Bloc Rockin’ Beats – Top 50 Club Songs of 2012

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See Pages 2-4 for Block Rockin’ Beats’ Top 50 Club Songs of 2012.

Bloc Rockin’ Beats – Best 100 Singles of 2012 (#100 – #51)

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See Page 2 for Block Rockin’ Beats’ Best #100 – #51 Singles of 2012.

Bloc Rockin’ Beats – Top 15 EPs of 2012

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See Page 2 for Block Rockin’ Beats’ Top 15 EPs of 2012.

Bloc Rockin’ Beats – Best of 2012 Guidelines

The Bloc Rockin’ Beats end of the year 2012 wrap-up will consist of 4 separate lists ranked in order of quality. Bloc Rockin’ Beats makes no claim to whichever EP, album, or track is objectively better or worse than the next; this is simply our opinion.

#1: Top 15 EPs of 2012

Qualifications:

• Any EP released in any region or territory within the calendar year of 2012
• 3 tracks minimum (no double-sided singles)
• Remix EPs are ineligible

#2: Top 50 Club Songs of 2012

Qualifications:

• Any EDM-leaning single or remix released within the calendar year of 2012
• Separately unreleased EP tracks are eligible
• Album cuts are ineligible

#3: Best 25 Albums of 2012

Qualifications:

• Any album released in any region or territory within the calendar year of 2012
• Mixtapes are eligible

#4: Best 100 Singles of 2012

Qualifications:

• Any official single released within the calendar year of 2012
• Any single that reached popularity within the calendar year of 2012 that was released during a previous year
• Promotional singles are ineligible
• Album cuts are ineligible

Songs placed in List #2 may appear on List #4 and vice versa. Typically, if an eligible club song appears in List #4, that placing takes precedence over any placing in the Top 50 Club Songs list and inadvertently gives the track a lower chance at being placed anywhere in List #2. If a song appears in both lists, there was likely a radio edit released that separated itself from the original mix, giving both edits a voice in the mainstream and EDM scenes.

Club songs that place high on List #2 and have appropriate radio edits are not automatically guaranteed a spot on List #4. Likewise, radio edits may appear on List #4 without having their original mixes acknowledged on List #2. This method serves the purpose of ranking more songs while commending tracks that surpassed musical standards of the EDM scene with a placement on the Best 100 Singles list. List #2 should be taken hand-in-hand with List #4 for comparative overall EDM standings.

All lists are ranked by quality, not popularity. List revealing will gradually occur in accordance with the above lineup in reverse ranking order (e.g. album #25 will be revealed first, followed by #24, #23, and so on until album #1 is declared). List #4 will gradually be revealed in sync with the other lists until the single of the year is announced immediately following the album of the year.

Remember, this is our opinion. 😉

Bloc Rockin’ Beats – Best of 2012 Introduction

Beat Rockers, it’s that time of the year. The end of December is approaching, which means it’s time to reflect on all the terrific, bold, and horrifying things that have happened to music within the past 365 days.

2012 witnessed the catapulting of many unknown musicians into the pop star stratosphere, including Top 40 staples like Carly Rae Jepsen, fun., and Gotye. A multitude of music from just about every ambiguous cross-genre hit the radio for the first time. But, radio wasn’t the only thing that pushed music into the limelight. It was the superstars of the internet, like PSY and Lana Del Rey, and firmly established artists, including Rihanna, Kanye West, and Usher, that continued with their feverish efforts at fusing sounds from the once underground dance scene into their infectious chat dominating singles. Thankfully, popular music is once again accepting diversity.

This year, music came in many shades and colors, from the brilliance of blues and reds representing the radio, to the less saturated grays and secondary colors that symbolizes the thriving indie outlet and breaching EDM community. A hearty supply of new alternative talent presented themselves to the cruel computer universe that is the blogosphere with critically acclaimed breathtaking debuts. Grimes, Purity Ring, and Jessie Ware gave listeners of the past and present a mixed palette of colorful albums to play Renaissance (Wo)Man with, and party starters Madeon, Disclosure, and Savant released some of the most forward thinking electronic dance music to ever seep into the ears of the many friends and foes of Molly.

