The Top 100 Tracks of 2013
The Top 100 Tracks of 2013
The Top 100 Tracks of 2013 is a 100 track compilation selected by the Bleep staff and made up of the best music released this year, regardless of genre or style. Available for a limited period.
Due to it large size, the product can be downloaded in four separate parts. These are added to your account on purchase.
"Agoria's 'Scala' is a persuasively refined chunk of tech-house, which drew on classic elements in its jacking pulse, clouds of synth, and piano riffs, but nonetheless rendered them subtly."
"Pummeling end-of-the-world techno from Ancient Methods, where huge walls of biting low-end sit amongst beats whcih don't surge forward but induce a claustrophobic sense of entrapment.
"The ever-unpredictable Uwe Schmidt returned to raster-noton with a bombastic album, and 'I Love You...' must rank as one of the artist's most extrovert cuts to date, with glitching 808 drums and soul samples making for a memorable addition to his work."
"Big Coast' took tropical house on a deranged psychadelic trip, with lo-fi drums and church organs propping up African vocal samples in a bizarre and thrilling mix."
"Reach For The Dead' spearheaded Boards Of Canada's long-awaited return with John Carpenter-esque broken chords and a trademark pounding hip-hop shuffle forecasting the dystopian unease of what would be more fully explored on the brilliant 'Tomorrow's Harvest'."
"Feast / Beast' remains a sprawling collection that shows Warp artist Clark at the height of his production prowess, nowhere more so than on the 'Redux' of his own track 'Alice', which climbs high on fuzzy chords and ethereal washes of elegant noise."
"Connan Mockasin concocted a surreal, half-remembered dream of the 1980s on 'I'm The Man...', where classic pop elements of the era are strangely filtered and made cartoony yet weirdly melancholy."
"An extended introduction of deconstructed beats and guitars eventually settles into more conventional spacey vocals and percussion on this epic track from Darkside."
"A highlight from Darkstar's compelling album 'News From Nowhere', filled with twinkling keys and layers of sumptuous, bruised psychedelia."
"Deerhunter concocted a deranged rock sleaze on 'Leather Jacket II', where a lewd guitar riff is just about all that keeps raw drums and squealing grunts from descending into chaos."
"Demdike Stare brought the jungle and noise influences always present in their work more obviously to the fore on 'Collision', where breakbeat chunks and gurning machine noise traded blows in one of the year's highlights."
"Pounding industrial techno from Dense & Pika for Scuba's Hotflush imprint, where sandpaper drums are buoyed up by stabs of destroyed sythesiser."
"Two thirds of the esitmable raster-noton imprint united as Diamond Version, pushing experimental research into sleek main room techno on 'Get Yours', a far cry from early glitch but no less uncompromising in its relentlessness."
"Dirg Gerner served up an understated, yet emotionally captivating EP for Eglo, and 'Vicious Cycle' impressed with clean thumb piano licks and bursts of jazzy vocal layers framing Gerner's ernest delivery."
"The face of footwork, DJ Rashad, unleashed yet another stunner in the form of 'I Don't Give A Fuck', where aggressive vocal samples continually turn in on themselves and bleeping beats reconfigure into ever more alien grooves."
"Doc Daneeka collaborates with Ratcatcher for 'Walk On In', a gospel-heavy track, crackling with raw vinyl static and lots of vintage soul."
"Repeatng techno patterns keep pushing forward without settling in this beauty from Donato Dozzy, where every sound drips with a precision that shows a master at work."
"This luxurious pop cut from Ducktails saw their shoegaze influences submerged a little in favour of an expansive '80s upbeat ballad, complete with roring alto sax solos."
"Factory Floor created a lead single which recalled the Halcyon days of the Hacienda in its punishing yet sensual machine disco."
"An incredible piece of melancholy R&B-tinged hip-hop, with production from Arca which traverses reverberant synth vocals, off-centre beats and slippery synthetic tones expertly."
"A deadly slice of machine funk from minimal master Robert Hood where raw funk guitars, disembodied brass swells and incendiary vocal chops push forward with no sign of ever letting up."
