First Floor #17 – My Favorite Electronic Music Tracks of 2019
a.k.a. I promise there won't be any more lists after this one.
Hello again.
Welcome to a special bonus edition of the newsletter, one dedicated to my favorite tracks that dropped this year. (In case you missed it, on Tuesday I highlighted my favorite albums of 2019.) This will also be the year’s final First Floor, as I’ll be taking a short break during the holidays. But fear not, I’ll be back soon—the regular weekly publishing schedule will resume on Tuesday, January 7.
Anyways, let’s get down to business. Much like I did with my albums list, I’ve elected to present my favorite tracks without any sort of numerical ranking. At the same time, I think that dropping a context-free jumble of 50 tracks doesn’t necessarily make sense either. Knowing that, I’ve elected to, well… copy Resident Advisor. Not their actual selections of course, but I really liked how their extensive rundown of 2019’s best tracks grouped the songs into different categories based on vibe / genre. I thought it was a rather elegant way of making their list a bit more user-friendly, so I’ve taken a similar approach here, albeit with my own categories.
The full rundown is below. You can click on the track titles to hear each song individually, or you can also just head over to this Buy Music Club list to find them all in one place.
JUNGLE JAMS
Early in the year, I came to the conclusion that 1) there was a lot of great new jungle and drum & bass coming out and 2) I wasn’t really up on a lot of it. Knowing that, I made a concerted effort to expand both my knowledge and my listening habits, and while I still have a lot to learn, perhaps you’ve noticed that new jungle tunes are now a regular part of my weekly First Floor recommendations. Here are the tracks from that world that really left a lasting impression on me.
Alix Perez “White Lies” (1985 Music)
This UK producer has been pushing the boundaries of drum & bass for more than a decade—since way before jungle got trendy again—and 2019 was an excellent year for both him and his essential 1985 label. “White Lies” is a sharp update on the classic tech-step template.
Dkay & DJ Lee “Interlinked” (31)
Doc Scott’s long-running 31 Recordings is another quality outpost for new jungle and drum & bass, and “Interlinked” is a melodic roller for those who prefer the genre with a bit of sunshine mixed in.
Bulu “Fiyah” (Bun the Grid)
“Fiyah” is a wild rollercoaster, pairing a warped dancehall vocal with towering synths, thick waves of bass and a gatling gun of percussion. It’s a lot of fun.
Martyn “B.C.2” (Ostgut Ton)
Coming full circle, the shapeshifting veteran returns to his drum & bass roots and drops an actual jungle track on Ostgut Ton. There’s something jazzy about the bassline, but make no mistake—this is a sinister tune.
Coco Bryce “Come 2 U” (Western Lore)
The spirit of the ’90s is alive on this rollicking track. If you like old-school vibes and chipmunked diva vocals, this song is for you.
HOORAY FOR SYNTH-POP
Even though I’m an ’80s baby, I was never really into new wave and synth pop when I was growing up. It wasn’t until college that I went back and started to appreciate that music. The process was gradual, but 20 years later, I’ve somehow reached a point where new wave and synth-pop are the closest things I have to musical comfort food—I can’t even count how many times I’ve listened to Depeche Mode’s “Everything Counts” this year. Long story short, I’ve got a major soft spot for not just synth-pop, but ’80s synth vibes in general—even the dark stuff. And while I’m not a fan of artists simply aping the sounds of that era, I do think that certain acts continue to find a way to wrench something interesting out of the decade’s neon sound palette. These tunes are my favorite 2019 offerings in that vein.
Boy Harsher “Fate” (Nude Club)
“Fate” sounds like a coldwave track produced by Martin Gore. Impossibly cool and very likely to get stuck in your head for days on end.
Rosa Anschütz “Rigid” (Quiet Love )
Everyone flipped out for Kobosil’s hard techno rework of this track, but the moody original is so much better. Anschütz sounds like Nico, and her deadpan delivery is perfect for the song’s fuzzy textures.
