Bbbbbbass… Bbbbbbbass… Bbbbbass… Bbbbbass… Mayonnaise. Mayonnaise. Mayonnaise. My.

If you don’t think about mayonnaise when on the dancefloor then you’re weird.

Worth & Eats Everything – Tric Trac

I did it ya’ll! I came back from the dead. I didn’t think I would but miraculously, I found a way.

2012 is coming at me hard and only now have I found the right time to keep you guys and gals dancing and do I have a number for you. Check it!

Martinez – Flabbergasted

I love reading top 10 lists. Unlike reading top 10 lists, writing them is kind of a butthole. There are soooo many factors to consider and so many elements to include to cater to readers. Luckily, I’m not going to do a top 10 list per se for albums but a list of my favourites this year. If there is an album not on the list or you don’t agree with I have to say, don’t be so rash and understand that everyone has difference tastes and preferences hence different year-end lists.

Azari & III – Azari & III

Did anyone really doubt I would choose Azari & III as album of the year? The Toronto duo has the spunk, attitude, fashion and house music production skills under their sleeves perfectly. Putting all these characteristics into album form solidified my feeling that they would do big things once I heard Hungry for the Power. The quartet polished four house music staples this year and though not as heavy as the aforementioned, pioneered half a dozen other numbers in 2011 that sounds so futuristic that I cannot wait to hear what the future has in store for them. House music prodigies? I think so.

Active Child – Active Child

Pat Grossi’s Active Child took me by surprise with its choir-quality vocals accompanied with eloquent instrumentals of the harp kind. It’s an unusually beautiful sound that is very distinguishable of Active Child though the album itself, though wonderfully thought and wonderfully paced, suffers from repetition near the end.

James Blake – James Blake

I dabbled in dub step productions throughout the year but no sound, artist, or vocalist could hold a candle to James Blake. In my opinion, he is to dub step what Daft Punk is to French house. His r&b soul screams vividly with his subtle dub step beats. His cover of Feist’s Limit to Your Love is a song that will be played for ages and so too will his album.

Metronomy – The English Riviera

I heard she broke your heart again… These are the lyrics I hummed silently to myself for weeks upon weeks, which is from Metronomy’s second album. People change, which is a lesson Metronomy learned all too well when their 3-piece crumbled to a 2-piece and ultimately now a 4-piece. And the transformation couldn’t be any more perfect. The English Riviera moved Metronomy aware from the pop induced Nights Out into a slightly more experimental form of pop, oozing with soul and, based on my ears, drew inspiration from various other genres to compile an organic third album. The addition of feminine vocals over some of their newer songs is a more than welcomed addition this year.

ZZT – Partys Over Los Angeles

Techno music (electronic music in general) enthusiasts have been waiting for a ZZT album for ages. They, over time, would tease us with small pieces of awesomeness but nothing like a full-fledged album. Until 2011 when Zombie Nation and Tiga put their electronic music genius together and produced a hard hitting, heart stopping, ear drum paralyzing album, Partys Over Los Angeles. In no shape or form is this a bad album. I feel though that the favourite songs form the album are songs we’ve already heard… long time ago. Is it that ZZT’s best sounds are behind them? Or has my sound taste evolved into something different? Whatever the answer, their album moved bodies in 2011.

The Rapture – In the Grace of Your Love

Now I’m not a rock guy per se, but if I like something in the genre, I will let it be known. And The Rapture’s In the Grace of Your Love is a titillating collection of garage rock sounds. Although the album does have its down times, the high points more than overshadow this lowly moments to equal an album of the year in most rock categories (can anyone vouch for this?).

Justice – Audio, Video, Disco

I know I sang the praises of Justice’s second album in 2011. But are writers allowed to have second opinions? Since the album dropped, and since I listened the hell out of it, I have simply ignored it. Their transformation to a genre of yesteryear was very refreshing but nothing to gloat about in the long run. Nothing is wrong with their production skills and the album itself doesn’t suffer from explicit wrongdoings but Justice, in 2011, has simply lost their aura. I simply cannot put my finger on it and I’m way too busy to hire a specialist to analyze their case. Ultimately, with Audio, Video, Disco, Justice has tarnished their image. That’s something worth making a year-end list, right?

