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Now in its 8th annual instalment, Bleep's 100 Tracks is the definitive guide to the best music of the year, available as a high-quality download.
A true journey of discovery, with the best tracks from our favourite albums, dance bangers, and unsung gems.
The product is only available until 23:59 GMT, 31st of January 2017 - so grab yours now or you'll have to wait for the 2017 one!
'Chasing God Through Palmyra' has a cinematic quality that blends influence and builds upon ideas laid down from film score techno, hazy guitar led drone and post-rock funk, fuzz 'n' drums, all committed to an array of tape machines.
Somewhere between analogue kosmiche, post-punk electro and hi-tech jazz techno, whilst all the while being held together by a penchant for spectrum spooling sounds and rhythms. Tightly played, fruitful pop.
Sampha features on the lush title track with his characteristically soulful melismatic backing vocals and additional keys, but the true stars of the song are Nathan Jenkins' effortless singing and his fluffy arrangement of weightless, glistening synths and elastic bass lines.
Muslimgauze's 85 UK hardcore rinse-out gets a rave remix, destined to destroy dancefloors anywhere its deployed.
Mixing elements of hypnotic waves of electronics with more compositional instruments, while Anna Homler uses her vocals as an instrument composing fluent sounds of sonic melody that perfectly entwine with the music they are laid across.
Hi-def grime from Triton warrior JT the Goon.
Lanza's vocals are more pronounced and confident than ever before, and her production (with additional touches from Junior Boys' Jeremy Greenspan) is distinctively different, channeling eccentric sounds from Yellow Magic Orchestra to Nozinja.
This is a proper teeth-grinding, head-nodding ride that owes as much to mid 90's Bristol drum & bass as it does to late 00's warehouse techno but all capped off with a signature sound that is undoubtedly Kowton at the controls.
Trotro give a message of 'energy is for everyone', mixed with a healthy dose of TR-808 heavy sound.
In combining sparse percussion with effectively placed caesuras, Fatima manages to convey an unsettling sense of tension that says: it's time for outrage.
Prominently layering higher and lower pitches and using reverb effects, Kaitlyn's vocals adopt instrument-like textures.
Otherworldly music. Ash Koosha intricately arranges a vast array of tones, textures and timbres into a new sonic sculpture.
There ain't much Trance in the Tiesto sense here; rather long-form ambient improv, drifting electronics and spatial modular composition.
Extremely noisy track of post-punk-influenced electronic sounds, with blasts of sub-bass, noise, and a good ol’ helping of rave all meshing together.
Bass-heavy and sounds somewhat broken. Slow motion groove with mechanical hisses.
Devised from a circuit burnt Roland groove, a moody synth melody, and a complete (wonderful) disregard for studio levels. Think Jamal Moss, gone feral.
Glass floored trap and grime mutations, crossing the DNA of Gobstopper with Hud Mo, all with a 7 am post-club glazed stare.
Hypnotic and spiritual jazz that still sounds proudly Ethiopian and utterly enthralling.
Melancholic club music that packs incredible energy into a low, swung tempo.
A more considered approach to Gold Panda’s trademark electronica that favours a more organic sample laden sound.
Post-Dilla beat with a Massive Attack atmosphere and that Blunt-vocal, underscored by classic art-pop sensibility.
Hecker injecting a dose of ultraviolet light into his sounds.
A perfectly crafted, hypnotic, sonic composition from Mark Pritchard.
Skwed Dancehall abstractions on More Red with Brother May, a.k.a. the London-based MC who voiced Mica’s Fact Mix 444 in 2014.
While remaining themselves and sounding like no other, Boards Of Canada drop a startlingly original remix of Odd Nosdam's Sisters that sounds quite unlike anything they have put their names to before! This BOC remix has totally blown our heads off, taking the sparsest elements of the original and whisking them into an ethereal slow-motion hip-hop refix recalling the duo's earliest incarnations as Hell Interface, but sprinkled with just the lightest touch of celestial vocals that adds a perfect haze of nostalgia that's sure to uplift all that are swallowed in its presence.
Guitars, cello, clarinet and synth from debut Moshi Moshi artist, Scottish composer Anna Meredith.
Oneohtrix takes Evening and moves it into full flow night-time mode by adding a 4 x 4 to the mix and making excellent use of the originals percussion, possibly the most club friendly work from OPN yet and sure to move minds and feet alike.
