2009 witnessed a major resurgence of dance music into the mainstream, which was reflected in the year's `Annual' release. Not only was it the best Annual musically since 2000, the packaging harked back to the halcyon days of dance music, with its classy, creative, diagonal box replacing the uninspired plastic cases adorned with bikini clad divas that had blighted the Ministry of Sound label for years, and made it synonymous with music played in modded up Vauxhall Novas by the overexcited, Burberry clad dregs of society.
The `2011 Annual' had a tough act to follow, then, and while this is a worthwhile release it doesn't quite match the quality and variety of its predecessor. The packaging is back to being a standard cardboard flip out case, although the artwork looks cool and classy. The CD's themselves follow the vague form of House (CD1), Trance (CD2) and Dubstep (CD3), although in these days of genre-mashing it's not a particularly strict divide. Also, many dance music fans would characterise many of the tracks from David Guetta or Alex Gaudino as `pop' rather than any sub-genre of EDM, and indeed you aren't going to find James Blake on the dubstep disc, or John Roberts on the house CD etc. Then again, there's easily enough non-chart stuff to make this superior to you average Clubland or Now! compilation.
The first two discs are enjoyable, though stay at the same level throughout. It's all tech house with sprinklings of trance and funky house and vocal dance, without the music taking you anywhere. There are a lot of good songs littered about, but they're not mixed into a particularly artistic journey, even though the edits are silky smooth. Of course there are bigger sounding tracks than others, standouts like `I Think I Like It' and `Babylon', but essentially it's all decent grooves that you wouldn't be too disappointed to see dropped on a dancefloor. Disc 3 is heavier on the whole, with dubstep, electro, drum `n' bass and sometimes a combination of all three. Of the three it's the most exciting, and has the highest BPM; it's also got the most dancefloor credentials, as you wouldn't be surprised to hear some of these tracks on a Friday night in Fabric or somewhere similar.
While this set doesn't always really represent a lot of what's being played in clubs, it's as usual a good barometer of where mainstream dance tastes have been this year. The track selection is fairly predictable and safe (there's a lot more interesting tunes out there than dull vocal trance by past-their-prime producers like Oakenfold and van Buuren), and compared to last year it sometimes gets quite boring in places. Overall, though, it's good for the car, good for a party, and if that sounds cool then purchase without trepidation.