Top 12"s of '12: Last Looks, People
Come Save Me (The Blue Rider)
Remember when Mike "Make War Not" Love fired the rest of the Beach Boys in October? Well, this is what it would sound like if he'd hired superproducer Ewan Pearson and Lost Valentinos singer Jono Ma to fill out the roster who in turn fired him and made the kind of 7" record (or 45 rpm) the Beach Boys should today if they could stop constantly beating the piss out of one another.
Mixed Fortunes Vol. 2 (Mixed Fortunes)
Like Radiohead before him, Rory Phillips' bold, outside-the-box, music delivery method is half the fun of these releases. The other half (and then some) is his soft production hand on all three volumes of warm electro funkers in his all-original/no remix subscription service.
What I Might Do (MTA / Under The Shade)
The response when a DJ dropped Mancunian Ben Pearce's undenaible house track at a Warehouse Project afterparty in Manchester tells you all you need to know about the reception he is about to get on the world scene. This is his first official release, but he has a number of remixes lined up, including for Fatboy Slim's Southern Fried. One of the biggest tunes of this year.
Few producers have emerged as fiercely in the last few years as man-on-fire Eats Everything. The jolly chap with the plus-size model looks and the always-raised arms, constantly grins as he spins and for good reason: after many years on the outskirts of the DJ world, he completely devoured 2012 and all of its sides.
Edits Vol. 1 (Biomix)
Frenchman Fred Berthet's music may tend towards the chill, but his work ethic clearly does not. Banging out three volumes of his excellent Biomix Edit series in 2012, in addition to a stellar EP on Gomma sub label Toy Tonics & the best online mix of the year. Here he transforms "Into The Mystic" into a disco dub dreamscape. Van Morrison would probably hate it like he hates everything else.
Water Jump (Phantasy Sound)
While there is no rhyme or reason to the rest of this list, there is a clear Number One which was rather difficult to choose. Mostly because it was hard to pick which of Daniel Avery's releases to select. If you quickly glance at his Discogs page, you will notice eight releases (average), until you notice that are all from 2012. An entire oeuvre from this calendar year. Literally anyone of them could have been chosen to sit here, this one just seems the most 'Averyesque' (a phrase not even in existence one year ago). For his 2012 body of work and leading the charge against aforementioned 2013 bastards...