I’ve compiled my top 20 tracks of the year. These are the ones I enjoyed the most this year and why–it’s not to say they’re the best produced, because at that point there’d be a shit ton of disagreements. Take it for what it’s worth and enjoy.

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[1] BT – The Great Escape
The highlight of Emotional Technology, this track has it all: Piano work, strings, breaks, well written vocals, and a complete arsenal of effects all seamlessly interwoven into one giant masterpiece. An added bonus that every piece was publicly available during the M-Audio Remix Contest, it gives everyone a chance to pick it apart and appreciate just how much work went into the production of this track.

[2] Basic Pleasure Model (aka Psykosonik) – Sunyata
The first single off the upcoming album by Paul Sebastian and the BT Network’s own Caesar Filori (The first of many to appear on this list). The original Psykosonik blueprint is still here, from the original ambient self indulgent intros to the mystical vocal work. What’s new in this first reincarination in 8 years is a new level of technical proficiency and artistic harmony. Sunyata represents everything we loved of Psykosonik and the evolution of what we look forward to seeing it become.

[3] DPP feat. 3pm – m3x1k0 (KiloWatts Grasiento Mix)
The BT Network all-star cast of sorts: Danny’s production, Casey’s vocals, and Jamie’s complete destruction and resurrection to an unimaginable level. Those familiar with the niche sound of KiloWatts will recognize the seamless hybrid of glitch-core, IDM, breaks, and thorough assault on vocals reminiscent of Telefon Tel Aviv and Tipper. The technical level of production is simply rivaled by none, the tensions are well played, true justice is done to the original, and the mid-song breakdown requires a fresh pair of underwear for every listen. This is a work to be envied by every serious producer.

[4] Grayarea – Yewminyst
Nick Warren turned quite a few heads when he dropped this track on Global Underground 024, rocketing Grayarea to a powerhouse almost overnight. Yewminyst growls, floats, and pulses, twisting and weaving through unconventional vocals, drum work, and a multitude of shockingly brilliant piano riffs and effects, flatly refusing to obey any rules of modern dance music. It continues to be a guaranteed hit with the progressive crowd, tearing up floors and mindblowing unsuspecting dancers into oblivion.

[5] Wideband Network – The Silence
2003 saw the introduction of Wideband Network, a collaboration between Caesar and Casey. While classified synthpop and signed to a synthpop label (A Different Drum), WBN can hardly be classified as such because of it’s unintentional tendency to interweave so many influences into one neat and flawless package. The Silence is the landmark example of that–the lead track on Universe that somehow managed on a scale of 1 to 10 to go all the way up to 11. The multiple breakdowns, layered bass, uncompromising effects display, sky high vocals, and picture perfect climax will bring a smile to anyone’s face.

[6] KiloWatts feat. Vanek – Lies
Jamie decided to experiment with an interesting new style: Glitch-pop. Using his signature trickery amidst the beautifully performed guitar work and vocals of Belgian singer/guitarist Vanek led to a sound that blew everyone away. This turned out to be a hell of a collaboration, and these two really have something special here. Record companies reportedly feel the same way, and with any luck we’ll be seeing much more of KiloWatts and Vanek.

[7] Fluke – YKK
Welcomed in open arms by all, Fluke returned with Puppy, their first album in six years since the highly successful Risotto. The entire album deserves a mention as a whole because of it’s sheer brilliance from beginning to end, but YKK speaks well with it’s grinding bass, growling synths, and dizzying array of effects, resulting in a sound of epic proportions. This is proof positive that Fluke is still the best of the best.

[8] Burufunk – Outsider
From the Texas duo came this breaks monster, consuming everything and everyone in it’s path. Outsider represented a transitional period in Burufunk — from Curtis Fallis’ solo work to a collaboration with wife Leaha and and more melodic approach to what’s fundamentally the same sound. Nick Warren gave it a vote of confidence on GU024, Hybrid relentlessly spun Burufunk’s remix of Wavy Gravy by Sasha, and BT recruited them to remix Somnambulist after hearing another remix: Deepsky’s Talk Like a Stranger. Fueled by super-deep bass, nasty synths, glossy atmospherics, powerful breakdowns, and killer transitions, Outsider set the standard for breaks artists in 2003.

