Tracklist
Liner Notes
Big Pineapple's "Another Chance" opens the mix in two forms at 0:00 — Don Diablo's chill mix, then immediately his edit, as if trying to understand the same song from multiple angles. It's a habit that runs through the whole recording: the back-to-back version study, original and remix laid side by side. Then Bicep's "Opal" arrives at 1:30, but this time in Four Tet's remix — a more textured, more patient reworking than the anthem of "Glue" that launched Mix 01. The discovery has moved from the singles to the album tracks. The ear is getting deeper. Gorgon City appear for the first time at 4:30 with "Go Deep," the beginning of an association that will last through eight mixes and four years.
Kidnap's "Skin" in the Rinzen Remix at 18:15 is the first moment the mix truly locks in — a twelve-minute passage of rich, emotional progressive house that lets the room breathe and the listener sink. It's the longest any single track has been allowed to hold the floor in the archive so far. Then RÜFÜS DU SOL's "Underwater" emerges at 25:30, followed by its Adam Port Remix, and the mix enters that warm, yearning corridor that the first chapter established as their territory. Where Mix 01 gave them four appearances, Mix 02 spreads them wider: "Treat You Better" at 1:41:15, and then "Take Me" in both Cassian's remix and its original form near the three-hour mark. Cassian, tucked alongside RÜFÜS DU SOL with his own "Same Things" at 2:55:45, begins a presence that will quietly span almost the entire archive.
The Lane 8 devotion deepens to something approaching a feature set. Five tracks: "Aba" with Kidnap at 28:45, "Sunlight" at 1:17:00, "With Me" at 1:32:00, the Ryan Murgatroyd remix of "Stir Me Up" at 1:34:00, and "Visions" with RBBTS at 1:38:45. They cluster around the ninety-minute mark, pulling the mix into its most focused and hypnotic stretch — a sustained passage of melodic, after-hours house music that feels like driving through empty streets at 3 AM. Then deadmau5's "Strobe" at 2:23:15, once again in Lane 8's remix. Even when other artists enter the frame, they're filtered through this sensibility. And Morgan Page's "The Longest Road" in the Deadmau5 Remix at 1:37:15 makes its first appearance — a gateway track between trance and progressive house that will return in seven mixes, always carrying that same bittersweet, road-trip longing.
Two debut appearances here will prove to be among the most important in the archive. Andy Compton's "That Acid Track" drops at 2:11:45 — unassuming, deep, hypnotic, the kind of functional house music that slides into any context without announcing itself. You wouldn't know, listening to it arrive between Daft Punk's "Get Lucky" and Duke Dumont's "The Giver," that you're hearing the genesis of a seven-year habit. It will go on to appear in sixteen mixes, more than any other single recording in the catalogue. And Tinlicker & Robert Miles' "Children" debuts at 2:25:15 — a reimagining of one of electronic music's most sacred melodies, the 1996 trance anthem rebuilt for a generation that knows the original through cultural osmosis. It will return in five more mixes, always carrying the full emotional weight of that legacy.
The hip-hop crossovers are bolder this time. Post Malone's "Congratulations" at 1:28:45, Travis Scott's "SICKO MODE" at 2:01:00, Lil Wayne's "Love Me" right after at 2:04:00. Mix 01 had Drake as its rap representative; Mix 02 widens the net without apology. These are cultural moments from late 2018 woven into the fabric of a dance mix, and they work because the DJ doesn't treat them as novelty detours — they sit in the flow with the same weight as everything else. It's still the crossover instinct of someone who doesn't see genre walls as real, but the choices feel more deliberate, more of-the-moment. Wolf Alice's "Don't Delete the Kisses" at 30:00 — in both the Charli XCX remix and the original back to back — is the same impulse from the indie side: music that belongs because it's loved, not because it fits a category.
Groove Armada's "Superstylin'" at 54:45 and A-Trak's "Djs Gotta Dance More" at 45:30 anchor the middle passage with seasoned, floor-ready house music. But the late section is where a new sophistication shows itself. Bob Moses's "Enough to Believe" in Jamie Jones's remix at 2:58:15 sits alongside Nero's "Reaching Out" in the Fred Falke Remix at 3:09:30 and Butch's "Countach" in Kölsch's remix at 3:02:30. The remix choices reveal a growing awareness of the producer behind the board — it's no longer just about the song but about whose hands it passed through. Kölsch, who appeared as an artist in Mix 01, now appears as a remixer. The understanding of electronic music's ecosystem is deepening track by track.
The energy across the full three hours and forty-two minutes is almost perfectly level — all four quarters within two hundredths of each other. There are no calculated builds, no manufactured peak-hour moments. The mix breathes at a steady, warm intensity from start to finish, like a conversation that never raises its voice but never loses your attention either. It's still the energy of someone mixing alone, sustaining a personal atmosphere rather than programming a crowd, and the effect is deeply immersive. You stop noticing individual tracks and start feeling the current.
The Blaze's "HEAVEN" closes the mix at 3:38:45, and it's a choice that resonates far beyond this recording. Where Mix 01 ended with Robin Schulz's sunny "Sun Goes Down," Mix 02 ends with something atmospheric, widescreen, almost devotional. The Blaze make music that sounds like the end of a very long night — not exhausted but transcendent, the feeling of stepping outside into cold air after hours of warmth and noise. It's the first time a mix ends on something that feels genuinely intentional rather than simply running out of road. The Blaze also appeared at 40:15 with "SHE," bookending the mix's emotional architecture with their particular brand of cinematic melancholy. The marathon era isn't over yet — two more mixes of this length are still to come — but the instinct for where to leave the listener is already forming.