As the 59th Grammy Awards come nearer, let's look back on the year that was for drum & bass. As with every year, there are so many EPs and singles being released. With all that is going on in the world of drum & bass, it would be almost impossible to check them all out…let alone pick the best ones out everything.

While the standard releases of the EP and single flow freely, it is the larger, built up release that we can focus on more easily…the LP, or album.

After many hours of listening, filing through over 60 albums, and considering input from reviews and fan forums, I’ve deduced the 2016 albums of drum & bass to a list of the top ten, with some honorable mentions as well.

This was a very difficult list to put together, as narrowing so many good releases to only ten meant that numerous albums didn’t make the cut…even some of the ones that I wanted to see on this list.

Due to a nearly overwhelming amount of content within these albums, there had to be a way to cut through the miscellany. I had to have a standard for what could even be considered an album of 2016. For starters, I tried my best to only include content that had been made specifically for this last year. Any album containing strictly remixes (there were a few), or compilations of exclusively unreleased material didn’t count. While I understand that some songs and projects within these albums may have been from years prior, that is still a lot different than all of the songs on an album being from a different time. There’s little frame of reference regarding time when it comes to the notion of “unreleased material,” and because my intention is to keep this list focused on more recent releases, choosing not to include albums like those was a necessary standard.

That being said, I really wanted to include Foreign Concept’s “Music For Aleppo." The album is “donate to download,” meaning all the proceeds from the album go to the Doctors Without Borders organization, helping to alleviate the issues facing a war torn Syria.

There is no order of what is considered best on this list. Every album here equally earned a spot.

Without further ado…

The Most Massive Drum & Bass Albums of 2016

Richie Brains - “Who Is Richie Brains”

Channeling the influences of Hip-Hop to Footwork, Ambient to Techno, and Dub to Grime, “Who Is Richie Brains” is the ultimate buffet of flavors that have impacted drum & bass sound from years past and present. Needless to say, it’s not only one of the biggest LPs of 2016, but of that in recent memory and for years to come.

Richie Brains is a name that represents the drum & bass super group of: Alix Perez, Chimpo, Fixate, Fracture, Om Unit, Sam Binga, and Stray. All accomplished in their own right, they come together to form one of the most forward thinking groups to put out a drum & bass album, under the label of Dbridge’s own Exit Records no less.

As far the album’s direction goes, it doesn’t just stick to one, or even a few, aspects of dance or electronic, but upon the many elements of what makes it all great. Yet, it has an eclectic air about it that happens to pull it all together into a cohesive sound for the album. The range of style found here is focused on dance floor shakers, hip-hop jams (featuring the talents of the formidable Fox and more), and thoughtful autonomic odes.

“Who Is Richie Brains” isn’t one to disappoint, and hopefully we hear more from Brains in the future.

Rawtekk - “Here’s To Them”

Medschool tends to favor the liquid and lighter sides of drum & bass more often than not, so it’s a treat to hear something different from them. Rawtekk, the duo of Christine and Stefan Westphal, isn’t just here to bring the darkness, but cut out the lights altogether.

“Here’s To Them” is as visceral as it is chilling, yet it knows how and when to show reserve. It’s an album that starts heavy, leaving no question as to what this album represents. However, the onslaught subsides when eerie ambience takes over, featuring the vocals from Rawtekk's own, Christine Westphal. Lulling us back into the darkness, the album uses transitions to clever effect, and the result always feels natural. The album ends in similar fashion to how it began, however, trading chilling for brutal in a collaboration with bold drum & bass trio, Audeka.

This album is diverse as it is focused; all songs keep Rawtekk's brand of strange darkness to them, from the rollers to the ambient. It’s a pleasing step forward for Rawtekk.

Tesseract Recordings (Various Artists) - “Quantum Singularity”

What’s better than a collection of Drum & Bass dubs, rollers, and throwbacks? A collection that has all of its proceeds go to charity! The charity in question is the Harrogate Homeless Project.