[9] Iris – Vacant
Awakening, the sophomore release by synthpop group Iris was vastly overlooked despite a strong effort fueled by the addition of Andrew Sega, winner of the Delerium After All remix contest. Vacant requires more concentrated listening than any other song on the album, and only then do you fully realize that everything is perfectly hit at exactly the right place and time. The result is a profound ballad of sorts: Dark yet light, moody yet excited, restrained yet liberate, covered in sentient lyrics and vocals that never once feel out of place.

[10] Unknown – Bucci Blag (UK Bootleg 06)
This anonymous bootleg reworking of Bucci Bag by Andrea Doria samples a vocal hook that winds up during a neatly laid breakdown before unexpectedly launching for the moon and taking everyone with it. Bucci Blag is undeniably catchy, enticing the same floorfare and energy as Way Out West’s Muthafucka and brother bootleg Trippin’ Out. The Plump DJs are the suspected men behind the mask on this banger, and don’t disappoint. It’s a keeper for any breaks DJ looking to jolt people awake using cables attached to the battery of a running automobile.

[11] Digital Witchcraft – Brindavan
Open the floodgates, here comes one of the hottest new artists on the progressive breaks scene. With three releases under their belts (Brindavan/Pocket Universe, Snowday/Kaylee’s Blanket, and a Grayarea Remix of Brindavan) plus an exclusive playing of Fingerpaint on Way Out West’s recent Radio 1 set, this new duo can do no wrong. Brindavan is worthy of praise to the heavens for such beautiful new music. With the tightly woven vocals and atmospherics, offset by a frenzy of well-paced drums and percussion, Brindavan is simply epicurean to the core.

[12] Smithmonger – Nobody Gonna Stop Us
From Rennie Pilgrem’s TCR Recordings, Smithmonger tossed the hammer aside and hit the nail on the head with a sledgehammer instead. The bassline drive, lead synth, simple yet effective drum work on transitions, and vox hook don’t individually amount to much, but the final product is lethal enough to incite pandemonium on the dance floor. A veritable compliment and lifelong companion to it’s fellow breaks appearances on this list.

[13] Depeche Mode – I Feel You (Mercury Federation’s Mr. McFeely Remix)
Originally demo’d to be a collaboration with Caesar on vocals, Mike instead scrummaged up a Depeche Mode acapella and created what can only be defined as breaks with a hint of synthpop. Following up the success of Khumbu, this remix once again toes the line with BT’s Ima album, creating a lush soundscape over crisp, clean beats, a well-teased arsenal of effects, and great vocal placement.

[14] Jono Fernandez – Colours Of Conscience (Fretwell Remix)
Perhaps know best for his remix of Bedrock’s Forge, Tim Fretwell has made quite a splash in 2003, releasing Ember and remixing various artists–all containing the top notch quality best displayed in his reworking of Jono Fernandez. This is progressive breaks at it’s finest–the nu skool beats of Nubreed, lush atmospherics of Way Out West, with effects and vocal hooks reminiscent of Vegas-era Crystal Method.

[15] Way Out West – Muthafucka
Party song of 2003, Domination Part Deux, Jody’s weapon of choice on the circuit, and the best use of Busta Rhymes since Uberzone strapped Got You All In Check onto Meat Katie’s Rotten.com, lit the fuse, and ran like hell. Not particularly complex in arrangement, but serves it’s purpose to perfection: To move the floor and make everyone throw their hands up screaming TURN THIS MUTHAFUCKA UP!

