Fantastic Voyage - Now That's What I Call Bootlegs: Vol.1

Home to Justin Jay, Benny Bridges and others, Fantastic Voyage has a new remix/edit series. Now That's What I Call Bootlegs plays off the long-running Sony/Universal compilation series and indeed includes bootlegs of tracks that would make the cut for the Now! namesake. This first edition sees the aforementioned Jay and Bridges join forces with Danny Goliger for a trio of club-friendly forces.
Opening the three-part offering is a cheeky 'Ceiling Dion' mix from Bridges and Goliger of Celine's titanic "My Heart Will Go On." Chugging along through piston-powered percussion, this steamy rendition shares the same ambrosial alchemy as the original. It too could come from the same decade as its inspiration, simply being bumped towards a buoyant 90s nightclub.

Diving back a dozen years earlier, the meat in this remix sandwich comes from Justin Jay who brings his Fastboi88 moniker to Whitney Houston's "How Will I Know." Another driving dance cut, we're once again treated to a true-to-the-original take with plenty of playfulness to keep your ears piqued. To say Justin Jay knows how to craft an exceptional edit would be an enormous understatement, so just sit back and let this latest addition to his killer catalog call you to the dance-floor.

Fantastic Voyage and Danny Goliger close out this bootleg beneficence by returning to this millennium for a down and dirty take on Britney Spears' "I'm A Slave 4 U." Like the others above, this one thrives through its new drum bed, bringing an almost toxic tilt to the track. Whereas the original Neptunes production only offers a few really twisted touches in its overall dance-pop/R&B delivery, this new version dives deeper and darker in its new nasty, noxious and indentured energy.

Get all three tracks for the low, low price of 1 USD via Bandcamp here.

FOLLOW BENNY BRIDGES: FACEBOOK SOUNDCLOUD TWITTER
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Top 100 Tracks Of 2019: 25-1

Conclusion of the list started Monday: from 100-76, which also includes my disclaimer/preamble. The middle sections can be found here: from 75-51 & 50-26. Soundcloud playlist here and Spotify here.

#25: London Elektricity - Final View From The Rooftops (ft. Cydnei B.)
I still remember the first time I ever heard London Elektricity. A friend showed me "All Hell Is Breaking Loose" and I lost my mind. While it took a touch longer for this track to send me into such a tizzy, I was indeed left in awe. Of course it's incredibly crafted, showing off Tony Colman's exceptional aptitude, but more than that it's immersive, building an uber cool and ridiculously detailed world around you. Its magic is like the scene in Harry Potter And The Half-Blood Prince when Dumbledore rebuilds Slughorn's house.

#24: Peggy Gou - Han Pan
Another year, another incredible couple of tracks from Peggy Gou. While it seems most prefer "Starry Night," once again I'm drawn to the b-side. Really either could make the cut but there's just something about "Han Pan" that tickles my fancy a touch more. The driving quality of its groove, the propulsiveness of its percussion and the gorgeous, almost regal, quality of its overall mixture is truly magical. It's got Gou's genius written all over it, and I for one can't wait for next year's batch of brilliance.

#23: Polaris - Kessel Run
My favourite DnB track of the year, this one is utterly wondrous. Its atmosphere is euphoric, dazzling through its diverse and long list of instruments. It roars and purrs, sprints and spins, floats and flails. It has and does it all. Sax solo? It's got that. Disco strings? That too. Its brilliance is simply unavoidable, uplifting and energizing each listener five minutes at a time.

#22: Dua Lipa - Don't Start Now
Easily my favourite pop track of the year. You know it's good when it gets remixes from the likes of Purple Disco Machine, Dom Dolla and others, yet none come remotely close to the captivating and seamless quality of the original. I had a fight with a friend on NYE when he said there must be a ghost producer (he mentioned Calvin Harris), but whether it's Ian Kirkpatrick alone or not it's one of the best productions of the year. There's endless details and it flows ridiculously well, oh and how about that bass line? My god.

#21: Daphni - Sizzling (ft. Paradise)
Dan Snaith is back in a big way. We've got a couple new Caribou tracks already and there's an album right around the corner. However his Daphni output has been the winner. Growing out of a DJ tool, this one is an instant sensation. Its energy is ridiculous, just like its catchiness. Pressing play is like setting the dance-floor on fire causing each dancer to stomp out the flames in glorious unison. A wicked original from Paradise, Snaith has added the perfect electronic touch and wound up with an unstoppable weapon.

#20: Citizen Kain - Indigo
Speaking of weapons, here's the first of two from Tale Of Us' Afterlife Voyage Mix to make this closing section. An obvious and epic banger, everything about this track screams power. The drums and bass absolutely hammer away, while even the brighter, top end percussive bits deliver a crisp metallic crack. The synths are ridiculously sick, made even better by the banging bottom end. The build is beyond big and with it the drop must be even bigger, and Citizen Kain has certainly delivered. It'll leave your head spinning, jaw agape, while you pick up your teeth with a broken arm. Techno doesn't get much better than this.

Top 100 Tracks Of 2019: 50-26

Continuation of the list started Monday: from 100-76, which includes my disclaimer/preamble. The second quarter of the list can be found here: from 75-51. Soundcloud playlist here and Spotify here.

#50: Haywyre - Let Me Hear That
The most funky track on this list and I'll say there's a few more really good ones on the way. Haywyre had a hell of a year and there could've been a couple other cuts in this place, but I think I fell for this one most hard because of its immediacy and its beyond beautiful back half. Oh and seeing Haywyre play it live is a trip (watch it here). It really doesn't get much cooler than this one.

#49: Murlo - Fauna
The middle Murlo child in this list. Like "End Of The Road" earlier, I'm a bit at a loss with this one. It's got a lot of the same energy and cinematic quality to its drum delivery. However this one seems to tickle me more. I don't think you can listen to it without smiling, it's just so effusive in its energy. The way Murlo plays around in its movement is truly magical, like a jungle's plant life all joining together in a dance.

#48: Tennyson - Melonpan
A truly gorgeous, cinematic cut that screams Tennyson. It's unique and magical in its delivery, like an epic cartoon opening sequence. Its opening half is enough to captivate, but its second half will have you in tears, especially the utterly euphoric and triumphant finale. Every time I hear this I'm reminded of the time I saw them live and the fact that I need to do so again.

#47: Sigma - Dilemma
This one really shows how out of touch I am when it comes to turn of the millennium hip hop and R&B, as I just found out this is Kelly Rowland. I was absolutely familiar with the sample but didn't know whose it was. But hey, good music is good music and this is certainly that. Building upon one of the best selling singles of all time, Sigma have really done a great job with this one. I just checked the various remixes of this and none can hold a candle to it. Its energy is intoxicating and it's just so much fun.

#46: The Chemical Brothers - Got To Keep On
It's truly amazing that The Chemical Brothers can continue to make such incredible records. No Geography is great and while I thought about including other cuts this, like "Go Crazy" earlier, is just the perfect exemplar of the album. It's got wicked, raw sounds and pristine beautiful ones too. It's anthemic and full of energy, but nothing beats the sweet release shortly after the 3:40 mark. It's just so satisfying.

#45: Boston Bun - Don't Wanna Dance
Another one of those ones I came across in a Magic Tape, and again it's got some serious sorcery to it. The groove is genius and boy has Boston Bun done a brilliant job building it out. The piano backing lays it all down, but it's nothing without the vociferous vocals or fantastically fat drop with its perfectly placed puntuations. Clean and super strong, I see a lot of staying power in it. Finally, I'd be remiss if I didn't give props to Mighty Mouse's masterful remix.