#when names have too many parts in common (mura in this case) i mix them up more frequently

[diamondnokouzai]

murata wrote earthlings murakami wrote 1q84

[kashforgold]

My Top Tracks of 2016

So after months of struggle and conflict, I have conceded that I need to just settle on a list of tracks that I thought banged. This is it:

(visuals courtesy of my fly photoshopping skills)

Before I elaborate on this list, you need to know I have tried to limit this list. Anyone who has spent more than 10 minutes talking to me will know that I am obsessed with Our Lord and Saviour, Yeezus. If you’ve managed to guide the convo away from Kanye, I probably will mention that I am an ardent follower of Lord West’s disciple, The Rapper of Chance. And if you’ve gotten to know me really very well… Frank Ocean will have definitely popped up on the playlist.

In this list, I have imposed rules:

1. No Kanye West

2. No Chance The Rapper

3. No Frank Ocean

4. Avoid the glaringly obvious…

This final rule means I have had to take out a few tracks that have defined 2016 (Work, Black Beatles…), but I have included a few big hits I feel aren’t given the critical acclaim they deserve. Now I’m cutting the crap and starting from the bottom…

Level 5

James Blake - Noise Above Our Heads

I will happily tell you that I don’t know what James is singing about. The lyrics confuse me and parts are distorted to the point of being indistinguishable from noise… but good lord it is a powerful noise. I don’t need to know what James is singing because I feel it in his voice, I feel it in his instruments, I feel it in the layers and the distortions. This track creates longing, a melancholy hope, an unsatisfying acceptance. James Blake creates environments around his songs that push you not just to listen, but to feel, and this track is loaded with them feels.

Disclosure - Boss

I’m thinking back to Electronic music before Disclosure and I don’t remember it being this clinical and precise. Disclosure are clinical and precise, but they got just enough Funky for this Beat Junky. Firstly, that bassline rolling over throughout the track has some direct link to my arse. My movements once it starts are involuntary. I can try my hardest, but there will always be a little grind in my waistline when this drops.

Kodak Black & French Montana - Lockjaw

So who knew that excessive MDMA usage can cause your jaw to lock? What if I told you that in various ‘hoods’ pants aren’t worn low for style, they simply sagging under the weight of weaponry… Kodak Black and French Montana are depicting these 2nd World Problems in relatable scenarios, and with one of the smoothest flows I’ve heard all year. Kodak has had a solid year with killer flows, and on this track he flows in and out, around, inside, outside and all through Montana’s bars. They blend together the way you wish your Stir-Fry Noodles and Vegetables would.

Katy B x Chris Lorenzo - I Wanna Be

Apparently, this beat has been floating about in Lorenzo’s sets for a while. I can understand why. It hovers in that period just before dawn. You don’t want the night to end, but this would be the perfect conclusion. You don’t want the comedown, but this is the soft pillow you want cushioning you as you float back: sleepy and uplifting. There aren’t many scenarios where this song would feel right to me, but when it does, I know it will be magical.

Mist - Karlas Back

I saw a tweet that summarised this dude’s situation perfectly. It was something along the lines of “The only person from Birmingham allowed to speak is Mist”. All Brummies struggle in life with their misfortune of an accent, but this guy BANGS. Grime is dominated by Roadmen from LDN, so its refreshing to hear an exotic accent (yes, I did just call the Brummie accent exotic).

Danny Brown - When It Rain

Danny Brown sounds over the top and completely bonkers, so it makes sense for him to rap “When it rain, it pours”. Brown’s showing how extreme the world he knows is. Bullets are not raining, they’re pouring… This isn’t another rapper glorifying the violence he grew up in, nor is he looking back at it having escaped. Danny Brown shows you how this life be straight from the hectic streets! He ain’t slowing or dumbing it down for you. Danny’s out of his mind, and this shit is real.

Level 4

MØ - Final Song

This ain't as funky as Kamikaze, or as cool a song as Kamikaze. But it still gives me an energetic joy. It’s gotta be MØ’s quirky voice, or the odd emphasis she puts in at unorthodox points in words. but whatever it is, this song is trash and awesome.

