This is a single that could only exist in the digital age. Containing a total of 17 mixes, the packaging and repackaging of “Alligator” easily sets a record for sheer volume of mixes, while managing to contain not an ounce of crap. Ranging from short, poppy ‘80s mixes to full-on eight-minute peak-hour club mixes, the possibility for reinterpretation seems endless — due in no small way to the track’s simplicity in its album version. Originally based on simple percussion and minimal piano plunking with bare vocals insisting uncomplicated lyrics, “Alligator” plays like the raw elements provided to remix producers, and was begging to be played with. Highlights include a stellar New Wave synth mix by Passion Pit, a bright and twinkling mix by Four Tet, a progressive house mix by Morgan Page, an ambient-over-electro mix by Kevin St. Croix, and a gorgeous after-hours mix by Bill Hamel. Who knew a mere two-and-a-half minute song could be pushed in so many directions?

“L-I - licky C-K - licky Y, L-I - licky C, licky all night…”. How can you not fall prey to a song that starts out like that? Shontelle, responsible for 2008’s club hit “T-Shirt,” returns with the lead single to her forthcoming sophomore album No Gravity and definitely has the heads turned her way. “Licky” sounds like something Britney would have recorded if her team had found a way to clean it up for her watered-down demographic without sacrificing its gasp appeal. It’s kinda hard to clean up such a blatant reference to a blow job, though. Supported by remixes by Chew Fu, Saul Ruiz, Carnival of Souls and Ralphi Rosario, this one’s positioned just right to launch the album to clubgoers while the power ballad “Impossible” takes care of pop and rhythmic radio audiences, guaranteeing that Shontelle’s second full-length installment gets all the widespread recognition it deserves.

If you got the ‘80s drunk and let it throw up rainbows all over raverish Happy Hardcore, you’d have the Flex’d Rework of “I Am Not a Robot,” the lead single from the American debut of Brit artist Marina Diamandis, otherwise known as Marina & The Diamonds. Remixed by American electronic act Passion Pit, “Robot” is the perfect example of novelty pop conventions cleverly converted into intimate metaphoric devices, and proof that an artist can achieve mainstream appeal while maintaining artistic integrity. Marina’s voice is both frail and fearless, tiptoeing between twinkling notes while running forward at a furious pace, and works equally well in both included remixes of “Robot.” The Flex’d Rework by Passion Pit is the most immediately accessible, with exuberant, Soundboy Rock-era Groove Armada-style keyboards and endless video game-sounding crescendos and diminuendos. The Starsmith 24 Carat Remix is the more indie of the two, with a muffled beat and low bass gurgles supporting a continuous high-hat patter and more of the original version’s vocals than Passion Pit utilized. Also included is the Ocelot Remix of the album track “Obsessions.” If you’re looking for something delightfully different, swing this way.

Few have earned as far-reaching or diverse a fan base as producer, singer-songwriter, and audio guru Brian Transeau, or BT. When he releases new material, it’s like discovering religion all over again. It’s been four years since This Binary Universe was released; the first BT album that, while beautiful, didn’t have anything in the way of danceability. So in essence we’ve all been waiting to get back to the dance floor with him since 2003—if you don’t count the collaborations with Tiesto (“Love Comes Again” and “Break My Fall”).  “Suddenly” is the third single released from the forthcoming These Hopeful Machines, and the first to be full vocal and uptempo (“Rose of Jericho” was instrumental and “Every Other Way” feat. Jes was mid-tempo in its original version). This is exactly what we’ve all been panting for. BT adds his own voice to guest main vocals by Christian Burns, former member of the hugely popular Brit pop band BBMak, and features remixes by Celldweller, Cicada, Ferry Corsten, JJ and Dave Darrell.  Kind of amazing.

Major Lazer is the project name for a joint music venture by Diplo (best known as the producer of M.I.A.), and Switch (responsible for remixing artists like Kelis, Mika, Nine Inch Nails, Basement Jaxx, P. Diddy and Bjork, among others). The native sound of the resulting album, “Guns Don’t Kill People… Lazers Do,” is a progressive take on Jamaican dancehall, but it’s the duo’s roots in club music that makes the singles so delicious; namely, in the vast scope of remix producers they have utilized. “Keep It Goin’ Louder” is a clear standout from the album, relying heavily on the novelty of Auto-Tuned vocals and featuring pop urban singer Nina Sky. It stands on its own in its original format, but it’s the ten-track remix promo that takes it to an entirely new level via reinterpretations by names like Mixin’ Marc, Tommie Sunshine, Superchumbo (Tom Stephan), Il Diablo Brooklyn Fire and Diplo himself. It’s an unexpected contender for your next Circuit party, but trust me, it gets ya moving.