Since it seems we’ve all made it past the apocalypse (or did it actually secretly happen?), the task of ranking the top singles, albums, EPs, and the most musical tracks to accompany the dance floor beings.

Nicky Romero & Calvin Harris – Iron

After collaborating with a spectrum of diverse vocalists of many colors and genres, including Kelis, Ne-Yo, Example, and Florence + the Machine, Calvin Harris is back to commanding the mic, relinquishing production prerogative to Dutch companion Nicky Romero. The result? A two-faced progressive house monstrosity—half savage, half subdued—worthy of it’s metallic, magnetic title.

Following suit of element-inspired song titling (i.e. David Guetta feat. Sia’s “Titanium”), Nicky Romero solidifies his superiority over the broadened progressive house playing field that now contains countless dabblers of progressive electro fusion with “Iron“. Given how much energy the man can pressurize into 6 minute time frames, it’s no surprise the Dutch artist would assign the name of the most globally produced metal to one of his tracks. As an instrumental, “Iron” is a highly reactive track. Add Calvin Harris’ perfectly able vocals as a catalyst to the reaction and the product is an entirely new compound that fits proper Protocol on Nicky Romero’s rising label imprint.

Latch on to this track exclusively available at Beatport.

Madeon – Finale

It’s always a brighter day when Hugo Pierre Leclercq, who goes by the moniker Madeon, releases a new track that pushes the boundaries separating dance genres even further than his previous releases. And today, the day feels brighter than ever before.

Holding firm to his signature nu disco sound, Madeon breathes a gust of fresh air into the developing sound of drumstep in his theatrically grand “Finale“. Advised by American vocalist Nicholas Petricca to “brace yourself” for what is immediately to become a tremendous drop, “Finale” is a jet speed flight through color and electricity at the velocity of drum & bass with the half-time structure of dubstep that dismisses the grit of either genre. Instead of filth, the song is bathed in luscious retro leads, sumptuously refined vocals, and a hard-hitting drum loop that gives the recently parted Pendulum a run for what used to be their money.

The search for the ideal song to close any set or mix, with at least a dash of drum and/or bass, of course, has come to and end thanks to French prodigy Madeon. Grab his approved Bloc Rockin’ Beat currently available at Beatport and iTunes.

Zedd feat. Matthew Koma – Spectrum

Germany’s finest electro house producer is back with another “S” titled track that will surely monopolize record sales on Beatport following its Monday release.

Featuring the consummate vocals of Matthew Koma, an American pop singer signed to Cherrytree Records, “Spectrum” is one of Zedd‘s strongest releases to date. Still employing his signature heavy electro scales and chainsaw menacing breakdowns, the German producer holds off on some of the earth-shaking bass to test lighter sounds, adding another pop-friendly title to his discography following his collaboration with Eva Simons on “I Don’t Like You“. Like the latter, “Spectrum” is in the good hands of Universal Music Group owned Interscope Records to become a crossover hit to the mainstream with a little nudge from the right sources.

Purchase this certified Bloc Rockin’ Beat before everyone else claims it their song of the summer now over at Beatport and iTunes.

NERVO – You’re Gonna Love Again

Originally speculated to be the guest half of the long-awaited assumed Avicii collaboration, NERVO flies solo–or, in their case, duo–on “You’re Gonna Love Again“; a progressive house anthem both massive and melodic enough to satisfy even the most widely renown Swedish EDM producer. The song has a positive message for all those recovering from a tough breakup. Trust a team of songwriters who have written for the likes of David Guetta, Kylie Minogue and Ke$ha to put meaningful lyrics into feel-good music.

The Australian-born twin models-turned-DJ’s continue to embody the characteristics of an EDM triple threat: talent, consistency, and stage presence. Not to forget, they’re both smokin’ hot!

Last year saw dance airplay spin “We’re All No One” as if it were a mainstream competitor, so the twins must be anticipating a possible breakthrough with their certified Bloc Rockin’ Beat.

The summer smash is available now at Beatport and iTunes.

