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There's no hand-wringing to be done. Looking over our list for the top tracks of the past twelve months, 2011 was one of the best years in recent memory. Everyone seemed to be talking to one another. Techno benefitted from its dialogue with bass music and industrial. Bass music flirted with house, and house was only too happy to oblige. The ones seemingly not talking to anyone at all? Levon Vincent, Morphosis and Peverelist did just fine too, thanks. With so much music being produced, it was literally impossible not to find something to like. You just needed to know where to look. Here's what we found in 2011.A house legend goes deep and emerges with one of his finest remixes.If Moustache Techno weren't simply a sublabel of David Vunk's Moustache imprint, we'd spend hours trying to decipher the constituent parts of this wonderful new genre name. Hell, let's try anyway: Analogue fetishism directly descended from The Hague's Bunker crew. The type of driving techno that jacks enough to have you wondering whether it actually comes from Chicago instead. The melody that drops at the exact moment that you think you're going down the rabbit hole, never to return. And, um, everyone who makes it has facial hair. Yep. That's moustache techno.The first certifiable (and unlikely) anthem from Dresden's breakthrough label. Cubist house " is what we called this deliciously confusing track from the DC imprint.The man formerly known as Ramadan cuts up a classic into something resembling house.When fledging New York imprint L.I.E.S. dropped, "Sark Island Acid," a Chicago-indebted deep house workout from Legowelt, more and more people began to take notice of the one-man operation. The track's acidic bassline, spacey melodies and frantic percussion were things listeners had come to love from the Dutch veteran, and this effort further solidified his reputation as one of the most consistent producers in the business.Big basslines and druggy dialogue: The keys to Hot Creations' success in 2011. This was one of its finest examples.Haunting vocals and bell synths paired to make one of the year's eeriest cuts.The UK producer's strangely melancholic stormer was an ideal combination of introspect and functionality.There's nothing more dangerous than a saxophone solo, but Anthony Gonzalez pulled it off.The non-vinyl vocal highlight from the Lebanese producer's sterling full-length.An Argentinean updates a classic, and ends up with 2011's perfect end-of-night Ibiza anthem.A dizzying, club-ready anthem from the UK producer's song-based LP.One of the many 2011 highlights from Italy's breakthrough house duo.It's hard to call Blackest Ever Black a techno label, seeing as how their short discography consists of post-punk, a Regis EP and whatever you want to call Raime . The context is the thing, though, and that's why "A Color" seems absolutely at home on this list. Hit the play button, and you'll hear the reassertion of the sometimes forgotten connections between Throbbing Gristle, Suicide, The Normal and early techno. You'll also hear a killer tune.A quiet storm from one of the UK's most versatile new producers, lifted from the excellentEP.There were some interesting flourishes on this debut from Dan Pearce, but in truth this one was all about the bass.Should Swedish duo Genius Of Time's breakout hit be classed as an edit? How about an edit of an edit? Its title was a cheeky nod to its source material—Whitney Houston's "Million Dollar Bill"—which itself borrowed heartily from Loleatta Holloway's 1977-released "We're Getting Stronger." Semantics aside, the track achieved ubiquity during the summer months by highlighting the irresistible charms of the sample, fattening up the drums and stirring in a soaring synth line—all pretty simple on paper, but executing it this adroitly is by no means easy.Classy peak-era minimal house from Romania's [a:rpia:r] stable.How to follow up a classic debut single? Make your next one just as good like Morgan Geist did here. Gerd Janson 's in-house edit duo withhold the pleasure for a tantalizing eight minutes.The year's most controversial song—and also one of its most ubiquitous.Maceo Plex's breathtaking 2011 started at the end of 2010 with " Vibe Your Love " and ended with him opening his own label, Ellum Audio , and dropping " Stay High Baby ." In between those two hits, there were plenty more, but none bigger than "Can't Leave You." This track beats out the rest of Eric Estornel's work as Plex because of its deft mix of the familiar and unfamiliar. The nostalgic drum fill will bring a smile to any '80s baby, while the grinding and unexpected bass noise that emerges early on helpfully signals that this isn't going to be just another bootyshaker. (Although it did plenty of that too.) An anthem in a year full of them for Maceo Plex and Crosstown Rebels.Muted trumpet + Art Department -esque vocals = One of the biggest hits of the year.The Cobblestone Jazz member returns to the imprint responsible for one of his most beloved hits."-ensuality....ensuality...ensualit—...ensualit...ensualit....." [KICK DRUM]"ensualit...ensualit..ensualit...ensuality...ensualit...ensualit...ensualit" [SCARY STRINGS]Dark, soulful and organically produced, this was the summer's most theatrical hit.Hearing a house track this cinematic makes you realize what a boon Four Tet's been to club music.Jungle-inspired-swinging post-dubstep—or in other words, a Bristol-based genius at the top of his game.Session Victim are one of Berlin's best-kept secrets, but a track as lovable as "Good Intentions" is bound to challenge that. At first pass, this Rhodesy little number is all feel-good summer vibes, but listen closer and there's something strange under the surface. Maybe it's that ghostly voice drifting in, or the ever-so-slight tinge of sadness in those keys, but something about this record gives you goosebumps. On a breezy afternoon in the Welsh countryside last July, it even brought one DJ to tears.