Picking up where we left off yesterday, EMERGE has six more for 2006, this time focusing on music. Now this isn't our six favorite albums or artists by any stretch. It's just a look at six remarkable musical properties, including two record labels, three artists, and one specific release. Totally subjective, and probably a wee bit arbitrary given the literally hundreds of CDs and singles EMERGE has consumed over the past twelve months, these six entries deserve pride of place in any thoughtful retrospective of 2006's most fascinating music.

in no particular order

1. "45:33" by LCD Soundsystem, released exclusively by NIke+iTunes
Okay, okay. We already wrote about this, but in all fairness that was before "45:33" was a matter of public record. Now that EMERGE has downloaded this exclusive treat from iTunes and sat with it for a month or so (since EMERGE definitely doesn't go jogging), we can say for sure that we still think James Murphy is a genius, and that cosmic disco doesn't sound at all out of place in 2006. What's more, "45:33" manages a couple less obvious feats that are worth noting: it provides Murphy with a platform to make the kind of meandering, expansive, hypnotic compositions that the standard album/single format cannot accomodate, and it manages to upend the conventional wisdom of what motivates listeners as they work out. Never simply pounding and rhythmic, "45:33" is a dynamic, fluid and often exquisitely pretty bit of dance music transformed into a unique form and intended for a unique purpose.

2. Lady Sovereign
Five or six years ago EMERGE was absolute obsessed with London's garage scene, from which Lady Sov, Dizzee Rascal, The Streets and the critically adored dubstep and grime sounds have all emerged. Though our passion for this upfront fusion of hip hop, dub, dancehall, house, and drum & bass has waned, the scene has grown from a local underground phenomenon into a worldwide pop sensation. While few artists from this world can rightfully be called superstars (yet), Lady Sov seems poised to blow up big after a tremendous year of grassroots growth and unprecedented support from Jay Z himself. While nobody is polishing a platinum plaque for Public Warning quite yet, Sovereign's debut has introduced the pint size emcee and the peculiarities of London's urban music universe to an entire generation of American kids, who resoundingly propelled her single "Love Me Or Hate Me" to number one on MTV's TRL. Loved by cool kids, bloggers, kids and hip hop heroes alike, Lady Sov remains far from a household name, but if ever a pint size white girl from London was to make it as a hip-hop phenomenon in the US, it will undoubtedly be her.

3. Lupe Fiasco
Tastes are a funny thing, Even while EMERGE grows ever more sick and tired of the streetwear frenzy Fiasco has helped transform from underground phenomenon into mass market juggernaut, we still got love for this clean-living emcee. A devout muslim and a serious skateboarder, his vision for hip hop is a far cry from the cocaine raps that have ruled the mixtape scene and the over-the-top club bangers on the radio. His debut album, Food and Liquor is among the finest full lengths to drop this year in any genre, and it's positivity is a welcome change of pace from the obsessive gun talk and blinged out braggadocio of most commercial hip hop. Here's hoping success doesn't spoil this one.

4. Ed Bangers Records
A lot of people haven't caught on to Ed Banger yet, but it's just a matter of time. After all, the label's breakout hit, Justice Vs Simian's "Never Be Alone" aka "We Are Your Friends" won video of the year at the European Video Music Awards. Oh, and there was that minor incident when Kanye West stormed the stage talking about how he had Pam Anderson in his clip. With Justice signed to Vice Recordings for the US and a steady stream of underground favorites from the likes of teen rap queen Uffie, multi-platinum (in France) producer DJ Mehdi, as well as SebastiAn and leftfield favorite Feadz, Ed Bangers has become the unofficial sound of Paris, ruling clubs around the globe and spawning an appalling number of imitators. Oh, the label is run by Pedro Winter, who manages this little house music outfit called Daft Punk. How's that for credibility?

5. Whatever We Want Records
Whatever We Want is the kind of maddeningly obscure imprint that is tough to love. Run by NYC DJ Carlos Arias, WWW is a carefully curated peek into what some of the most twisted and brilliant leftfield DJs are digging these days. In addition to a bootleg edit of The Doors and three single from Quiet Village, who have since jumped ship for Virgin Records, there are two 12"s of bizarro noise from Godsy, two 7" singles by San Francisco-based Bobbie Marie, and three singles by Map of Africa, a cross-country collaboration between legendary DJ Harvey and Thomas Bullock of acclaimed NYC DJ duo Rub N Tug. With only 1000 copies of each single produced, scarcity is the name of the game for WWW; the vast majority end up in Japan and England (where distribution is overseen by the uber-elite lifestyle boutique Hideout). It's all a bit self-consciously cooler than thou, but Map of Africa alone is so good, it's worth all the pretense. Check the band's cover of The Equal's 70's classic "Black Skin Blue Eyed Boys" here since their records trade upwards of $100 on eBay.

6. The Knife
Most people in America haven't even heard of The Knife despite the fact that they are literally among the biggest popstars in their native Sweden. Their most recent album "Silent Shout" is the first to be released in the United States (by seminal label Mute Records). That said, many folks do know their song "Heartbeats," thanks to a gorgeous acoustic cover by Jose Gonzalez used in a popular commercial for flat screen tvs. Somehow, being famous via somebody else's performance of their song seems totally appropriate for this brother-sister duo. Their live performance is a super-elaborate bit of stagecraft blending psychotropic visuals with a quasi-performance by two people who may or may not actually be The Knife. On CD, however, there is no mistaking The Knife. "Occult and dark, but at the same time funny" is how the group have described themselves, and while that gives the reader no sense of what their music sounds like, it's pretty apt. Blurring pop hooks, searing electronic production and odd touches like synthesized steel drums (think Calypso), The Knife essentially sound like they have listened to a lot of Bjork and spent more than a few nights dancing in the dark to techno. Theirs is pop music that refuses to be lowest common denominator, challenging the listener to figure out just where they are coming from and where they are headed. One thing is for sure, EMERGER wants to come along for the ride.

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