[Review] Ferry Corsten – WKND

When an artist as established in the genre of trance as Ferry Corsten is drops his fourth studio album at a time when the genre is experiencing a dynamic shift in formula from high BPM emotionally driven euphoria to slower, more detached wobbly bass bangers, the release is going to trigger a lot of anticipation. And while WKND received one of the more welcoming embracements this year in the widely diminishing genre, the attention it received falls flat of what it would’ve received half a decade ago and even should have received following its release.

WKND is a genuine forward-thinking album with a trance foundation that models both classical and current progressive trends as much as it dissects the tendencies of the now and evolves them. Ferry Corsten doesn’t take on the approach that an Arty or Mat Zo would probably take given a full-length14 track (15 including bonus track “Sunday”) album to experiment with merging trance and progressive house even further to the point where a trouse genre becomes a Beatport necessity. But, what the 38-year-old Dutch producer and DJ does tackle is the objective of inventing and perfecting a refined sound of new era System F trance that is both true to his roots and marketable in today’s drop craving scene. And as clear as the sky is after a storm, the man passes with flying colors.

Speaking of rain, WKND’s opener, “A Day Without Rain” featuring Ellie Lawson, captures that gratifying 24-hour period where everything simply feels as it should be. Any day of darkness will certainly shine brighter when all senses attune to the spacious, ambient pads and soothing vocals in this phenomenal opening track. From this point on to about a third of the way through the album, the slightly more mainstream friendly side of Ferry somewhat forcefully interrupts a reserved start when the thumping kick drums and club ready synths of lead-single “Feel It” induce. As a satisfying second track that features an overused, but always effective sample throwing at listeners the all important question, “Can you feel it?”, amid treble and bass, the real question comes with a resounding response, “Yes!”, in “Ain’t No Stoppin’” featuring Ben Hague. Looking at WKND as a whole, Ferry chose the most conventional route by pushing electro-based singles “Feel It” and “Check It Out” to the front of the pack prior to release of the album, but while those tracks are still good and manage to get the crowd going–every DJ’s goal–what the tracks don’t manage to accomplish is the both solid electro and vocal inclusions fused in one of trance’s, and possibly house’s highlights of the year so far. Ben Hague doesn’t have the most outstanding vocals in a predominantly female verging on straight-up angel playing field, but what the vocalist pulls off in a track that helps his voice more than it reveals his weaknesses is an anthem that people can believe in, beat and lyrics alike.

Next up is the first instrumental track in the album, “Don’t Be Afraid“. Following on with the noticeable electro influences that Ferry has already included to give WKND an appropriate modern feel, this barely trance, mostly progressive house instrumental is an acceptable addition to the collection. Its epic upwards scaling movements lift the listener into a state of valiance, unafraid of what’s to come later on in an impressive listen so far. Vocal trance princess Betsie Larkin sees herself planted on yet another trance album, this time featured on the beautiful “Not Coming Down“. Ferry recently collaborated with Betsie on her debut artist album, “All We Have Is Now”, released last year on the track “Stars”. Their collaboration since reaches even greater highs and broadcasts the singer’s lovely vocals exceptionally to anyone unaware of the trance princess’s relevance in the genre. The buildup comprised of transitions between eight, sixteenth, and triplet note progressions is also a delightfully unique aspect of the album. Anything tagged with Armin van Buuren and trance is something to look out for, but by partnering up with another trance legend on the much anticipated single, “Brute“, released in September of last year, DJ Mag’s 4-year #1 DJ and producer may have generated more hype than necessary. The creativeness in the epic sounding trance track is more than enough for a hearty pat on the pack for both of the producer’s abilities. However, the underlying characteristic of “Brute” that will forever keep it from being tremendous is the stale synth inclinations that fail to really amount to anything worthy of being a climax. “Brute” is far from a dull moment on a fantastic album lasting until its play, but given the firepower of such a talented duo it shouldn’t be avoided to want just a little more.