Onto the music, this is one of the most interesting releases of 2016. Although most of it is steeped in dark and tech drum & bass, some songs like "Your Side" or "Bad For Me," know how to show a lighter side…with some much welcome funk on the latter that blurs the line between the subgenres of neurofunk and intelligent drum & bass. This collection isn’t afraid to throw minimal, neurofunk, and old school all into the same arena, creating a mixture of an album that really shows what the spirit behind drum & bass is all about. Nothing here falls short; this is an A list selection of underground Drum & Bass tunes, with a lineup that is a who’s-who of producers to look out for in the future.

Riya - “Sublimation (Deluxe Edition)”

Lush and graceful, Riya's expressive vocal's expose the soulful side of drum & bass. "Sublimation" showcase sides of herself that those familiar with her work don’t see often. It’s nice to hear versatility on an album like this, as opposed to most drum & bass vocalists taking the safe route and opting to perform the majority of their songs over easier listening tracks. Riya’s focus on this album is of genuine interest for the depth that drum & bass has to offer.

Not only does Riya step outside of what is normally expected of drum & bass vocalists, she even has the producers going outside of their comfort zones, with Emperor doing a smooth tune, and Zero T flexing his moody side. I never would have expected Philth to show up on this, but all the surprises on "Sublimation" are a part of what makes this album unforgettable. It’s hard not to fall in love with Riya’s sound on the jazzier tunes, and just as easy to be shaken when her tone takes a turn on the brooding bangers.

Critical Music (Various Artists) - “Binary : Codes"

It’s a breath of fresh air whenever Critical does something with their Binary imprint, because it means they’re about to take another step toward the cutting-edge. Binary : Codes is certainly this way. It isn’t afraid to take chances, like with "Moveya," "Dry Ink," or "Flutter." It’s some of the most forward thinking music I’ve heard all year, and that’s saying a lot, because many artists will try to make the same advancements as others in the scene.

The elements of neurofunk and minimal blend seamlessly across the album and in the tracks. Even when it sounds like the song is about to be something you’ve already heard, the artists will switch it up and change tactics. Critical is clearly leading the way with their Binary imprint, and they have just the stable of producers to do it.

Kimyan Law - “Zawadi”

From its orchestral beginning, you know this is album will be something big and beautiful. The theme of a larger than life, almost soundtrack-esque sound carries on throughout. Creative rhythms are patterned in the foreground, amongst expansive atmospheres that surround you. Each song seems like a tangible world that you can dive into. It’s a refreshing and thoughtful release, with each song carefully crafted to bring about a range of emotion.

Law easily transitions his style from ambient, to drum & bass dub, to culturally influenced hip-hop zeal. Of course, “Zawadi” isn’t just limited to the aforementioned palette, as many dimensions can be found here. The album flows just as naturally as the songs do. The level of production here is of such a high caliber that "Zawadi" easily earns a spot on this list, and undoubtedly many other lists pertaining to the drum & bass of 2016. It’s safe to say it will no doubt stand the test of time.

Dom & Roland - “Last Refuge of a Scoundrel”

A cool take on the old school sound from a duo that knows it well. It has that classic Metalheadz sound…the one from the 90’s when the then-new label was transforming the scene.

The album really takes off with "Inna Soul Jah" an especially heavy jungle song that could go toe to toe with even the darkest minimal sound of today. "King of the Hustlers" gets up and; its breakneck pace and alarming samples will keep you on edge.

"Last Refuge of a Scoundrel" is equally classic and futuristic, allowing its old school sound to breath and set the pace for what is an enjoyable cohesion of homage and advancement. Such a reflection seems just as new as it ever has, especially amidst a scene that is often times too wrapped up in proliferating the tech standard.

Cosmic Bridge (Various Artists) - "Om Unit Presents: Cosmology, Vol. 3"

The Cosmic Bridge label brings out its third edition of Cosmology, a collection that describes what the label is currently about, thanks to the direction of Om Unit. For the most part, this one sticks to dub elements, but the vibe and style within goes from hard opening tracks, freely moving toward a more relaxed atmosphere. By the end of the album, we hit a reggae influenced two track connection, and then an out there dubstep tune for the finisher.

