn away from the micro-processed, complex IDM structures Clark had become synonymous with, the 2007 Throttle Promoter EP saw him serve up four cuts of industrial grade experimental electro. 'See See' leads the way with a frazzled electro bounce that gradually gets rougher and rougher.
The closing track to Grizzly Bear's second album Yellow House, 'Colorado' is a beautifully elegiac track of swooming harmonies and wide-eyed wonder.
Groundbreaking producers and Ninja Tune founders Cold Cut teamed up with Roots Manuva for this track of quick-moving sampling, flurries of hollowed-out percussion zipping by infectiously.
Fusing relaxed dub and warm, sunshine soaked melodies, George Evelyn's Nightmares On Wax project sounds at its most lively and glowing.
Arctic Monkeys arguably made the definitive British rock album of the last ten years with their debut on Domino. 'A Certain Romance' closes the release, gritty poeticism built from everyday images that teenagers across the UK would strongly identify with.
Blue-haze soul filtered through the dusty crackle of old-vinyl and breathing, pumping compressed drums, a gorgeous vocal underpinning this graceful early track from Flying Lotus.
Though Bristol-based label Skull Disco only existed for a couple of years between 2005 and 2008, the power of that music, mostly made by label founders Shackleton and Appleblim, remains undeniable. Shackleton's stark blend of percussive, African rhythms, eerie samples and ghostly bass weight made for a sound filled with voodoo drama and dread, and Ricardo Villalobos' remix draws out all that potent atmosphere.
Minimal house is given a pop twist with this track from French duo dOP featuring Noze. Real instruments are blended with electronic elements to create a stylish take on European club sounds.
On his album Asa Breed, Matthew Dear fulfills his potential of mixing minimal techno's innovations with the shiny possibilities of good pop music song craft. The results are stellar.
Some of Sheffield group The Black Dog's earliest and finest music. 'Virtual' was originally released in 1989, but it sounds futuristic, mixing dub and ambient with glistening electronic gossamers of sound for a wonderfully alien effect. "Imagine the future" intones a voice, and they really did dream up something wonderful with this.
The definitive album from the Ed Banger label, Justice's self-titled album defined a certain time in European club music. The brash overdriven sounds of 'Let There Be Light' show just how invigorating that sound could be.
raster-noton artist Carsten Nicolai's work alongside composer and pianist Ryuichi Sakamoto as Alva Noto never fails to mesmerize. 'siisx' is no exception, delicate keys treated with deserving reverence.
On 23 Seconds Matthew Jonson's Cobblestone Jazz project saw the artist applying his minimalist approach to instrumentation to increase his palette of sounds and create a more widescreen vision.
Few albums can match Battles' Warp debut for innovation coupled with accessibility. 'Atlas' is catchy instrumental pop music like nothing else, pitched vocals worked into a puzzle of physical sounds.
With Person Pitch, Animal Collective member Panda Bear married lap top, loopy production techniques, with a style of pop that seems to take it's cue from Pet Sounds by the Beach Boys. The results still sound daring now.
A wonderfully kaleidoscopic hip-hop instrumental from Lone that fills your ears with warm nostalgia and sails you away into a nebula of opiated psychedelia.
The Scandinavian skweee scene is one that is often forgotten when looking back over the last ten years, but this track of space-disco meets toy-town R&B from Eero Johannes shows that the genre had some truly strong moments.
Mark Pritchard exhibits his debut LP When Machines Exceed Human Intelligence as his Detroit referencing Harmonic 313 project. 'Cyclotron' is grisly post-apocalyptic monster of a track.
An early release from Kode9 on his Hyperdub label, one of the most consistently interesting imprints of the last ten years. The dub version of 'Kingstown' is a ghostly instrumental carried by feathery rolls of tabla percussion. Some of his most deft production work.
The crossover track that marked a turning point for the genre, playing a big part in making dubstep a mainstream concern. It's definitely worth revisting that killer morse-code riff. Benga's production talents are undeniable in their balance and restraint coupled with fathoms of sub power.