‘Watch Me’ depicts a George Orwell style statewide black mirror style surveillance that shadows our every move. The lyrics split between acceptance of a situation whilst escaping a global 21st century laptop-led loneliness that haunts many yet is rarely spoken about. 'Watch me in my hotel room, Watch my outline as I move from city to city' and 'Protecting me from evil, Protecting me from terrorism' wake us up to a modern reality: a world complacent with surveillance where masses are expressed in a Google maps timeline of our lives. Endless computations of our daily activities recorded to vast servers out of view.
Mitchel Van Dinther aka Jameszoo calls his music 'naive, computer jazz', which sums this masterful record up perfectly.
One of the premier live bands on the planet right now served us a tantalising, teasing, tasty and tumultuous two-tracker.
A space where chaos and clarity reigns; a music of broken 2-step percussion (in the SND mould) and pin-sharp electronic production (think label-mates Vainio, Kangding Ray, Alva Noto).
You'll have likely heard the wonky Skeleton Crew in sets from Mumdance and Logos.
Prototype HA flashes of seductive chrome.
The song Disintegration Anxiety shares its title with an epic song of loss by The Cure, and it's the sparse melancholy-tainted-by-euphoria of Robert Smith's band that Explosions often reference.
Killer hip-hop swagger set to an experimental techno flavour.
Paper Dollhouse flexes a Legowelt vibe with three minutes of cosmic techno.
N R 3 drops some beat-rooted gear that we have grown to love of Nosaj.
Yet more heartbreaking gold from the Erased Tapes family arrived in the shape of the debut LP from German sound designer Ben Lukas Boysen.
Raime perfectly executed a unique breed of post-minimal punk/techno that saw them being praised by everyone from Aphex Twin to Regis.
Andy Stott takes on Sidewinder grime with Selfish.
Spacious jazz, cosmic beats and new age ambience, all executed with a high mark production pallette. It's a bit of a journey this one, stick it on and glide through to the other side.
From the first string-licks of Innocent Love, the ghosts of the great Arthur Russell haunt you.
Double E features alongside A$AP Nast.
Lone didn't so much return, as kick the front door down, charge in, grab the turntable and smash down a full length of absolutely rinsin' jungle.
If you went raving this year it's highly like you heard this track at some point.
A richly produced piece of work which offers rewards upon first glance and is certain to convince those unsure of the true genius of the band.
When the seemingly arhythmic structures of ‘Marked For Life’ take on new forms through delay effects, Leeds’ mastery of metamorphosis is in full bloom: a truly enticing departure from the more traditional beat-based compositions.
Much like Pauline Oliveros and her Deep Listening Band before him, Bischoff took inspiration from exploring the acoustics of an empty underground water tank.
Intergalactic jazz funk with an afro-beat groove and hypnotic licks. Like Fela and Sun Ra had a massive party and the whole world was invited.
Liquid Cool is full of confidence, hypercoloured synth licks and Teengirl Fantasy style vocal house jams; a sweetly realised work.
A killer remix from Inland/Function, morphing the original into something that could have emerged on Sandwell District back in the days.
Perfectly clear-cut return of Downwards North America duo DVA Damas, building upon The Cramps style rockabilly post-punk sound they have made their own.
CIRKLON3 [ Kolkhoznaya mix ] mixes up a techstep funk number with the robotic blues of The Man-Machine-era Kraftwerk with the raw melancholy of the most slippery Analord acid.
Time Moves Slow takes in spacious arrangement of guitar chords, bass line and subtle drums leaving enough room for Samuel T. Herring's vocals to take centre stage.
Julien explores his funk influences flexing on the dancefloor.
One of the most prolific artists working on the fringes of house/techno/jazz/space and the world as we know it, Jamal Moss presented possibly his most well rounded and cosmic record yet.
Why Be, Elysia Crampton, & Chino Amobi join forces for an Amazonian battering on Dummy Track.
Like a British Prince on this boogie cut, his voice will find a way to stay in your head long after the track has finished.
Trim calls on label head Blake who turns in his most sterling work since 2014's 200 Press with the rapid fire RPG.
The Gqom Oh! X Crudo Volta Mixtape is the perfect entry point to this most singular of labels, anyone who copped the labels previous releases, or are into Mu's Bangs & Works comps or early 00's grime but are on the search for new flavours, this is 4 U.
Zomby and Rezzett's mind blowing eski ambient jungle collab finally saw the light of day in all it's glory. Imagine 28 Gun Bad Boy had been released on Wiley Kat for a taste of the vibe here.
Head High (AKA Shed) moved the original's drum & bass tempo into a jackin' house rework complete with the OG's MC chatter.
Mall Grab decided to combine grime with big room house on the tongue in cheek titled 'I've always liked grime.'