Onward with more vocal trance, female vocalist Aruna gets enlisted on another highlight off of WKND entitled “Live Forever“. With immense single potential, “Live Forever” is vocal trance at its best. Perhaps vocal trance, or rather vocal house at its most commercially friendly is follow-up track “Let You Go” featuring Sarah Bettens. The elongated cry of Sarah Bettens’ “Let You Go” is a standard feature of many trance and house tracks that is managed with experience and class in the most pop sounding song on the album. Either track, Aruna’s or Bettens’, being cast as WKND’s fifth single would run by smoothly with us at BRB. “Check It Out” is a blistering trance, borderline hard dance anthem that uses an aggressive voice as a qualified facet to an equally aggressive song. The pounding kicks leading up the chorus amount to a huge climax, making the album’s second single an appropriate pick, although as mentioned earlier not as appropriate as “Ain’t No Stoppin'”.

The beat doesn’t cease for even a second in this high energy portion of the album and the next three tracks are hit, after hit, after hit! “Love Will” is another effort that oozes in creativity from the evolved sound Ferry sports throughout his fourth studio album. Merging trance with breakbeat has been attempted in the past, but Ferry gives the morphed sound a fresh take by adding on Duane Harden‘s great vocals, showing that guys are just as qualified as girls to be singing the hooks of soothing trance tracks. They just fit better on harder hitting ones. Sequential hit number two is “In Your Eyes” featuring JES. Back with the expected female vocals, track number 11 is anything but an expected song. Although the structure of the song is very predictable vocal trance, the effectiveness to which Ferry applies the structure is more than worthy of praise in abiding by the rule book. The final hit in the trio of hits that appears from tracks 10-12 really is a hit! The standout track from the entire album, an impressive feat considering how many highlights there are on such a refreshing album, is “Walk On Air” featuring the gorgeous Amba Shepherd on vocals and an intriguing addition of house producer Pierre in the Air on co-production. The beauty of “Walk On Air” simply comes from the natural linkage of progressive house and trance that only a connection between actual progressive house and trance producers could birth. Amba Shepherd has seriously become one of trance’s very best vocalists in our eyes because she is so elegantly able to soar on such high notes in such an organic manner without showing any struggles on getting there. With massive, massive single potential, “Walk On Air” could be a staple of 2012’s highly active EDM scene if chosen to be a single. We’re just crossing our fingers that someday soon that will happen.

The final two tracks, with the added bonus track, all instrumental, close WKND effortlessly. The tech trance vibe of “Take Me” sees Ferry unabashedly uncovering a sound that was either muffled or entirely muted on the album up until its point, with possibly the exception of “Brute”. It’s a brilliantly written trance song that uses a lengthy pause in sound to a huge advantage. The gradual inclusion of added sounds during the mid-section of “Take Me” creates the feel that something big is about to happen. Once the whirlwind of progressive chords ring in, this track becomes the real dark horse of the album. It’s the unexpected surprise that turns from questionable to undoubtable at the turn of the piece that we think every album, electronic or not, deserves. The title track, “WKND“, closes the standard edition with total respect and admiration for a dedicated artist who only seeks to please with every release, but what he does in addition is spark an interest in his sound and inspire those who seek to develop their own sound that is both flexible and current. A great weekend is not a WKND if it doesn’t end on “Sunday”, so for those with an extra dollar, invest it in a relaxing cool down. If the only reason why “Sunday” wasn’t included on the standard edition is because of the limits to CD capacities, then it is an honest shame that one of the most radiant tracks was ousted because of an 80-minute restraint. WKND’s 15th track is not a bonus track; it is essential. Equipped with melodic vocal splices and heavenly piano riffs, “Sunday” is an incredible track that if played on Sunday won’t have workers fretting over the complexities of the forthcoming week.

Overall, WKND is a stellar album that rises above even the greatest expectations. If Ferry Corsten hit a home run with 2006’s L.E.F. or even WKND’s predecessor, 2008’s Twice In A Blue Moon, then he hits a grand slam with his 2012 release. The acclaimed trance DJ and producer can rest assured that if trance does end up dying along with the world by the end of the year, he at least gave the genre one last defining album to talk about.

8.5 / 10 – Great