The Best Songs of 2014 (So Far)

While dance music hasn't had as huge of an impact on the Billboard charts as they did last year, that's not to say that quality dance music isn't alwa

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Complex Original

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While dance music hasn't had as huge of an impact on the Billboard charts as they did last year, that's not to say that quality dance music isn't always coming out. Hell, our inboxes stay flooded with material of all shapes and sizes. And while our daily operation revolves around dissecting what's hot and what's lukewarm, we personally love this time of year. These tracks are what have been moving us throughout the first half of 2014. Whether being dropped on the regular in DJ sets or staying stuck in our iTunes playlists for at-home jamming, these are the best tracks to be released in 2014, so far.

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Point Point - "Life In Grey"

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It might not have the same status as some of the tracks on this list, but there's no question that the mysterious Point Point have made themselves known with their debut single, "Life In Grey." An emotional heaviness characterized by the manipulated, tortured, and twisted vocal work juxtaposed against twinkling yet short and bright melodies over a hip-hop styled beat, this track is just heavy.—Jake

Dub Phizix & Skeptical - "Deeper Love"

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Dub Phizix and Skeptical are known for their cold beats and deep minimalistic basslines in the drum & bass world, and on this track, they not only add that element–they pull on the heartstrings with a very well done piano sample and washed-out vocal. Makes sense as to why Goldie picked it up for the Metalheadz imprint.—Jeremy

Paces ft. Madeline Vida - "Can't Touch Me"

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DIE HIGH Records as a collective has been on a complete tear and this tune from Paces might be the overall highlight of the entire movement. Featuring the seductive and sultry vocals from Madeline Vida, "Can't Touch Me" could be the best blend of future bass and Jersey club yet, AND it's not some cheesy remix of a '90s R&B tune. Seems simple, but this is simply originality in its most amazing form. Vibes don't really anymore top notch.—Brent

SwaggleRock - "The Felons"

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Where "Bass Cannon" was, years ago, a gimmick track for the hardest drop possible, we now have reached a point with the explosive expansion of bass music’s versatility that the hardest possible drop may have been achieved. “Felons” is no gimmick, however–it presents itself as a real testament to the ongoing cross-pollination of hardstyle and trap vibes, and perhaps the best intersection of those two sounds I’ve yet heard. Buzz Trillington and Shooter McNappin succeeded in finding a real commonality in the sounds of the two genres that most other producers working within that sound have yet to even stray close to. Not to mention, it’s simply the most rewindable tune I’ve heard all year, without any hesitation.—Josh

Stray - "Eazy Boy"

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This is one of those bangers that I'd been waiting for. Stray occupies a dope space, where being a dnb producer but getting bored of the cookie-cutter approach to that realm has caused him to look inward and really expressing himself via his influences. He's done a lot of juke material, but this cut "Eazy Boy" is a straight-up hard beat wrapped around an otherworldly bassline and host of lost vocals. This is a real trek for the headnodders out there who want those infectious riddims.—khal

Pomo - "Aerobix"

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Hip-hop drums in house music is a beautiful thing. It's been teased in a number of ways for a long time and honestly most everyone is all about Kaytranada right now. Pomo has busted that door down in a major way and his amazing tune "Aerobix" is everything these vibes can possibly be. Four minutes of complete magic right here.—Brent

Schlachthofbronx ft. Nicky Da B - "Lights Off"

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The last time we caught up with New Orleans-based emcee Nicky da B, he was causing the explosion of mainstream ratchetmania on Diplo's "Express Yourself." However, when combined with underground bass rave-favored German duo Schlachthofbronx, Nicky's chopped up vocals take on the feel of being a circuit breaker against the torrent of low-end electronic waves coming over a club's sound system. Dirty and ratchet, yet entirely organized, "Lights Off" is like comparing BMW to Ford, German engineering taking an American concept to the next level.—Marcus

813 - "Crying Flute"

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813 has been permeating the underground interwebs with his unique pop-driven style of neon-infused future music for a minute now but nothing has had the resonance of his anti-war cut, "Crying Flute." Released at the height of the Ukraine and Russia conflicts earlier this spring, 813's J.Cole-sampling tune is beautiful and poignant. A tender playfulness belies the tune's raw emotion. There's an insane pop sensibilitiy to this and it's just perfect the way it is.—Jake

Duck Sauce - "Goody Two Shoes"