Kungs vs Some guy and some other Bollocks - This Girl

The more you analyse it, you find a number of elements plucked straight from the catchiest tracks of recent years: a guitar riff lifted out of Get Lucky, trumpets that wouldn’t sound out place with Omi, a chopped up and screwed vocal in the bridge/chorus. There are probably more, but this is too vibey to even care. If a track makes you feel too glorious to analyse, its doing something right.

PARTYNEXTDOOR - Come And See Me

A song about one-sided casual relationships. PND gets some sassy lines in (”talkin lot about ‘we’, Oh you speak French now”), but this light bravado depicts him more as the antagonist. This whole song makes us empathise with his ‘victim’. PND and Drake make weak arguments for their case, but their ‘cold’ front is made weak and brittle. This track is a soft light on the fragile facade of heterosexual masculinity. 

Solange ft Lil Wayne - Mad

The Angry Black Woman is being asked why she always gotta be so mad. This song isn’t complex at all. It’s as though, not only is Solange explaining that there is a lot for her to be mad about, but she’s dumbing it down for us sheep. The double standards and discrimination are clear in society if you know where to look, and Lil Wayne offers some examples. But Solange keeps this track very maternal, and it gets more comforting with every listen. It’s a protest song that is aware that anger and proactivity achieve nada. The revolution is gonna be patient and will delicately empower us to pick apart the lies.

Giggs ft Donaeo - Lock Doh

Giggs is barely even rapping here. A few carefully selected words, couple tings name-checked, a raw minimal beat, and Donaeo on the hook: somebody make some mash cos this looks like the recipe for a Banger!

Level 3

D.R.A.M. & Lil Yachty - Broccoli

Back in 2015, D.R.A.M gained a cult following. Hotline Bling was one of the best tracks of 2015, but I feel Cha Cha set the tone that Drake polished off. Many other artists have fallen away having gained an initial boost with a Drizzy connection. D.R.A.M looked like he was to follow this path. He was too weird, his great musical ideas to few and far between, and just seemed a bit too off-centre… *In walks Lil Yachty*. The kids love him and I appreciate the boyish immaturity he raps with. The Broccoli beat perfectly complements this boyish immaturity. Lil Yachty stole this track and looks set to get bigger, but hopefully not better.

Lil Uzi Vert & Future - Too Much Sauce

Lil Uzi Vert is another artist riding this new wave in Hip Hop with Yachty, and the aforementioned Kodak. His voice is a little whinier (in a good way) than your average rapper, and this track again is the springboard shooting Lil Uzi and his style up the wave. Despite Lil Uzi��s efforts, Future is the star of the track. Future is the blueprint of contemporary Hip Hop! His sound is all over this. Every other big track this year can be classed ‘Inspired by Future’. Every other rapper in this new wave is Future’s child. And my favourite word of 2016, is #Sauce.

Mura Masa - What If I Go

I love Mura Mama’s production and on this track he smashes it. It’s twinkly and swirly in the verses and the instrumental after the drop has just enough weight of bass. There’s an enduring sweetness that carries through the whole track. It’s like a Vienesse Whirl.

Alicia Keys - In Common

In Common keeps the rasp and Polish I expect from Keys’ brand of polished R'n'B, but mixes the flavours a little. Some genius in a studio polished off some slightly tribal drum beats which have no right to sound this smooth. This isn’t a normal beat, and this Alicia isn’t singing a conventional song. She is embodying the wooing process of today. She’s breathlessly nervous during the flirtatious part, then she sounds strained and stuck between options when she tells me that we have way too much in common. And then she’s announcing with certainty that I’m messed up too. And still I have no idea whether I’m in or not…

Level 2

Skream - You Know Right

I was on the M3 stuck in the 50mph zone when I caught this, mid-track, on Radio 1. It intrigued me, so I stayed. It was building up to something and it felt like forever. Still in the 50 zone, and still the track was building. The end of the limit was ahead, and the track switched up. It had to be turnt up. I was getting turnt up. I was at the end... I'd made it... but what do I do now? The song silenced to offer me a moment to think. Man, machine, and music were in a magical moment of synchronisation. BOOM! 