Nikolajev “Left” (Incienso)
Less of a pop number than a glowing soundtrack cut, “Left” gloriously falls somewhere in between Giorgio Moroder and John Carpenter.
BIG ROOM FUN
A few weeks ago, I wrote about the current lack of bonafide anthems in electronic music. Since then, I’ve been hoping that folks would tip me off to a bunch of massive tunes that I had somehow missed, but that hasn’t really happened. Nevertheless, even if we didn’t have too many tracks officially rising to anthem status, 2019 still had its fair share of tunes with big-room aspirations—and some of them were actually quite good. Admittedly, the tracks I’ve highlighted here can sometimes feel a little silly, but when the dancefloor is heaving, sometimes a catchy earworm or a bit of mindless fun is exactly what’s needed. To be clear, I don’t mean to knock anything listed here—these tunes are anything but dumb, and making quality big-room fodder is often a lot harder than it seems. I just wouldn’t recommend reaching for them unless the party is already in full swing.
Storken “Lille Vals” (Running Back)
Synth-streaked ’80s disco, updated for the modern festival circuit. Todd Terje is surely kicking himself for not making this one first.
Krystal Klear “Entre Nous” (Running Back)
Inspired by a psychedelic club concept that Jim Henson (yes, that Jim Henson) came up with in the late ’60s, there’s nothing subtle about this glossy tune, which brings together elements of synthy Italo and vamping piano house. In other words, it’s a perfect addition to the Running Back catalog.
Burial “Claustro” (Hyperdub)
Burial is known for many things, but “Claustro”—a souped-up 2-step cut with a poppy R&B vocal and a darting bassline that could have been lifted from an old Sega game—is the first time that one of his tracks has qualified as an all-out banger.
Overmono “Le Tigre” (Poly Kicks)
Like many of Overmono’s best tracks, “Le Tigre” takes a minimal approach. There’s a kick drum, some ’90s-era breaks, a plucky little melody and… not much else. Clearly, these boys know the power of keeping it simple.
Anz “No Harm” (2 B Real)
With wonky synths that make me miss the many hours I spent playing Mega Man as a kid, “No Harm” is a shot of pure joy, not to mention the kind of riotous, freewheeling tune that can only come out of the UK.
Kirk the Flirt & Peter Pressure “Over the World” (Allergy Season)
Physical Therapy practically traversed the whole dance music map on his It Takes a Village album, but all of all the genre hats this NYC chameleon has tried on, the chopped filter house of “Over the World” just might fit him best.
Dorian Concept “Toothbrush” (Brainfeeder)
Apparently this manic tune was lifted out of Dorian Concept’s archives, which probably explains why it’s brimming with enough Big Synth Energy to rival his classic “Trilingual Dance Sexperience.”
CHUGGERS
Speed was at a premium in 2019, as producers across the electronic spectrum excitedly cranked up tempos and reveled in higher bpms. This category, however, is not for those artists. The tunes here are aimed at selectors who like to operate below 120 bpm, a zone in which a lot of excellent music is still being made. Narcotic house, psychedelic drum workouts, lurching EBM stompers… this stuff comes in many shapes and sizes, but it’s undeniably compelling for those looking for something a bit more deliberate in their dance music.
General P.D.C. “Amazon Dub (Beesmunt Soundsystem Version)” (Notte Brigante)
Big drums, brawny bass and a whole lot of swagger. Perfect for those in need of some psychedelic churn.
Cooper Saver “Pacifico (Khidja Remix)” (Biologic)
The Romanian duo strips all of the sunshine out of Cooper Saver’s original, weaving what’s left into a steadily simmering and deeply hypnotic excursion.
TYVYT|IYTYI “Never Here Before” (Pinkman)
2019 was full of hard-charging EBM and industrial techno stormers, but here that formula is slowed to a crawl, the menace only increasing when coupled with a rhythm best described as a lurching stomp.
