Dialog, conversation & opinion have always been central to much of what keeps dance muisc stimulating for many of its behind-the-scene players & 2010 seemed like a banner year for heated back-&-forths over many styles & sounds. However, for all the hype over bass music & future sounds all year (of which we are admittedly guilty), 2010 was still awash with amazing music that reminded everyone that we shouldn’t over-think things. From Rush Hour’s fantastic re-issue of the lost Chicago gem Vertigo, to Azari & III’s intoxicating house, to the vintage analog clip of Space Dimension Controller, dance music’s version of “classic” made as many waves this year as anything “future” oriented.
In Montreal, the Night Trackin’ crew have been keeping MTL’s dancefloors fresh & moving without reaching too hard for the next big thing. Responsible for bringing some of 2010′s dopest producers & DJs, Duvall, Phil AD & Seb Diamond run a “monthly party that reaches for warm and fuzzy disco, house & techno vibes”. Their headliners through 2010 read like a who’s who of dance music’s elite style-provocateurs (Floating Points, L-Vis 1990, Azari & iii among others). Along with Lunice, Ango & Jacques Greene, Night Trackin’ are proof positive that out east, Montreal is definitely the spot for fans of quality electronic sounds.
Braiden “The Alps”
Seb Diamond: “Without trying to beat a dead horse, 2010 truly was a good year for music and a renaissance in electronic dance music. Our local party, Night Trackin’, was able to play host to stunning live performances by Azari & III, Jimmy Edgar, YACHT and Dam-Funk, as well as memorable DJ sets by CFCF, Nacho Lovers, Hercules & Love Affair, Jacques Renault, Bottin, Hunee, Premier Rang, Linkwood, Floating Points, Martyn, Soul Clap & L-Vis 1990.
In a year where most conversations turned to conversations about revivalism vs. “post” genres, true music vs. a waste of air, a bright future vs. a grim outlook on the industry, what interested me most was the plethora of young artists that emerged with their own distinct sound. That said, acts like Azari & III have been tossed tags ranging from Detroit, Chicago, New York, 80s, 90s, etc. Hudson Mo’s music has been called dubstep, wonky, future-pop and more.
The new wave of producers like Ramadanman, Joy Orbison and Addison Groove continuing the UK dance music trend of pushing boundaries and fusing influences have been at the brunt of a painfully boring conversation about post-dubstep vs. dubstep & “Bass music”. To quote Rustie when asked how important bass was in his music: “as important as mids and highs”.
I prefer to look at the body of these artist’s work as earnest manifestations of their influences and passion. Thus, 2010 showed the debuts of some inspiring artists such as Jacques Greene, Girl Unit, Mosca and Braiden, making music that is as unique as it is a visible sum of their influences and a continuation of a great legacy.
To participate in the bickering over post-internet genres is to diminish their work.
So here’s to 2011, onwards and upwards!”