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How does a track buried behind commercialy ubiquitous fare like "Barbra Streisand" and heavy rotation festival ragers like "NRG" end up on a "Best of 2014" (so far) list? Well, if you look at what Duck Sauce are doing by definition–making disco boogie edits that feel like Brooklyn 1978, but are appliccable to Manhattan 2014–this is the best in that definition. Sounding like something akin to Off the Wall-era Michael Jackson singing a disco duet with Marilyn McCoo, this is as golden as the jackets A-Trak and Armand van Helden wear during their live DJ sets. How is this not a single? Well, in falling just a bit outside of the outside where Duck Sauce stands in relation to mainstream dance at-present, it doesn't quite fit the mainstream notion of their brand. But as far as excellence in production and nailing expectations? This one keeps scoring and never stops winning with each listen.—Marcus

Jesse Slayter - "Thick"

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It's difficult to pinpoint just one track from the Main Course flood of material in 2014 that's "the best." Jesse Slayter's "Thick" might be the answer, though, as it's popped up in mix after mix by some of the bigger names in dance music and it feels like it's honestly the anthem of a whole new crop of weirdo house/breaks driven club music. Fidget feels are all over the place right now and we're not sure if anything has cut through as unique and banging as this powerhouse of a tune.—Brent

Lockah - "If Loving U Is Wrong, I Don’t Want To Be Wrong"

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Lockah has been a dude that can just capture the feeling of the music from the first two decades of my life (I was born in 1980, I'm old). This track, with it's potent mix of Miami Bass and synth pads that just won't quit, is another one that just turns any instant into a "moment". It makes me want to grab a pair of Ray Bans and drive a cigarette-boat into the sunset with a whistlful look on my face. It moves you.—Brice

Major Lazer ft. Sean Paul - "Come On To Me"

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The idea that Sean Paul hopped on a moombahton track shouldn't be lost in the shuffle of things that have happened so far in 2014. The sampling of Willie Colon's "La Murga" is the second time that the collective has tapped the Fania/Colon well, with "Watch Out for This (Bumaye)" sampling "Maria Lionza." "Come On To Me" is a top-tier track that is probably going to be a festival smasher for a festival-dominant unit, thus earning this level of praise.—Marcus

Digital - "Bitter Wind"

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Digital's been on quite the roll this year, racking up releases everywhere from Metalheadz to Ingredients, but this sneaky release on Rupture LDN is the one. The A-side, "Robber," was a throwback to his Dubzilla track "Daylight Robbery," but it was this moving, amen-laced gem "Bitter Wind" that truly had me in awe. It packs a wallop of subs and amen edits, but it's that ethereal vibe atop that really makes this number. Plus, there's not much mixing that needs to be done while it's going; just drop the tune, light a cigarette, and take a breather.—khal

Branko ft. JSTJR - "Broken"

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If a forward-thinking music urban music fanatic, Branko's zouk bass ballad collaboration with the rising JSTJR gives a fair idea of what R&B could sound like in the future. Supple and sumptuous while still retaining a thick bottom end, it's emblematic of a progressive new style unintentionally crafted to mirror a classic legacy.—Marcus

Wave Racer - "Streamers"

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Have you ever been running through a meadow with your hair flowing in the wind and without a care in the world? That's what listening to Wave Racer's "Streamers" feels like as it captures childlike innocence and gullibility into a bottle and delivers into musical form. Thick snares and claps flesh against glimmering arpeggiators and a heavy back beat, "Streamers" is just really damn dope.—Jake

Cashmere Cat - "Wedding Bells"

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Cashmere Cat's "Wedding Bells" may be lumped in with EDM, but that is selling it so short. This is music pure and simple that transcends any type of reductionist categorization. It's music that completes a beautiful moment and when that flute kicks in? Yeah, I lose it everytime.–Brice

RL Grime & What So Not - "Tell Me"

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Easily one of the most anticipated collaborations of 2014, RL Grime and What So Not's "Tell Me" will no doubt be played all year long and probably into next. It's not a melodically complex track or all that artfully composed, but it's a track with a simple accessbility and unbelievable size. "Tell Me" is a pure anthem that delivers exactly what the crowd whats and needs at the #samedamntime. A catchy hook, a massive horn-load of a dropo, and BASS.—Jake

Skrillex with KillaGraham & Sam Dew - "Stranger"