With London Zoo, The Bug displayed an grittier and tougher take on digital dancehall sounds. 'Skeng', with its muscular bass-heavy flex and chilling vocals from Roll Deep's Flowdan is like a hallucinatory nightmare - in the best possible way.
'chenc9', taken from Autechre's album Qauristice on Warp, shows the pair on typically rhythmically innovative intricate form.
Axel Wilner's - The Field - opened his album From Here We Go Sublime with this cosmic track; snow flurries of synthesizers and sumptuously processed vocals backed by an insistent but velvety kick.
Animal Collective's ninth album is arguably their finest and most lucid piece of work. Surfing beautifully across cavernous call and response gospel, British Choral music, Afrodelia, shoegaze and everything else in between yet still making for an incredibly addictive pop record, melodic and accessible.
Nosaj Thing plays with hip hop beats to create an album of gorgeously haunted soul for Alpha Pup Records. 'Fog' slithers into focus gently, a breathless vocal adding a human touch to the machine-powered, lulling atmosphere.
Jeff Mcillwain returned to the scene ten years after he started with this long awaited record. It's an accomplished release, punctuated by Cocteau Twins-style vocals swimming through humid, aqua-sonic atmospheres and fidgety microhouse drum programming ticking things over and over.
The title track to Brazillian producer Gui Boratto's debut album on Kompakt is a deeply pulsing piece of techno, deconstructed melodies sailing through a sumptuous club-friendly arrangement with ease.
Sounding like pop music and swinging 2-step pushed through a frazzled circuit board, the spidery electronics of Darkstar's 'Aidy's Girl Is A Computer' sounded like nothing else upon its release in 2009 on Hyperdub, and that peculiar magic remains even now.
London band The Horrors truly arrived as a creative force in indie pop music with their album Primary Colours. The standout is final track 'Sea Within A Sea', a pulsating Neu! meets shoegaze meets Terry Riley-esque minimalism tour de force.
Telefon Tel Aviv portray a talent for strong, dark song-writing with a track of widescreen gothic soul.
Filled with space and the ghosts of R&B, The xx's breathless, intimate duet on 'Crystalized' heralded the arrival of one of the most distinctive new bands to emerge in the last decade.
Driven by jarring funk that lies beneath dreamy nebulous keys and crunchy digital effects, Floating Points track 'Radiality' on his own Eglo label is still one of his most unusual and accomplished productions.
Crisp beats and textural swathes of guitars meet on this track from Thom Yorke of Radiohead's solo album The Eraser, cloaking ambigous but still somehow personal lyrics.
Seed release Antoni Maiovi's soundtrack to an Italian 'giallo' that was never made, the machine-tooled Moroder-esque disco sound the perfect accompaniment to a sleazy, sci-fi themed 'slasher'.
Austrian producer Dorian Concept serves up a sweltering, synthed-up and high-energized banger which falls somewhere between millitant rave of Underground Resistance and the liquid blue funk of Floating Points.
Playful beat-anthemics from Hudson Mohawke, stinging every speaker it passed through in 2009. A fiery mash of hip-hop and woozy, detuned synth-funk that made for the perfect opening to his Warp debut.
Shed continued to break new ground, joining the dots and blurred boundaries with his trans-genre style of techno. Circuits buzz with the dystopic sound of Detroit techno, the steelythrob of Sheffield's Artificial Intelligence and the murky spirit of dubstep.
The solo talent of Alec Koone, fuses his languid rhythms born from Burial's mold, that roll beneath a fabric of distant dub-techno stabs and haunting, choral breaths.
Still some of Kieran Hebden's best work, the slippery, filigree electronics of 'Love Cry' pulse along at a shuffling 4/4 pulse for a track that is soothing but insistent in equal measure.
A gloomy nebula of steely, post-industrial electronics and isolated dub from Raime, given a further, darker treatment from Regis.