"The undisputed highlight from Forest Swords' highly anticipated album was this gem, where trademark Morricone guitar licks and salvaged flute sounds roamed within an engrossing and environmental dub palette."
"Four Tet's love letter to Pirate Radio contained this solid track, which spiralled an angelic vocal sample into unsettling configurations while maintaining a jacking pulse constructed from found sound."
"Bit-crushed guitars and distant synth arpeggios beef up functional yet physical half-step percussion on this missive from another great Fuck Buttons album."
"Techno master Function acheived a level of precision and drive in 'Modifier' which showed the genre at its purist and most effective, with heartbeat drum and cold washes of machine strings pushig forward and forward and forward."
"Four Tet-like bubbles of decomposing guitar twangs and fidgety Fender Rhodes added a beautiful layer of sheen to sheets of soulful vocal samples on this gem from High Water."
"First released as a single earlier in the year, ‘Gone Feral’ certainly set the scene for Holden's rulebook defying album The Inheritors, opening with chirping 8-bit satellite signals which swirl and churn into a hurricane of shoegaze, piercing sirens coming at you in the din."
"Squirtle Squad' straddles the line between the bubbling electro of Drexciya and the noise-techno of Container, and packed a lot of variety into its modest length, despite remaining relentlessly pounding."
"Opening in shiny pools of synthetic vocals and glossy synths, 'Vista' steadily blossoms into a windswept anthem glistening with stadium-sized bombast.
"Blissful summery house from Jaques Greene on Glasgow's Luckyme, which delivers a heady mix of trembling keys and ticking beats."
"Expansive instrumental beats from Jaisu, where orchestral brass and lounge jazz pianos rub shoulders, mediated by layers of vinyl crackle."
"A stand-out single from the increasingly far-reaching Hyperdub imprint where a soild R&B vocal from Lanza sits within a finely wrought dub crawl."
"Fences' was an excellent album, and 'Palace' a beautiful marriage of dubby low-end throbs and tropical house percussion, all led by a naggingly memorable high piano riff."
"Feel-good cinematic funk from South Africa's John Wizards, which has a sense of detailed irreverance in its huge synth swathes and rippling bongos befitting for the mighty Planet Mu."
"The precision and sense of wide-screen landscape that Hopkins has achieved so masterfully throughout his career was solidified in this house number, which had a sliding lead hook not unlike the rawest of Ibiza classics."
"Julia Holter summoned up bellowing sax lines and an urgently breathy vocal on this beguiling cut from 'Loud City Song', further evidencing her singular talent.
"Julia Kent combines a Baroque sense of calm and refinement with more modern processing techniques on 'Only Child', where her cello playing remains understated but haunting."
"Julianna Barwick looped her own voice into a gorgeous bath of reverberant and intertwining lines on 'Labyrinthine', which achieved a classical grandeur through limited means."
"A subtle and unsettling piece from Karen Gwyer's excellent album for No Pain in Pop, 'Sugar Tots' impressed with weirdly static tribal drums, walls of analogue synthesiser and odd twinkles of pitched percussion."
"This spooked beauty from Katie Gately pitted trudging concrete beats against ethereal vocals layered in dissonant waves which never settle into any predictable loop."
"Enemy' was an impressive piece of pop taking its cues from the fiery vocal delivery of classic R&B and the unsettling production style of vintage grime."
"Detroit's finest Kyle Hall delivered a very pleasurable album for his Wild Oats imprint, with 'Measure 2 Measure' pulling off rough analogue funk."
"Sour/Sweet' was a beguiling slice of experimentalism which impressed in its restraint, with lounge piano samples and blunted beats adding up to much more than the sum of their parts."
"The title track from Lone's euphoric album for R&S delivered a pure rave rush with synth choirs and midi vibraphones singing over a sophisticated shuffle."
"A Killer jungle revival track from Machinedrum, where a masterfully subdued breakbeat and melancholic garage vocals eventually spill over into full on bass splodges and crashing percussion."
"A singular effort where singer Devon Welsh croons uncomfortably but commandingly in his lower register amidst hiccuping washes of manipulated voices."