BIG DRUMS
I know that “Big Drums” is a pretty generic category name, but I figured it was more fun than “Bass-Techno Hybrids” and definitely made more sense than “Whatever the Hell We’re Calling All of That Music Coming Out of Bristol.” Anyways, I assume you understand what I’m trying to get at here. This stuff isn’t really house or techno, but it’s not straight-up bass music either. Although it’s technically part of the hardcore continuum, and is perhaps best personified by labels like Timedance and Livity Sound, its influence has already gone well beyond the borders of the UK. We may not be able to agree on a snappy genre name, but all these tunes have a lot of drums and a sturdy low end. In truth, there’s a lot of this music being made right now, but for me, the tracks here were the cream of the 2019 crop.
Gacha Bakradze “Daraji” (Fever AM)
Creating magic with little more than some twitchy drums and tweaky melodies, Tbilisi producer Gacha Bakradze put his own dreamy spin on the Bristol sound.
Walton “Depth Charge” (Ilian Tape)
Ilian Tape’s catalog owes a lot to the UK hardcore continuum, but Walton is one of only a few Brits who’ve actually released on the label. “Depth Charge,” a relentless blur of heavy bass, laser blasts and skull-rattling percussion, is one of those tunes that punches you in the chest but ultimately leaves a smile on your face.
Tommy Four Seven “X Threat (Stenny Remix)” (47)
Core Ilian Tape member Stenny transforms the static crunch of the original “X Threat” into a furious, percussion-heavy assault on the senses (and the dancefloor).
Joe “Get Centred” (Cómeme)
On the title track of his first outing for Cómeme, the much admired—and seemingly impossible to mimic—producer employs shuffling percussion, off-kilter rhythms and what sounds like a pan flute (?!!?) in the the creation of a wonderfully hypnotic tune.
Wilted Woman “Lon Lon Night Vision (Laurel Halo Remix)” (Phantasy Sound)
Laurel Halo strips “Lon Lon Night Vision” down to the studs, leaving behind a muscular drum workout that still feels light on its feet.
Stenny “Stress Test” (Ilian Tape)
Yup, it’s another Stenny track. This one finds him beefing up a 2-step garage with sludgy waves of bass and a kick drum that hits like a wrecking ball.
Toma Kami “Negative Extasy” (Livity Sound)
Lively drums, shuffling rhythms and just enough flourishes to keep the whole thing from ever feeling stale. In other words, it’s a prototypical Livity Sound track.
Air Max ’97 “Paroxysm (feat. TVSI)” (Decisions)
Bass-techno for the rave generation, as “Paroxysm” rolls out whirring hoovers and the same sort of ominously droning synths that used to populate tech-step drum & bass tracks in the late ’90s.
Code Walk “Red” (Peder Mannerfelt Produktion)
A standout from this Danish duo’s debut EP, “Red” is a full-on sprint that doubles as one of the year’s top thrill rides. The tempo is high, the vocal samples are cheeky and the drum patterns barrel along with such reckless abandon that they sound like they might trip over themselves at any moment.
Joy O “Burn (feat. Infinite & Mansur Brown)” (Hinge Finger)
Although his Slipping EP found Joy Orbison dipping into a variety of tempos and styles, “Burn” implants the spirit of an old jungle roller into this confidently sashaying, drum-heavy hybrid.
HOUSE GROOVERS
House comes in many different flavors, but I often find it most enjoyable—or at least the most joyous—when it comes with a genuine sense of groove. It’s important to remember that house came out of a long (and primarily black) musical lineage that includes funk, soul and disco, and often works best when the traces of those roots haven’t been wiped away completely. The tracks here aren’t necessarily peak-time bangers—although that depends on the party you’re at—but they’ve all got a breezy bounce and/or an organic sense of funk. Whether you’re getting down at a summertime dance party or chilling at a smoky afterhours spot, these tunes are sure to put a smile on your face.
Look Like “Garden of Eden” (Clone Royal Oak)
Unfortunately this one’s not on Bandcamp, but there’s a lot to love here—burbling acid, tinkling piano, peppy percussion and a tangible sense of self-assured cool.