Low slung triplet 808 beats pump beneath the anthemic mantra, "Wut!". One of the best tracks of 2010, no question.
Amazing footwork track from DJ Rashad. Rashad is master of the edit; mashing up rap n' soul samples into a frighteningly complex blend of 808 hits in fiendish breakdown and nasty bass worms for your soles.
The essence of Shangaan music is speed - originally born from the sound of Shangaan disco which happened in the 80's, the current sound has evolved into a much more energetic and visceral experience. An essential musical document from Honest Jon's.
Werk Discs label owner Darren Cunningham resurrects his Actress alias for this thrilling track off the brilliant Splazsh album, a record that still sounds lightyears ahead of anything else, and will probably continue to do so for some time.
A anthem of 90's R&B samples (Aaliyah, Kelis) with their voices mangled and thrown into a red-eyed fire of DSP and hours spent in the waveforms.
First released in 2010 by Olde English Spelling Bee, this debut EP from Wirral wunderkind Forest Swords is visceral haunt-shock of a record, that shivers and shakes your ears into channelling something completely new and original.
John Maus' track 'Hey Moon' featuring guest vocalist Molly Nilsson, is stripped back in its arrangement, the pair's vocals drenched in reverb sing their loving duet, accompanied by an unadorned piano arpeggio and a simple drum beat, creating a lullaby for a future world.
Pulling in from influences that range from 16-bit video-game sonics, Japanese prog-rock, grime and Detroit techno, Rustie created his own hypercolour brand of rave music on the album Glass Swords, and the 'kapowww!' crystalline synths of 'Hover Traps' are undeniably joyous and catchy.
An understated yet powerful production, its ecstatic, steel drum-driven rhythm merging beautifully with its pitch bent and re-interpreted vocal phrase.
A pummelling, square-edged acid strut that twists with stealthy menace from Funkineven.
'Psychadelic' is a word that is often overused, but when it comes to Connan Mockasin's otherworldly pop music the term is pefectly justified. 'Forever Dolphin Love' is a silken trip, sunbeams of far out sound rising and falling away.
Hard knuckled techno from Blawan. 'What You Do with What You Have' masterfully samples vocals from a lecture given by the one and only Moodymann over a driving 4x4 beat.
The excitement that Jai Paul's track BTSTU brought at the time of its release was huge. It might not yet have catapulted him to dizzy heights of success, but the tracks deft and soulful treatment of digital sound and swooning melody show an undeniable talent.
Mosca jumps straight in to late 90s 2-step garage territory designed to make your shoulders work and your feet shuffle.
The slow beats and ghostly production that you'd expect from a release on Tri Angle, but delivered with real emotional weight and complexity. A beautiful track.
One of Scuba's best, 'Adrenalin' is the kind of uplifting tranced-out 4/4 killer that just begs for some main-room hands in the lasers type behaviour.
Plaid returned to Warp for their 6th album for the label and their first studio album in eight years, administering some vintage-style composition to a sound that still sounds utterly futuristic. Spiralling, effervescent melody is layered over a matrix of polyrhythmical beats.
Driven by stinging hi-hats, 'Au Seve' promised to be one of the tunes of 2012. You'll be humming the melody for hours after every listen...
Hudson Mohawke stepped things up a gear with this hyped and ridiculously anticipated collaboration with fellow beats alchemist, Lunice. Straight to the point, simple and hard as you like beats that could set alight underground dancefloors as well as soundtrack the largest commercial rap and R'n'B stars on the planet.
High-reaching falsetto pop from Claire Boucher AKA Grimes. An ethereal escape constructed via her notorious DIY approach honed in the musical hot-spot of Montreal.
One of the most infectious dance floor tracks of all time: 'Inspector Norse', with its '70s pop quasars, a fat but insistent disco beat and colourful synth pads that build to a glittering crescendo, will keep running through your brain for hours after every listen.