This is one of those songs that gets in your head on first listen and has you humming it at every pause throughout the day for the next week. “Remedy” is a bouncy, sing-a-long dance single that utilizes the cuteness of Britney’s best material with an intelligence that frowns on the idea that dance music has to be vapid. Supported with power remixes by Kaskade, Avicii and Stonemasons (knockoff of Freemasons?), the track has already been included in myriad club compilations and blogs have been buzzing in anticipation of more. After the first single “New in Town” vamped the crowd, the RedOne-produced “Remedy” is a sure-fire hit for the ascending artist, and has set the stage for her American debut when the Hands album is released domestically. While it’s not common that a dance artist—especially one from across the pond—makes the crossover to mainstream American radio, Little Boots just might have the appeal to make that happen.

This one popped up on Promo Only Mainstream Club and had me scrambling across the apartment to read the artist credit within the first few moments of those gorgeous, rounded notes cascading out of my speakers. It should come as no surprise that the M’black moniker is an alias for a better-known name, Deepest Blue, and specifically the producer of the group, Matt Schwartz. Those who remember the group that dominated radio dance back in 2003, with songs like “Give It Away” and “Deepest Blue,” will immediately recognize the similar watery sound punctuated by textured guitars. The sensual rasp of vocals belong to Nicol, whose delivery on the wrenching chorus lyrics “This is how my heart breaks, together” sounds like something from an old ATB track, but whose other music credits I’m unable to find. The EP was released on iTunes as a ten-track maxi-single on Robbins, and features mixes by Felix Baumgartner, Ron May, Inner Smile and Caged Baby. This one is huge.

Next in the now-endless parade of blue-eyed soul marching out of Britain and into the American market, Pixie Lott secures a place in the spectrum all her own, combining the ‘50s styling of Amy Winehouse (and her penchant for crazy eye makeup) and the vocal agility of Adele, with a cheeky presence that’s all her. “Cry Me Out” is the third single lifted from the Turn It Up album, and the first ballad following the dancier “Mama Do” and “Boys and Girls,” but is by far my favorite of the bunch. Because as every club addict knows, nothing works a remix quite like the contrast of a fast beat against half-tempo, power vocals—and this one is tailor-made for belting along with on a crowded main room floor. Bimbo Jones and Desert Eagle provide remixes, with the blue ribbon going to Jones for wedding a progressive house composition to a fun disco bounce. The result: a breakup song-cum-peak hour crowd pleaser. There’s just something about her, you can’t help but press that back button.

After exhaling a mushroom cloud and calming her weave, Whitney staggered to the studio and recorded her new single.  Every gay loves Whitney, it’s in our blood, but few out there aren’t at least a little disappointed that their favorite power diva is back and delivering her ballads like a spoken word performance and center stage sweating like a pregnant woman in July.  It’s not easy to see someone fall like that.  She’s getting it back slowly, a performance of “I Look To You” in Germany was starting to sound a bit more like the old Whitney, hopefully we’ll see her reclaim the throne.  If nothing else, in studio, even in her depreciated state, she sounds better than 95% of the current roster of artists out there.  “Million Dollar Bill” has all the charm of a radio dance hit, and all the class of a trademark ballad, so if this gets radio play, she’s got it made.  And with its disco core, this one was ready for a power remix right out the gates.  The first round of remixes came from the Freemasons, and a collective squeal from the gay boys could be heard across the globe.  A second round is trickling out currently and includes multiple treatments by Frankie Knuckles, a dark after hours mix by Peter Rauhofer, and a peak circuit mix by Tony Moran’s DJ partner Warren Rigg.

Everybody’s going “dance” right now and not to be outdone, here comes Shakira rockin’ a clubby sound filtered through her Latinness.  “She Wolf” features the kind of organic electronic production that made Basement Jaxx popular — synth gurgles and a relentless beat blended with bare guitar strums and ecstatic violins — and an arpeggio chorus similar to the trademark melodies of trance music.  It took Shakira only ten minutes to write the music and lyrics, “‘She Wolf’ came to me very mysteriously. The image of the she wolf just came to my head, and when I least expected it I was howling and panting.”  Apparently that last part stuck as you can hear her doing just that throughout the track. The video for She Wolf shows her sneaking out of bed, donning an asymmetrical leotard and then emerging from what looks like a glitter-drenched birth canal into a club setting, while the cutaways have her dancing in an enormous cage in a flesh colored one-piece.  The she wolf is out indeed.  Remixes by Moto Blanco, Calvin Harris, Deeplick (best of the bunch), Villains, and a bootleg floating around by Peter Rauhofer.