Sure to be an instant classic of the ambient electronica genre, 'Before the Rain' is shot through a crystalline backdrop of innercity raindrops that hail from underneath a sky the colour of a television tuned to a dead channel.
Sun Song by The Earl Hennessy Trio portrays this atmosphere of a glacial snow blind passage layered in a forest of reverb, sublime library sounds.
Teklife returned with their second release proper, from the real OG DJ Earl.
A warbling bassline and glistening, slightly acid tinged synths, with an 80s vox style vocal sat neatly over them.
Sparkly choral synths gives rise to hope, bursting with colour and positivity.
Ghosted vocals drift through vast walls of reverb drenched sound.
Rippin' guitar fuzz.
Never stopping to focus on one thing for two long, vocal licks fly past in a haze of dub FX, snare drums loop in and out of the mix with little fanfare and acid lines bubble underneath a bouncin' sub bass line that is at the core of the album's sound.
Equiknoxx roll a beat for Swing Ting.
A drum pattern as complex and rhythmic as you’d find while digging into the classic era of break-beat and jungle, though not quite hitting so hard.
Having spent recent years touring with his label mates all across the globe, and releasing some of the most exciting and inventive takes on house music, Kornel Kovacs has a pretty good handle on what rocks a dance.
Incredible track from FIS's spellbinding LP, From Patterns to Details.
Produced with Ab-Soul, Earl Sweatshirt & Kendrick Lamar. While there will be many drawing parallels and comparisons with Kendrick's To Pimp A Butterfly, to our ears where Kendrick moved library and jazz into his world, Danny is bringing in early the cold winter months ahead, through an industrial sized sized vat of post-punk experimentalism that bleeds through his flavours to create a richly thick style and substance that's ingrained in his DNA and stands him tall above the rest.
The most crystallised, yet shadowy vision of the DVA sound yet.
A long, drifting deep house mutation from No Pain in Pop favourite Karen Gwyer.
Bridge Spot sports some of FaltyDL's early drumfunk shuffle into a deep house banger.
Machine driven funk from Romare's latest LP, a strong vibe on the deeper end of the club spectrum.
Beautifully dark atmospheric pop from Jenny Hval's stunning Blood Bitch.
In a world where everyone is going deeper into abstract electronics, the live instrumentation on show here makes 'Mob Of Waters' truly unique.
Slickest sounds & rhythm from the Basic Channel corner, endless echoing drum work with the signature Ndagga vocals over the top, always on the brink of fading into an endless sea of reverb.
Proper buzz from Bicep remixing the acid house classic by 808 State into a NY garage number.
Tuck has Katie Gately's voice creating goose-like noises, echoing the wild brass concert underneath.
Nicolas Jarr returned, sounding more versatile than ever.
A freestyle grime beat overlaid with a strong house vibe. Great stuff.
Championing the challenging, Yves Tumor seems to have a knack for constantly expanding our perceived notions of music, drawing upon mid-period musique concrete as a unifying reference point. Dense, psychedelic and melancholic, the groove wriggles its way into your head and stays there, all the while you debate the reason you were listening to anything else beforehand.
‘Play with Me’ exemplifies the exquisite fusion of melodies which go beyond your standard synth motif, with captivating syncopated percussion. A simple, yet infectious beat with shimmering pads.
GAIKA blends the RNB style champagne dreamin' of the slicker early '00s UKG with a streetwise, hood up gothic twist that will see it draw appeal from across the board of soundboys and girls alike.
Connan Mockasin and Late Of The Pier frontman Sam Eastgate, to some better known as LA Priest, immortalised their friendship with the release of their first album as Soft Hair.
Much like Mumdance and Logos did to grime, SOPHIE did to bubblegum pop and SND did to UKG, Lorenzo Senni excavates and extractes a style of hard dance music and gives it a valuable new spin that is both futuristic yet reflects the modern times with a deafening intensity sure to move minds and feet alike.
The music of 1991 harks back to times of old, seeping into our collective conscious to recall memories of the golden age of ambient dance music.
Jacques Greene returned with the neon sheen glow of Afterglow, once again raising the bar of RNB rooted house and electronica in the way that only Jacques can.
Opening track from HudMo's awesome soundtrack for Ded Sec - Watch Dogs 2.
Minimum pads and breaks that can really do the damage on a big system.
Early electronics from avant-garde electrician musician Malcolm Pointon, beamed right in from his self-built synths circa 1974.
'Kazzt' will undoubtedly become a hallmark in the history of the 'weightless' sound.