Mr. Oizo – Stade 2

Who doesn’t love Mr. Oizo? He’s demented. Creative. Intricate. And these adjectives very much show in his sound. But it’s a sound we’ve heard time and time again and though it doesn’t miss a step, it’s growing kind of stale. How to the ever, Mr. Oizo’s sound is so unique and still very distinct only to himself that he proves, again, that you can be fun and demented while still making people dance.

Renaissance Man – The Renaissance Man Project

I really had high hopes for Renaissance Man. The Renaissance Man Project isn’t a bad album. It’s just they built up, over the years, this style of ghetto tech house that their fans grew to love that they were (me at least) waiting for its climax – a collection of 10 or so songs of blissful ghetto tech/grime house. Instead, fans were given a collection of intricate, complex bits of electronic music, which some could categorize as experimental, which was simply not danceable. With their architecture background, it is understandable that someone in such a discourse could piece together music with the same theories and criteria, which in some way does work and in some other way sounds off.

Surkin – USA

I do love how ambitious Surkin was with USA; structuring his album like a live radio mix. BUT the songs Surkin added lacked depth and were kind of boring. The Internet’s is well aware of his roots to hip hop, ghetto house and French house and unfortunately he did not expand on such sounds. Instead, his focus was on pop-ish dance music, that isn’t bad at all, just not resonating as his past endeavours. I miss Surkin’s Ghetto Obsession.

SebastiAn – Total

For me, unlike others, Total somehow missed the mark. His album is a confusing mixture of old and new and it appears as if no consideration was given to song choice. Although SebastiAn does deliver on a new sound front (Embody is yummy) there is something utterly deterring about listening to his album from start to finish. If the songs were structured into a more thoughtful process then possibly his album would have scored higher. Total, however, sounds like a mix CD someone in grade 8 that just learned how to download MP3s would burn.

The Art Department – The Drawing Board

The moodiness and gloomy feeling of The Drawing Board is made seemingly hip by The Art Department. If you’re depressed over an ex-lover or a lover you never had and were too embarrassed to unleash your emotions… well do what The Art Department did… put together some sweet deep house beats with ominous vocals that explain your emotions and it will be totally socially acceptable. This is the feeling I came to love about The Art Department. They’ve been able to pioneer a stand-out-from-the-crowd house music style that doesn’t sound dated or too forward-thinking.

Lykke Li – Wounded Rhymes

There’s no denying that Lykke Li in 2011 grew to the superstardom she well deserved. And with Wounded Rhymes, which came out early in 2011, she proved that she isn’t just akin to pop songs but also deep folk sounds that when paired with her characteristics nasally vocals equal a perfect and well-balanced presentation and production. With her oddities on camera and her unorthodox and quirky music stylings, Lykke Li’s Wounded Rhymes is sure to top many other top 10 lists.

Cut Copy – Zonoscope

Cut Copy seemingly appears in top form every time they come out with a production or remix. They are able to deliver production after production and Zonoscope is no different. Borrowing styles from the likes of The Beach Boys and others like The Knife, Cut Copy exhibited a desirable style of chill wave pop and moved in and out from psychedelic electronic sounds. Like I mentioned this year, I do miss their disco-pop but this matured sound is still very welcome.

2011 is said and done. Productively, I slept on the albums of 2011 post, which I still intend to do, and I apologize. To make up for such tardiness, I’ve asked the girlface to concoct  her top 10 of 2011. Sometimes her music taste, being so exquisite, puts mine to shame but I still love her. In no particular order, these are WDPK’s girlface’s top 10 of 2011.