"James Blake's Harmonimix re-rendering of Mala's 'Changes' is a classic of open-eared dubstep, with noodling jazz-organs and cute pitched percussion giving a lightness of touch to the original."
"Mark Pritchard managed to cram skittering footwork hi-hats, drum-and-bass breakbeats and a huge R&B vocal sample on 'Make a Livin', without ever seeming anything less than assured."
"Full throttle nerdy escapism was the order of the day on Meatbingo's 'Trendy Robots', where crisp IDM invention rubbed up against wild video game collage to disorienting effect.
"Mika Vaino's ability to make something visceral and unique from the simplest of materials was again in evidence where chunks of reversed guitar distortions pulse in hypnotic waves which sometimes become orchestral winds."
"Raime adopted their Moin moniker for the post-punk explorations of 'Stacie', which seemed to have a distant sample from an old Western embedded within its mechanical kit and guitar groove."
"Made To Stray' led the charge for Mount Kimbie's second album with a rippling four-to-the-floor which arrived at ethereal vocals via a melacholy hammond organs chorale."
"Pure electronic pleasure from Planet Mu's head honcho, with scaling synth bubbles and a naive electro pummel driving choirs of angelic synth voices."
"New York Transit Authority delivered a club anthem which seemed to gather many of 2013's most important tropes in its employment of a rough house pulses, burrowing electro cowbells and bursts of analogue bass to deady effect.
"Water droplet percussion, a reggae vocal sample and splashes of funk piano come together in an electrifying mix on 'Now Is The Time', with which Nightmares on Wax returned to Warp."
"Objekt contributes a track of stealthy techno menace to our own Green Series. 'Shuttered' buries spectral vocals in blunt drums and churning warehouse hisses and clangs."
"The highlight of Olsen's debut full length for London-based Super was this twinkling, introspective house number which channelled Actress and Four Tet whilst sounding in a world of its own."
"Om Unit delivered a masterclass in drum-programming on 'Sleepwalkers', where drum-and-bass breakbeats and a precise shuffle deriving from footwork marry incredibly effectively."
"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 'Warni Warni', which might contain the most commanding keyboard solo his band have produced yet.
"A commanding opening to Dan Lopatin's debut album for Warp, where '80s synths and stuttering voices were brought into sharp focus with an assured technical precision."
"Escape From New York' is a pleasurable slice of '80s nostagia, where fanafare synths and stadium guitar solos soundtracked an imaginary sleek car chase."
"Pangaea inaugurated a new imprint for his own work with a release which included this solid DJ tool, where blunted drum machines and a stuttering vocal work themselves up into a frenzy."
"On 'Aviary' new Warp-signing Patten runs amock with spluttering beats and gorgeous washes of naive synth, which circle in mind-bending configurations."
"John Talabot resculpted Peaking Lights' lo-fi bliss into a loving tribute which delivered a little more dancefloor precision through pinpoint kicks and spacey synths."
"Kowton & Peverelist showed further reason for their substantial reputations on 'Raw Code', where a crawling groove and bursts of synthetic woodwinds gave heft and textural beauty in equal measure."
"Queens came up with a chilled but haunting ambient number on 'Keep It', where a softly jangling guitar and the artist's distant falsetto induce a sense of relaxed majesty."
"Modular electronics met exotic folk musics on this stunning effort from Rabih Beani, where a full throttle drone and poignantly plucked strings somehow sat alongside each other perfectly."
"The ever-adventurous Blackest Ever Black uncovered somethng special in this release from Raspberry Bulbs, which pushed a deranged punk template to compelling breaking point on 'Wild Inside'."
"A hard-hitting jacking number from Raudive for the Running Back imprint which delivered classic house vocals and pianos with a tough techno pulse."
"Riant', from Recondite's excellent album 'Hinterland', was refined ambient techno at its best, with delayed sine bubbles and a pinpoint kick given masterful breathing space."
"L.I.E.S. boss Ron Morelli produced an excellent lo-fi house crawler in the form of 'Modern Paranoia', whose snaking bass and naively ticking 808s combine to suprisingly sinister effect.