The blend of diversity and focus is one that Cosmic Bridge has become accustomed to, and this release is a testament to the bar that Om Unit isn’t afraid to lay bare.

Noisia - “Outer Edges”

The Netherlands’ ever-venerable Noisia threw down the gauntlet on drum & bass with "Outer Edges." It is abundant with electronic variety, while still retaining Noisia’s classic sense of ambition and technical prowess.

A selection that spans drum & bass tear-outs, dubstep experimentation, and glitch hop weight, this is the sort of album in which a multitude tech sides to drum & bass that Noisia has become accustomed to allow to thrive. Each style cascades with force into the next, setting contrasts that are sometimes just as forceful as the transitions found within a good deal of the songs. These changes of style from one to the next are wakeup calls that toss you into the next song, not uncommon of Noisia’s often hard-edged sonic demeanor.

"Outer Edges" proves that not all albums have to progress and flow naturally to be considered harmonious. Sometimes, the change can be jarring…but that change can be great when executed as well as this album pulls it off.

Conduct - "Borderlands"

Other labels should watch, and other producers should listen: when Blu Mar Ten Music comes out with something, it’s sure to make its own mark in the scene. In light of BMTM’s other release, Zawadi, Borderlands is much more traditional drum & bass in when it comes to the balance of its songs. Going from arcane, then to illuminating and majestic, this album’s flow is almost like climbing a mountian, going over its peak…and then going down the other side, further plunging into mysterious territory. There are bursts of light and color in the abstract, as if glimpses of sun shine through, influencing the sound.

Facets of subtle nuance and stark distinction are well placed along this album, making for a development of sound that is organic in both its composure and feel.

Honorable Mentions

Audiosketch - “Sound Design"

Audiosketch has an interesting approach to drum and bass. He isn’t necessarily neurofunk, nor is he liquid. He’s somewhere in between, expressing an intelligent drum and bass style when it is crowded with the artists whose priorities are the aforementioned subgenres. Almost everything on here does it different than the usual. "Let You Know" has that subtle Metalheadz sound. With such a rich selection, the liquid themed songs actually stand out a lot more, and have a realized purpose amongst the rest of the album. "Sweet Dreams" is noticeable for being unmistakably disco themed. It’s such a refreshing step away from anything I’ve heard in 2016's drum & bass.

DLR - “Dreamland”

Off the wall neurofunk and darker influenced drum & bass is meticulously crafted and set in DLR’s much anticipated “Dreamland.” The unique tone on this album is a hybrid of classic and modern drum & bass, blended so well into a style that sets DLR apart from other producers.

The vision is clear, and realized enough to be palpable. It is an exploration of ideas, expressed through the intro and interlude, that come together with the music to form a unique cohesion of sound and intent. It is an experience that sets you in DLR’s “Dreamland.”

Homemade Weapons - “Negative Space”

You may not have heard of Homemade Weapons, but he seems to be on his way to gain more ground in the electronic and dance scene. His eclectic and rich style of minimal is taking the drum & bass scene by storm, and for good reason. It’s not hard to compare his works to dub or industrial, but Homemade Weapons' style is very much his own.

The atmospherics are cinematic. The vibe can become so deep and dark, it’s sometimes suffocating. Homemade Weapons pulls it all off with pinpoint precision. When even the most dramatic of soundscapes become frantic, there is still a level of control in "Negative Space" that has the power to pivot the action to another palpitating arena, all while keeping things fresh.

Mikal - “Wilderness”

The Metalheadz label has always known how to bring the heat. When it comes to 2016, they had a big year, landing releases with SCAR, Dub Phizix, and Mako to name a few. Back in February, they set the bar high. Even amongst the most forward thinking or underground labels, Mikal’s “Wilderness” stands on its own. Its half-time and breaks oriented sound selection set fertile grounds for weighty bass, thick beats, and dirty distortions that rip across the sound spectrum. Those who enjoy the deep side of electronic music worry not, as Mikal has even tapped into the depths of minimal on part of this album. “Wilderness” is just as untamed as any jungle, and is not for the faint of heart.