1. Beirut – Vagabond
2. Cults – You Know What I Mean
3. Dum Dum Girls – Coming Down
4. Lykki Li – Sadness is a Blessing
5. Washed Out – Eyes be Closed
6. She & Him – Blue Christmas
7. Lana Del Rey – Video Games
8. James Blake – Limit to Your Love
9. Cut Copy – Need You Now
10. Neon Indian – Polish Girl

It’s that time of the year again, folks, where this author recaps this year in music, which was TREMENDOUS mind you. But before I get into the good stuff, here’s a little about me in case you’re wondering. If not, skip below to the bold sections…

• I moved away from an iPhone and got an Android phone.
• I momentarily had a Blackberry, laughed, sold the phone and went back to my Android.
• I was hit by a car. Then after I kicked the car after he tried fleeing, he and his friends returned to try and fight my friends and I. Ultimately, this buster was arrested in October.
• I went to New York, and holy shit I want to go back. The girlface and I visited the spot John Lennon was assassinated.
• I began my final year of University.
• I move to midtown with my girlfriend, away from people that hit people with cars and attack them after.

So that’s that guys, my year in a nutshell. But none of the above could have happened without music. In particular, these 10 songs made 2011 a year to cream about musically. Let’s get this party started.

10) Patrice Baumel – Mike Tyson

We start at number 10 with a devastating techno number in the form Mike Tyson. This number is constant progression, has bass as wicked as Mike Tyson’s power and an outro that segways perfectly for other song mixtures. Here’s what I said about Mike Tyson earlier this year, “how knocking on someone’s door should sound like…” What the?!

9) Jori Hulkkonen – Threats

Techno perfection. Someone on Soundcloud states, “fight back!” Now I don’t know what that means but it must be heavy. What did I say in 2011? “…sure to give you an auditory orgasm.”

8) Renaissance Man – Stalker Humanoid

Have you ever wondered what a gong would sound like in a dance song? Renaissance Man did and put it into practice with Stalker Humanoid. I’ve been wanting Renaissance Man to debut an album for years and as soon as I heard Turbo Records acquired the duo, I was stoked. Some months later and their album drops, in my ears a work of art, but for the ears of others a disappointment. Stalker Humanoid is perhaps the danciest and grittiest thing they released on their LP.

7) The Art Department – Without You

Toronto’s own The Art Department championed a sound so distinct that it sends chills down my spine. Earlier this year, I said, “… maybe the vocals are about house music… I just can’t make it without you, house music. By the way, how awesome is the name The Art Department?“

6) Blawan – What You Do With What You Have

This one is a juggernaut. This number is so wicked that being so high up on the chart means that the numbers below need to be immaculate, which they are. Nonetheless, I had this to say, which didn’t make sense then and still doesn’t now, ““[this] is heavy, heavy like an elephant riding a submarine.”

5) New Look – Janet

The moment this song graced my ears, I needed to own it. If it could take a physical form I would put it on my shelf so that I could see it and cherish it everyday as I walk by it. “A brilliant 2011 spin on a 90s R&B/Pop style.” There is something utterly charming about the vibe of this tune juxtaposed with the vocals – a perfect combo.

4) Infinity Inc – Games

The collaboration of Luca C and Ali Love is one of excellence. Earlier this year I blogged, “[Games possesses] undeniable funk charm and its ridiculously catchy vocals, because we can all agree it’s righteous.” Some of us disco dancers might think singing about our feelings is lame. I know you thugs out there can definitely agree. But Ali Love (I almost typed Ali G) brings emotion back with this unforgettable disco ensemble.

3) James Blake – I Mind

If there is a single musician to get you in a genre, could you pinpoint who he or she is? For dubstep and all of its wobowobowobo greatness, that artist is James Blake. Although he is considered into that genre, it is so subtle and it magnificently combines aspects of R&B (boy, this list is turning out to be quite the contrast from 2010). This song moves me the same way I’m moved when I wake up next to my girlfriend – ecstasy.