[16] General Midi – Tentacled
The solo project of Paul Crossman from Starecase, the influences are brilliant as he jumps from progressive to breaks. The B-side to the more agressive U Will Be Under, Tentacled is powered primarily by it’s throbbing bassline on the bottom and the sailing effects over the top. It’s passively content, but Tentacled harbors enough punch to still kick ass and take names.

[17] Unknown – Trippin’ Out (UK Bootleg 10)
An anonymous bootleg reworking of It’s Love (Trippin’) by Goldtrix, Elite Force dropped this back in August, inciting endless responses of “Who the hell did THAT??” The Plump DJs again, is the speculation. A bit of funk with a pounding bassline, simplistic yet effective effects, all built around soulful vocals, this is the epitome of style in breaks music.

[18] Hybrid – High As A Skyscraper
A solid representative of Morning Sci-Fi and Trademark Hybrid: Lush strings led into a frenzy of breakbeats. Mike Truman and Chris Healings squeezed every bit of juice out of their equipment to create this world of sonic excellence. It’s all here, from the dark and dirty to the uplifting and smooth. The sense of how far to push and when to hold back is incredible, and you’re guaranteed to find something new in every listen.

[19] Grace – Not Over Yet (Habersham’s Still Not Over Reprise)
This was Jason Dunne’s teaser from his Sedate & Irate set back in April, simultaneously wowing and infuriating the regulars on Hybridized.org who wondered if they’d ever see a chance to get their hands on this. When it finally popped up as Habersham’s work, there was no doubt that it was the same ambient progressive rejuvenation of Grace’s timeless classic.

[20] Free*Land – Big Wednesday
Featured on the Animatrix soundtrack, this was a product of Adam Freeland’s stroke of genius: Taking his sound and turning it into a live band. The full length album Now and Them followed with huge success backed by frequent touring and high praise from fellow DJs and artists. Big Wednesday is extremely clean and well produced, minimal at times, and begs for mashups.

Artists discovered in 2003:

Wideband Network, KiloWatts, Burufunk, Fretwell, Digital Witchcraft, Ulrich Schnauss, Grayarea, Soulstice, Starecase, Tipper, DPP, Basic Pleasure Model, Telefon Tel Aviv, Mercury Federation, General Midi, Shiloh, Starfire, Future Funk Squad, Christian J, Fila Brazillia, Blue Haze, Luke Chable, Chicane, Craig Armstrong, Balligomingo, Conjure One, Lux, Echomen, Bill Hamel, Habersham, Steve Porter, Jono Fernandez, Marc Mitchell, James Holden, and fair to say Way Out West, since I’d never really paid attention to them prior.

Hell of a lineup. If you take out BT and Hybrid, that list accounts for close to 95% of what I listen to regularly. The talent is so dense, it’d be unfair to say which one I really enjoyed the most. But Wideband Network–meeting Caesar, hearing it at his place first, meeting Casey, regularly following WBN’s progress from the release of the first single Orbit, to Universe, to 10,000 Seconds… was just cool as hell.

CD of the Year: Iris – Awakening
Vinyl of the Year: Digital Witchcraft – Brindavan/Pocket Universe, Stisch – Pack of Reds/FFS Mix
Most listened tracks of 2003: BT – Sunblind, Iris – Vacant, DPP feat 3pm – m3x1k0 (KiloWatts Grasiento Mix), James & Truman – Hear Me (Vocal Mix), Wideband Network – The Silence
Rediscovered: Fluke – Oto, Deep Dish – Junk Science
Biggest Tragedy: BT – Paris (Way Out West Mix)
Looking most forward to in 2004: KiloWatts & Vanek – Untitled new album, Digital Witchcraft – Fingerpaint, Burufunk – Disconnected

Vital stats on tracks I’ve acquired this year but have no business having:

Total Number: 328
I’d Be Hunted and Killed For: 35
Wish List Still Has: 41
Total Playing Time: 25 hours 54 minutes 7 seconds
Space On Hard Drive: 2.32 GB
Unique Artists: 19
Primary Artists: BT, Hybrid, Wideband Network
Taking to My Grave: 328