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Skrillex admits that he's not a hit-maker, and while "Stranger" might not be topping charts, this Recess gem could be one of his most appealing tracks, especially for those who might not know of this side of his work. You get drawn in by a melodic vocal, with a bouncy beat kicking in before the drop, which doesn't overwhelm. It's enticing party music, and one of those cuts that will stay stuck in your head for a bit.—khal

Sam Smith - "Stay With Me"

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Few could challenge Sam Smith for his spot as most explosive star campaign in the past two years. From being the guy featured on that Disclosure track to being featured on every single publication in North America with shows at the legendary Apollo Theater, Sam Smith has been artfully crafting his space as a soulful singer for a new age. His single "Stay With Me" combines a classic blue-eyed soul with modern production and has no doubt been a remixer's favorite and brings back a classic songwriting style much needed in the US. The UK pop invasion has slowly been happening on the low, but Sam Smith's "Stay With Me" is breaking that wide open.—Jake

Skream - "Bang That"

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It could just be me; it could be the fact that "Bang That" had been sitting on my radar for well over a year before word of it being signed by Boysnoize came to the forefront. It could be that this channels all of Skream's good sides, from the intense dubstep noisey side to the in-tune, club-centric vibes he's put on as of late. Worlds collide, volcanoes erupt, and out comes "Bang That," a jacking bit that forces you to truly contemplate the sounds hitting you while you're busy shaking your ass to them. It's also pretty simple: find a melody you can't let go, throw some punchy drums and bass booms underneath, then repeat.—khal

Darq E Freaker - "Minger"

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It feels silly to make a proclamation like "Darq E Freaker drops some of the hardest shit out there," but it is what it is. His Numbers single "Minger" could possibly be the biggest tune to drop in 2014. Establishing that a huge sound can transcend genre, "Minger" dips from grime to trap to breaks with ease, never losing what makes it essential. Pure dancefloor destruction, "Minger" is looking to eat your fingers, toes, amd heart, then ask for more.—khal

Lido - "Money"

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Lido has no doubt had an incredible 2014. We already told you we thought he had one of the best EPs of 2014 so far, and with that, we're also telling you that the lead single, "Money" is one of the best of the year, too. Bits of house, Jersey club, trap, jazz, and some blue-eyed chopped soul, made this an instant favorite amongst DJs and fans alike. This track just oozes with Lido's talent and will surely be remembered as one of the special tracks from this time.—Jake

Jamie xx - "All Under One Roof Raving"

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Jamie xx re-emerged in 2014 as a go-to name for pure, honest and unadulterated dance music. It's not that he ever stopped making those sounds, it's just that with the emergence of EDM that what Jamie excels at disappeared for a bit. Thus, "All Under One Roof Raving" exists as EDM getting smacked in the jaw with a humble Joe Frazier-style leaping left hook to the arrogant and garrulous jaw of Muhammad Ali. Any track that mentions "junglism, hard house and UK style" in the first thirty seconds, then hits with heavy bass and delightful steel pan melodies, is a horse of a different color winning the derby while the other competitors are getting turnt up in their stalls.—Marcus

Porter Robinson - "Sad Machine"

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While Porter's all but written off today's EDM scene, he's definitely the best thing for electronic music as a whole right now. His work on worlds is primed to help shape the ideals of the producers behind him, the dreamers who want to express themselves via this music, and not just rush to create the next banger. Porter believing in himself is what can lead to him crafting pop-minded tunes like "Sad Machine," which can make you smile and swoon and cry and twirl in circles, lost in emotion, all at once. It's an unforgettable track that doesn't mind being a unique pop record. Escapism at its finest.—khal

Nadus - "Nxwxrk"

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It's funny how, if you asked much of the electronic music media back in 2012 if they knew what Jersey club was, they'd look at you confused. Give Diplo credit; having Trippy Turtle on "Diplo & Friends" really made everyone experts of this Jersey sound, didn't it? And while DJ Sliink carried the torch in 2013, 2014's definitely been Nadus' time to shine, especially since the release of his debut EP Broke City. Paying homage to his hometown of Newark, NJ, "Nxwxrk" showcases what happens when those who love a scene take it upon themselves to dig in their heels and cultivate something that exists as a part of it, but does its best to move it forward. This cut doesn't even rest on a signature Jersey club thump; mixing in the bright synths and constant "Jersey!" vocal drop make this one future music, plain and simple.—khal

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