2) Azari & III – Manic

If you’re a WDPK regular, you knew Azari & III would make it on my top 10 list but you may not have known in what form. Manic is so good that explaining why is so very difficult. I’m frantically finding a way to articulate here but I simply cannot. Earlier in 2011, WDPK said, “Not only are the vocals maniacally correct but so too is the looping ‘mmmmhmmm’ over and over, frantically beautiful. This is most definitely my song for summer 2011 and it will be yours too.” The mmmmhmmm is truly this song’s niche – that is, by transforming it into a danceable melody that is very hard to duplicate, Manic has solidified itself, in my eyes at least, as a house music staple. How many is that for Azari & III, like four house music staples now?

1) The Chain – Suffer For Your Art

So how on Earth could Manic rank second… who or what placed WDPK’s golden child at number two? The Chain motherfuckers, The Chain. I undermined Suffer For Your Art’s resonance earlier this year, “… the smooth ominous base of The Chain’s Suffer for Your Art only to be complemented by the Chicago synths (this is one of the freshest bits of techno I’ve heard in awhile).” But it’s much much much more than that. The retro vibes. The video-game like synths. The vocals. The whispers. The bass. The rhythm. If God had a ringtone, he would definitely be using The Chain’s Suffer For Your Art. That’s right, I think this piece is godly and that is why it takes the number one spot on WDPK’s top 10 of 2011. (I feel as though this number isn’t getting the attention it deserves. This is a criminally underrated song and hopefully this will make some waves.)

This is probably the last time I’ll say this for 2011 but join WDPK’s Facebook fanpage and spread the word. Check back as I will discuss the albums, their highs and lows, of 2011.

2011 has been a wonderful year for music, that much is clear. But before WDPK gets into the  good stuff, the regular productions, a look back at what is possible when transforming a regular production into a brand new entity will be the focus. Remixes have the ability to upgrade or downgrade a song. Obviously, this lists subjects songs that have been upgraded. There have been a plethora of good remixes this year and it was painstakingly difficult to narrow it down to 10. But with a team of specialized individuals and advanced polling (my computer and I and comparing the number of each track’s play times) WDPK has concocted a flawless list of 2011′s best remixes. I’ll try and keep the list short by quoting things I’ve mentioned about the tracks. If there hasn’t been mention, I’ll think of something on the fly. Let’s go!

10) Munk – Keep My Secret (Jacques Renault remix)

This one surprised me. The buildup to the snare is subtle yet so captivating. A dose of chilled out house from Jacques Renault sits at number 10.

9) Cut Copy – Take Me Over (Azari & III remix)

The Toronto 4-piece will undoubtedly make its way onto WDPK’s top 10 lists. But their genius lies not in their remixes, though awesome as they are, they are not as resonating as their own productions. Azari & III in Take Me Over turn a once pop-loving track into an after hours deep house track.

8 ) Detroit Grand Pubahs – Autotragik (Terrence Fixmer remix)

The second I heard this number I needed to download it. With no luck on the Internet’s perks, I purchased it from iTunes and have no regrets whatsoever. The seemingly boring introduction is turned into a dark and demented house number that will tantalize your evil house emotions.

7) ZZT – Vulkan Alarm! (Proxy remix)

“Gargantuan. That is all.” Where’s your LP Proxy?! WHERE!? For 2011, fans needed to hold their shit together by listening to absurdly heavy remixes. </3

6) Worthy – Big Perm (Renaissance Man remix)

Renaissance Man, remix kings, take Worthy’s Big Perm and apply their wicked loopity goof beats all over this track. A great buildup track to greater and better things. Greater and better is what Renaissance Man worked toward in 2011 for their debut album.

5) Populette – Hello Darkness (Clement Meyer Deformhaus remix)

“Is it worth mentioning then that their music is some perplexing shit?!” What happens when you remix perplexing shit? You get perplexing diarrhea.

4) Cassius – Shark Simple (L-vis 1990 & The Neon Dreams remix)

“L-vis 1990 absolutely transforms the Cassius number into a funky entity…” L-vis 1990 had big things on the horizon for 2011 but after his lackluster album fans are left turning to his remixes of artists like Cassius. There’s an undeniable retro house feel to this remix and the lyrics do nothing but complement this piece.