Opening the second release on his Diagonal label, Powell's 'Body Music' saw him ploughing a deeper furrow into his modern take on the sound of No-Wave, EBM / metal-dance and other ancestral, primitive machine music forms while maintaining an icy cool aesthetic.
The provocative pairing of Dean Blunt and Inga Copeland (better known an Hype Williams) returned with their third album 'Black is Beautiful'. Immersed in a cloak of intrigue and mystery, Copeland's vocals are breathy and inviting, lending themselves to a track of star-gazing pop nostalgia.
Erased Tapes present a glorious snapshot of lush orchestration and electronics from label mates Olafur Arnalds and Nils Frahm and their first collaborative effort together.
Shiny guitars, slow-mo drums, drifting psychedelia and mellow surf poems abound on the LA band's album for Innovative Leisure.
Caribou's more dance-floor focused alias Daphni worked his finest giddy speaker shaking magic on 'Ye Ye', which twists and turns, growling its way through the undergrowth of the club.
Jam City drops a killer on Night Slugs with 'The Courts', a galloping, stomping, pounding dance floor shredder. Lavish and self-assured, it's classic Slugs material, featuring a brazen showing of slap-bass, kicks, stabs and all manner of industrial-strength effects.
The follow up to their incredible debut in 2009, Moderat have refined their sound for their next album and continued to make music like no other, producing an album that is effortlessly warm and boldly genre traversing. The feather-light beats of 'Versions' are particular highlight.
With R Plus Seven, Daniel Lopatin made his first appearance on Warp, and he could not have made a stronger statement. On 'Zebra' synthetic layers which might previously have been blended into a poignant smush are given space, coagulating into sharp rhythms before wormholing into languid drones.
Infectious candy-rave from Sophie on Glasgow's Numbers which promised "I can make you feel better" and did so through a precisely-rendered yet utterly grin-inducing mix of ice-cream van percussion and garage vocals.
A heart-wrenching soul cut from Sampha's excellent full length for the ever-impressive Young Turks, where a straightforward arrangement of pianos and fluffy electronics accompanies a memorably urgent vocal.
Bibio's 'Silver Wilkinson' evidenced the producer on top form, wringing out delicately textured electronic music from an intriguing armoury of squeaking machines and folk instruments.
David Byrne's Luaka Bop label pull off an astounding release, licensing for the first time the work of mysterious Nigerian synth legend William Onyeabor. Bursting with DIY funk grooves compiled on Onyeabor's analogue gear in the '70s and with every track boasting infectious hooks that burrow into your brain and refuse to leave.
Omar Souleyman's knack for producing incendiary and entrancing pieces from the simplest of set-ups was rendered in high definition through Kieran Hebden's production on his album Wenu Wenu and the results are hypnotizing.
Pounding industrial techno from Dense & Pika for Scuba's Hotflush imprint, where sandpaper drums are buoyed up by stabs of destroyed sythesiser.
Karen Gwyer's immaculate debut album 'Needs Continuum' once again shows No Pain In Pop's uncanny ability to dig up unknown gems from an introverted underground. 'Pikku-Kokki' is a sensuous and delicate house number, with beautifully judged bongo rolls offsetting whispered vocals and beds of wide synth chords.
Ekoplekz lands on the legendary Planet Mu an album. It's arguably some of his best work, 'Severn Beach' revolves magnetically, showcasing a distinct ability to build complex and engaging music that still sparks with experimental fervour.
Bass Clef is on strong form, muscular toms and faded claps propping up rolling synth lines which seem to open out endlessly, inevitably recalling Kraftwerk, but in a fuzzier, more psychedelic resurrection.
Marcus Worgull and Danilo Plessow of Motor City Drum Ensemble unite as Vermont. 'Ruckzug' is a piece of electronic music that reaches for the sky with wide washes of synths and a twitching rhythm.
On 'Human Drama' Planningtorock shows a more synthetic sound, a catching synth riff and swelling melody building a liberating anthem.