UK Garage / 2 Step Recommendations Best Of 2011

Review: The legend that is Seiji continues his self titled series of essential drops on his own label, with round four packing just as much funky punch as previous outings. "No Other" glides across the A Side with the killer vocal hook driven by bubbling marimba lines and twisting synth deviations whilst the slick drum programming provides the requisite rhythmic kick. On the flip "Easy" provides a more intricate arrangement, with devilishly layered snapping snares filling the gaps between a bouncing neon bassline that takes four left turns in impressive rhythmic fashion. Much more reliant on builds and drops, "Easy" is the real gem here!

Review: Commonly regarded as the centrepiece of Night Slugs first year as a label, Girl Unit's incendiary ode to dirty south hip-hop is pretty much the epitome of a track that needs no extra embellishment. However we guess you can relent when Dirtybird deity Claude Von Stroke reveals an interest in tackling it. Thus Night Slugs present two of three Von Stroke remixes of the track on this classy black twelve - expect the third "Fully Dressed" version to appear on Von Stroke forthcoming remix compilation. Strains of both the "Undressed" and "Butt Naked" remixes were heard several times over the Sonar weekend, and the titles lend some clues as to the stripped down nature of the results. The former slowly reveals an 8bit soaked variant on that distinct synth refrain over skeletal drums which explodes into brilliant colour at just the right moment. The Butt Naked remix is a far darker affair but no less potent.

Review: Lesser spotted Night Slugs alumni Jam City offers an auspicious insight into what we might expect from his often hinted at debut album on the startling Waterworx EP. It's likely you will already have a taste for the three tracks here after snippets appeared unannounced on the NS Soundcloud, however those 90 second samples don't fully hint at the magic on display here! "Aquabox" shoots muscular stabs of bass and neon flourishes skywards over a stumbling steppahs rhythm, pausing briefly to let the crystalline jah infused undercurrents shine. On the flip, "Countess" sits alongside the recent John Roberts remix of George Fitzgerald in the "what do we even call it" stakes - if there ever was a track to definitely silence the wanton genre givers it would be this - with a tight strutting bruk riddim subjected to a schizophrenic array of snaking arpeggios and vocal squeals. "Barely A Trak" is really where those snippets don't reveal Jam City's brilliance, combining the rising pressure of the synth ripples with simmering stop start grime patterns before a genius left turn lends the track a utopian finish.

Review: Deep Teknologi chief T Williams is back on Local Action after his blinding "Getting Mine" release on Enchufada. This is in fact a revisit of last year's epic "Heartbeat" single, with a new mix from Paul Woolford that absolutely smashes it thanks to a climbing synth bass pattern and some UKF vs 808 drums arranged to perfection. With razor sharp cuts from Terri Walker's vocals dropped in for good measure, this is an essential tune for house and funky fans alike.

Review: Upon emerging with the Romy xx embellished "Days", NYC duo Creep were swiftly tucked into the nascent witch house movement by eager journalists. Whilst the latter genre seems to have run its natural course (despite certain grave wave nights continuing in the more ironic corners of London) Creep have now positioned themselves as purveyors of contemporary trip hop. Aside from providing ammunition for the requisite revival article in the Guardian, "Days" is given a new lease of life via this clutch of remixes that sit either side of a twelve inch housed in a typically attractive sleeve from Young Turks. Trouble & Bass' rockabilly obsessive Drop The Lime turns in a ferociously percussive remix that reins in some of the bass excesses he's known for. On the flip Soul Clap seem inspired by the band name, revealing a stodgy concoction of rolling rhythms, guttural bass and spectral tones, whilst John Roberts flexes his orchestral leanings on a sweeping expansive effort notable for typically intricate drum programming.

Review: Having enjoyed a remarkable 2010 that included Onra's superlative album, the LA series of killer ten inches and much more, Dublin imprint All City begin the year with the first in a new series originally mooted by the label bosses back in 2009. Inviting their favourite producers to knock heads and deliver two tracks, All City deliver a statement of intent with Martyn and Mike Slott at the controls with brilliant results! Much like the majority of Martyn's recent work it's pretty hard to categorise "All Nights", his A Side collaboration with Luckyme's Slott, other than to say it's a techno step flexer that's primed for play in the clubs. Special mention as well, for the prominent usage of cowbell and a vast array of unidentifiable sound effects that add a sonic richness to the track. The flipside brings the downtempo vibes of "Pointing Fingers", all reflective textures and soft, dreamlike melodies aided by rattling beat programming and ethereal vocal harmonies. Forward thinking sounds from all involved.

Review: Something of a fresh face, Presk uses just the slightest of touches to make his brand of techno vibrant and singular. "Devour" sports a groove that falls jagged, keeping a tight swing but an insistently funky one all the same. "Love Again" meanwhile ups the ante with a more overtly 2-step beat and a punchy bassline, while matching the opener for melodic richness. "Slick Rick" slows things down marginally but piles on that Strictly Rhythm bump to great effect. Not afraid to makes things a little naughty, Presk has ably positioned himself as a bright young crusader with ear-nagging jams in his utility belt.

Review: Lone's Magic Wire imprint - until now a conduit for Matt Cutler's own productions - opens its door to the fledgling talents of Neon Jung. The first two releases on Magic Wire announced Lone's change of musical direction in consummate style last year, initially with the "Pineapple Crush" single and then the excellent Emerald Fantasy Tracks mini album. Neon Jung's release - pressed up on a nice little 10" - certainly adheres to the Magic Wire ethos of drawing on classic influences and dipping them in contemporary sonic aesthetics, with the two tracks dripping with seriously raved-up chords and a vintage electro bump. "Just Can't Leave It Alone" is a killer mutant house jam that bumps and twists in all the right places. The midway breakdown shows just how tough those drums really are! Flip over for "Too Many Facets", which fuses a hyperactive synth melody to a quicker broken beat, very much suiting the rainbow coloured artwork that adorns the vinyl. An excellent little package.

Review: Tom 'Toddla T' Bell has enjoyed a rapid rise to the higher echelons of dance music thanks to a robust sound rooted in the twin attractions of dancehall and B-more. For this second album for Ninja Tune, he seems hell bent on proving his eclectic credentials. With deviations into piano-laden, breakbeat-driven house, murky R&B, post dubstep-pop and Prince-ish sexfunk, plus collaborations with Roisin Murphy, Roots Manuva and Shola Ama, Watch Me Dance comes on like a contemporary take on Basement Jaxx - albeit with a distinct Sheffield twist (listen out for nods to Steel City bleep techno, Moloko and long-forgotten beat manglers the All Seeing I).

Review: With world-conquering tracks from Deadboy, Jamie xx and Mosca already under their belts this year, the latest release from the Numbers stable sees Belgian duo GoldFFinch take centre stage with a double header of acid-tinged bass tracks aimed squarely at the dancefloor. "Red Mask" sounds like the kind of raw analogue jam Boddika is becoming legendary for, with 303 flecks intertwined around its ghettotech influenced staccato vocal samples and bone dry percussion. B-Side "Ovale" is less furiously paced, but similarly bass heavy, utilising simple 808 beats over its huge low end, accented by some pitched down cut up vocals and oddball melodies which are particularly reminiscent of Claude VonStroke's tongue-in-cheek approach to house music. Another huge release from one the year's most consistent labels.