Marina Trench “Cascade” (Deeply Rooted)
A pop-soul vocal with a bopping piano house beat. Some fabulous strings too. This track should have been huge.
Max D “Cuz Its the Way” (1432 R)
Major ’90s hip-hop vibes on this swinging cut from the Future Times bossman. It’s house music for a sunny Sunday BBQ.
Trackstars “Bonanza” (L.I.E.S.)
Infusing the classic Chicago deep house formula with a chunky boogie bassline was a genius idea. Delroy Edwards and Benedek are officially LA’s new dream team.
Moodymann “I Think of Saturday” (KDJ)
I’m no funk and soul expert, but if James Brown was alive and making house music, perhaps it would sound something like this. “I Think of Saturday”—a track that’s both urgent and super smooth—sounds like Moodymann in frontman mode, and I for one would love to see him playing bandleader someday. The man is a treasure.
CZ Wang and Neo Image “Just Off Wave (feat. Separated at Birth)” (Mood Hut)
I never thought I wanted to hear MCs on a Mood Hut track, but I was dead wrong. This is some blissfully blunted house music.
BANG IT OUT
Sometimes, you need a tune that’s just going to beat up the dancefloor. Something with a sturdy kick and hard-hitting drums, the kind of track that only makes sense when the club is full and the party is jumping. These songs listed here are all perfectly suited to the task, and while there’s a lot of prototypical machine techno represented, I’ve made room for a variety of heaters.
Aurora Halal “Liquiddity” (Mutual Dreaming)
Everyone loves the Wata Igarashi remixes on this EP, but I found myself reaching for Aurora Halal’s originals again and again. She might hail from NYC, but her driving, insistent techno channels the spacey magic of the Detroit masters.
Erol Alkan “Spectrum (Matrixxman Highway Remix)” (Phantasy Sound)
Hyper prolific and always releasing quality tunes, Matrixxman is practically a machine himself. This propulsive remix was the best of his 2019 offerings, and it also reminds me a little bit of Lil Louis’ “French Kiss” (minus that song’s porno breakdown of course).
Pär Grindvik “Magnolia (Sissel Vincent Remix)” (Stockholm LTD)
Pär Grindvik’s five-part series of remix EPs was loaded with star power, but the best rework came from Swedish upstart Sissel Vincent, who boiled the source material down to the bare essentials and dialed up the drum attack. I’m not sure if this is even techno anymore, but it absolutely bangs.
Juju & Jordash “Jupiter Slack” (Slack Trax)
People don’t usually associate Juju & Jordash with techno, but the blistering “Jupiter Slack”—which features some excellent nods to the sci-fi spirit of ’90s Detroit—is proof that this Amsterdam duo can really do it all.
Kuf “B11b” (Arsenik)
More house than techno, but a banger nonetheless. When it came out, I said it sounded like a cross between old Levon Vincent and Basement Jaxx’s “Fly Life,” and I’m sticking with that description.
Anshaw Black “Masque” (Anshaw Black)
One of those industrial / EBM techno stormers I mentioned earlier, and although “Masque” doesn’t reinvent the wheel, it’s both 1) very well done and 2) not something that’s been played to death. If you’re looking for some spooky, synthy techno with a Nitzer Ebb vibe, then this track is probably for you.
Simic “Atwater Dance” (Secondnature)
A driving piece of textured techno that weaves in a psychedelic, almost organic vibe without sacrificing any of its dancefloor potency.
LET’S GET DREAMY
Based on the category title, you might be expecting a collection of ambient tunes, but most of the tracks here still qualify as “dance music.” That being said, there’s a shared vibe, not to mention a shared sound palette that’s heavy on gauzy synths and blurry atmospheres. These are songs where melody not only takes the lead, but also has a sort of transportive function; think of these tunes as little escape pods, each one a potential soundtrack for daydreaming in the sun, relaxing at home or zoning out in the club. I recently wrote about how much the electronic music sphere has become fixated on “the industry” in recent years, a development that’s left many of us occasionally feeling a bit exhausted. Still, even with all the industry talk, it’s still possible to get lost in the music—at least for a little while—and I think these tracks represent 2019’s best places to start.