This track is everything great in British Electronic music. Elements of house, trance, dnb, two-step, garage. To fully appreciate these, you need to listen to the full-length version. It's a prime example of escalation. It's a demonstration of how the same beat, with the right escalation can switch from hard, to melt your face gassy

Yuna ft Usher - Crush

Instead of the awkward, terrifying, uncomfortable trainwreck I went through, I wish my first crush was more like this. Pure, innocent, untroubled. A little coy, with destiny guiding you where you needed to be. This track feels like its been touched by destiny. Every stage of the song seamlessly flows and blends. Usher and Yuna seem to be able to feel each other’s vocals and glide through this 4 mins making you wish it would never end.

Drake - Fake Love

Drake is the zeitgeist of 2016. He was on your radio, your phone, your fake news, your memes. But people still don’t understand that Views is probably his weakest album! The only track Drake dropped in 2016 that would make it onto his greatest hits (due 2018), is Fake Love. Some of Drizzy’s best work comes from his throwaways: Club Paradise, We Made It, Ransom, Draft Day, Hotline Bling, Dreams Money Can’t Buy, 9am in Dallas, 5am in Toronto... I could go on. IYRTITL was a mixtape of experiments that became one of his most critically acclaimed bodies of work. 

Drake is at his best when he’s experimenting, switching things up, venting. Fake Love is just this. He sliced up the tropical dancehall vibe he popularised w/ Rihanna, switched his style to mimic young Tory Lanez, and sprinkled a little of Hotline Bling’s Cha Cha magic. It shouldn’t work as well as it does, but there’s no point complaining because Drizzy is gonna keep dropping the catchiest bangers.

Level 1

Flume - Never Be Like You

I’ve not liked Flume for a while. It stemmed from an early disliking of some his remixes. Not my cup of tea. And I’ve swerved around this teacup since, but then I heard Never Be Like You. Turns out this Flume kid can create audio magic.

Contrary to all the OTT maximalist stuff I associate with Flume, this sounds like its being forcibly restrained. There's an angst being held back, with twinkly hope popping through in sweet bursts. It's disjointed with silent patches specifically placed to enhance the overarching rise and fall. This wave is coursing throughout the whole track, constantly gathering momentum until the end when your ears yearn for it to crash, that never comes. This is an exhilarating, breathtaking journey that exhausts you, but never truly ends, no matter how many times you try to find one.

Beyonce - Hold Up

The reason I had to allow Beyonce in this list is because everyone else would have you believe Formation should be up here. They are mistaken.

Look at the origins of this track. Ezra Koenig tweeted “hold up... they dont love you like i love you”. This already sounds like it could’ve been Vampire Weekend’s most profound song ever. Then Diplo, the most influential producer this decade, gets Ezra into a studio and they create a demo converting this tweet into the shell of a masterpiece. *In walks Queen B*

Ezra probably repeated the ‘They don’t love you like I love you” for rhythmic purposes. Beyonce, with the torturous relationship of Lemonade, flipped the spine of the song. First, its ‘Hold Up, please don't hurt me like this’ and then its ‘Slow Down, you ain’t never gonna get better than me’. Each line has its own angle on the revelation of this infidelity. There’s a feminist strength in this song and Bey’s delivery adds an independent defiance. The beat carries a bumptious swagger to gloss over the delicious rage Bey is ready to ‘fuck her up a bitch’ with.

The reason this tops the list is unexplainable. The instrumental is on sitcom level of comical. On any other beat, this song would be nothing special. But they combine gloriously. Beyonce’s sweet, sharp Jam is so much more fulfilling with Diplo’s salty, gloopy Peanut Butter. It's another one of this universe’s mysteries as to why this piece combines so well together, but Diplo has a knack for this, and Bey’s gonna slay regardless.