"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."
"Senking sounded like a perverse scientist playing with classic dubstep elements on 'Chainsawfish', which placed distant screams and sine alarms sporadically on top of a crushed and volatile bass splurge."
"Mark Fell continued to reconfigure the tropes of house music as Sensate Focus, with this early cut from the series pushing gorgeous washes and tropical percussion into subtly unconventional patterns."
"Dripping experimental funk from Shit and Shine for Powell's Diagonal imprint, where disco's essential thrust was caked in a lo-fi debris which brought it across even more potently."
"Expansive Krautrock synth pads met main-room half-step on this curious and unhinged number from Si Begg."
"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."
"Numbers reissue the first record ever released on Stuffrecords back in 2002 by Sparky. Though the 30 minute remix by Ricardo Villalobos might have garnered the most attention this year, the original is still undeniably brilliant - a flexing dancefloor gem packed full of emotion-heightening chords."
"Paul Woodford produced something special for Fabric's Houndstooth label wih 'Ride VIP', which distilled jungle's breakbeats and air horns into something more akin to techno in its clean yet muscular punch."
"Cinematic house from two veterans of electronic music, which combined the feel of early Human League with cosmic lyrics and beautifully-judged reverbs."
"A purring glitch bass and a lone bleep cut through the murky sludge on this impressive cut from The Haxan Cloak, where sidechains add to its seasick groove."
"Compelling instrumental hip-hop from The Last Skeptik, where chipmunk vocals and a beautiful jazz flute line sit beautifully together."
"A naive yet strangely sinister missive from the ever-intriguing Ghostbox label, where documentary synthesisers and toy drum machines give way to disembodied voices."
"A troubling low register take from The National's stellar lead vocalist on this album highlight made for compelling listening on a track which gradually opens out from opressive emotional turmoil into something more airy and bright.
"Leyland Kirby's abiltiy to craft chilling but poignant pieces remained in tact on 'We Scarcely See Sunlight', where ambient percussion rattled in the depths of a strange factory in duet with a low piano tone."
"An angular yet sumptious offering from These New Puritans' introspective album which layered up cinematic strings, unsettling percussion bursts and electronic surges into somethiing that somehow still sounds exactly like pop music."
"A beautiful piece of eccentric soul from prolific bass hero Thundercat, where sawtooth synths, lilting vocls and a distinctly jazzy arrangement are filtered through a fuzzy, wobbly lens to unique effect.
"Tim Hecker cleaned up his act on Virgins, and 'Virginal II' was a startling in its use of bright Steve Reich pianos, which then fade into layers of psychadelic distortion and decay."
"Tuff Sherm (who also produces under the name Dro Carey) turns in a track of shuffling techno, building rhythm from scratchy shards of noise and a looped vocal sample. It's decidedly lo-fi, but its twitching pace is also peculiarly catchy."
"Valerie Martino wrenched some hard-hitting modular synth tones into a oddly pleasurable synth-pop abstraction on 'Houndstooth'."
"Volatile industrial noise was issued once again by Vatican Shadow on 'Not The Son...', though it must rank as even one of his most aggressive cuts to date, and proved there's still life in the project yet.
"Cinematic rock from Volcano Choir, which draws upon the folksy charm of the likes of Bon Iver, but with a more muscular drive which makes it less saccharine."
"Hyperdub's release of the debut album from bass wunderkind Sam Walton felt fitting with the label's classic releases, and 'Need To Feel' gave UK funky vocals and house synth iterations a welcome low-end weight.
"An amazing piece of infectious Nigerian funk issued by David Byrne's Luaka Bop label, where rudimentary synthesisers and strident strings beef up more conventional elements."
"Rudimentary square waves oscillate mindlessly through thick layers of industrial guitar, heavilly proccessed vocals and occasional bursts of analogue electronics in this perfect piece of crushed sludge from Wolf Eyes."
"Young Echo flew the flag for ambitious, yet subtle dubstep on 'Blood Sugar', where skittering beats, an emotional vocals and vaulting 8-bit synths came together like a dream."