Ondo Fudd “Fluenka’s Song” (Trilogy Tapes)
There’s a skippy breakbeat underpinning this nearly 13-minute epic, but Call Super makes the time fly by with an airy suite of lush pads and delicately chiming melodies.
Otik “Stoned Ghost” (Nous)
One of my favorite new discoveries of 2019, Otik has a special talent for spellbinding atmospherics and inventive drum patterns. While many of his UK peers are intensely focused on the latter (not that I’m complaining—see the “Big Drums” category above), the washy “Stoned Ghost” is an example of Otik’s willingness to look skyward and get lost in the wonder of the world around him.
Ross from Friends “Epiphany” (Brainfeeder)
I’m still struggling with his artist name, but the UK producer did great work here. “Epiphany” feels a little sad, or maybe just pensive, but whatever the intention, the song’s vaguely Middle Eastern or Turkish melody pairs beautifully with its moody strings and disembodied diva vocal snippets.
Mor Elian “Radical Spectacular” (Fever AM)
After spending the last couple of years turning out cracking electro-techno hybrids, Mor Elian surprised everyone with this wistful gem, which turns the percussion down to a simmer while allowing a playful, IDM-reminiscent melody to bounce and bop along.
Wata Igarashi “Kioku” (The Bunker New York)
This Japanese artist is currently one of the hottest producers in techno, but “Kioku” finds him venturing further afield, as the track is a veritable cyclone of whirling synth arpeggios and energetic percussion. In truth, it’s a little chaotic, albeit in a way that’s also strangely calming.
Otik “Actress” (Intergraded)
I told you that I was excited about Otik—he’s the only artist with two tracks on this list. My own enthusiasm aside, the young UK producer was busy in 2019, and “Actress” is another soulfully hypnotic outing, this one built around a fog of finely chopped vocal clips and a pitter-pat of gentle percussion.
Klein Zage “Womanhood (DJ Python Remix)” (Orphan)
DJ Python specializes in slow, loping rhythms, and on this remix they serve as the perfect foundation for the song’s alluring vocal loop, not to mention a luscious glaze of static-laced pads and seemingly distant synth melodies. There’s a lot of warmth here, and listening to this one feels like drifting off into a deep and profoundly comfortable sleep.
Octo Octa “I Need You” (Technicolour)
With its soaring synths and snapping breakbeats, “I Need You” owes a heavy debt to classic rave, but the song’s slow boil and raw emotional vulnerability make it something that’s perhaps even more powerful away from the dancefloor.
Shlohmo “Rock Music” (Friends of Friends)
On paper, Shlohmo picking up an electric guitar and rocking out seems like a terrible idea, but it actually works. With its cocksure guitar riffs and squealing, wall-of-sound aesthetic, “Rock Music” is a savvy update to Shlohmo’s beat-centric template, and one that maintains the blunted R&B charm of his work. If more rock music sounded like this, I might actually start paying attention to the genre again.
Jacques Greene “Drop Location” (LuckyMe)
In fairness, Jacques Greene’s entire Dawn Chorus album was stuffed with hazy, introspective jams, but “Drop Location” is the one that lodged itself in my brain and refused to leave. Bathed in fuzz, the record sounds something like My Bloody Valentine doing R&B, and the vocal—which doesn’t even form proper words—tugs on my heartstrings all the same. Gorgeous stuff.
Okay, that’s the end. I promise. No more lists from me.
As I said at the top, this is the final edition of the newsletter in 2019. And though I’ve done it before, I once again want to give a big thank you to everyone who’s read and/or supported First Floor this year. It’s truly been a rewarding experience and I’m already thinking about where to take things in 2020.
Right now though, it’s time for a little rest.
Have a great holiday season and a happy new year.
Shawn
Shawn Reynaldo is a freelance writer, editor, presenter and project manager. Find him on LinkedIn or drop him an email to get in touch about projects, collaborations or potential work opportunities.