*Soundcloud prohibited me from uploading =(

3) Azari & III – Hungry for the Power (Guy Gerber Day & Night remix)

“Guy Gerber’s remix is full of progression. From the get-go you know you’re in store for a treat with an intro that intense. It’s an intro I could listen to my whole life.” No further description needed.

2) Green Velvet – Flash (Jamie Jones remix)

“Okay this Mr. Jones is just some sort of remix guy.” What blasphemy!… I ventured further into who Jamie Jones is after hearing his ABSOLUTELY BLISSFUL remix of Green Velvet’s rave classic Flash. The levels of Chicago Jones transcends is hard to articulate. He takes Flash’s high-life promoting vocals and plays them over a simple yet enthralling house music beat oozing with proper bass.” (I believe this one surfaced late last year but it still moved me in 2011)

1) Marshall Jefferson vs Noosa Heads – Mushroom (Justin Martin remix)

How did Mushrooms get the number one spot on WDPK? Well, it has an infectious and psychedelic house beat and people like infectious things and being psyched. Second, it tells a story and everyone loves stories. And third, because it’s funny and who doesn’t like laughter. Bravo Justin Martin for championing WDPK’s top remix for 2011.

The end of the year is approaching and you know what that means… YEAR ROUND UP!

But before that, let’s talk about the quality music Turbo Records is putting out once again with Sei A’s Frozen Flower. Frozen Flower is absolute bliss. If we could put techno music into social classes Sei A would be upper class, Sei A’s production is upper echelon stuff. In addition to the rest of the EP remixes by  Midland and Youandewan surface and my favourite is Youandewan’s dubstepping all over Frozen Flower; final production is a smooth piece of downbeat techno.

Check back in a few for 2011 in review.

Sei A – Frozen Flower (Youandewan remix)

There isn’t really much I need to say here…

Tiga. Azari & III. Remix.

(Okay, I’ll say a little. Tiga maintains the funk of the original while adding a dose of techno darkness. Reckless With Your Love with a maniacal charm. De-lovely.)

Azari & III – Reckless With Your Love (Tiga remix)

Games is a number I’ve been anticipating for quite some time and now it’s here. Infinity Inc is a collaboration of italo-disco producer Luca C, blogged about here, and Ali Love, flamboyant rising pop star (you might recognize him from Justice’s Civilization). But instead of talking about Games’ undeniable funk charm and its ridiculously catchy vocals, because we can all agree it’s righteous, I will talk about vid-yoo games.

Specifically, I hate when people watch me when playing video games. It’s a time and place where we can relax, be ourselves and fuck shit up and we don’t want others judging us. For instance, you know games where you can smash stuff unnecessarily? Like smashing crates, boxes, vases… sometimes there’s nothing even in those things but it’s fun to smash anyways. Video games are very much outlets, places we can do stuff we can’t do in everyday life. We can’t walk down the streets or through corridors and smash stuff we don’t own, we’ll get sued or people will give us cut-eye. The only difference, really, is that in real life those things probably have wicked fun goodies in them but in video games there is either nothing or coins. Anywho, smash shit up in your games but not in real life. Okay?

ps. To all you heart breakers out there, don’t get any ideas from Infinity Inc.

Infinity Inc- Games ♥♥♥♥

Populette is a Brooklyn, New York duo and can be categorized as experimental techno house. They produce off the Throne of Blood record label and that is pretty much all I know about Populette (my early post about them is pretty much void of details about them).

Is it worth mentioning then that their music is some perplexing shit?! And I mean that in the best way possible. Also, their style leaves me wanting more as their mixes are filled with minimal techno, tech-house and some intricate stuff that fits perfectly with the former styles. They’ve got the juice. Populette has released three EPs so far, with their latest one Lasers Are Forever dropping last month. Here is my favourite number from that EP. Get with it.

Populette – Hello Darkness (Clement Meyer Deformhaus remix)

ps. Has anyone read The Shining? I just read the ending recently and I can’t believe how different Kubrick ended his adaptation of The Shining. Personally, I dig Kubrick’s.