Tracklist
Liner Notes
The Four Tet thread is what defines this chapter. Kieran Hebden appears as an artist with "Anna Painting" at 1:42:45, but his real presence is in the remix selections — and it's formidable. Eric Prydz's "Opus" in Four Tet's remix at 1:02:15 gets nearly nine minutes of unbroken space, the longest single-track ride in a mix where most records get barely two. It's a transformative reworking: Prydz's hands-in-the-air progressive epic reimagined as something more interior, more cerebral, more suited to headphones at 2 AM than a festival stage. Martyn & Four Tet's "Glassbeadgames" at 42:45, Shura's "Touch" in Four Tet's remix at 2:26:45, Todd Terje's "Jungelknugen" in Four Tet's remix at 2:31:15 — each appearance deepens the impression. This is the mix where the DJ discovers the producer's producer, the remixer who can make any track feel like it belongs in a more considered world.
Andy Compton's "That Acid Track" appears three times — at 18:30, 21:00, and 1:00:15. Three times in a single session. It appeared once in Mix 02, three times in Mix 03, and now it's in full rotation, a rhythmic anchor dropped whenever the mix needs to find its centre again. No other track in the entire archive will match its frequency of return. By the third appearance here, it functions less as a selection and more as a signature — the sound of this DJ thinking, resetting, coming home before heading out again.
Fade's "All I Got" in Chris Fortier's twenty-year dub surfaces twice — at 18:45 and again at 48:15 — a progressive house track with genuine weight, patient and warm, the kind of record that anchors a section rather than decorating it. Alongside Christian Smith & Wehbba's "Mutate" at 48:30 and Kölsch & Sasha's "The Lights" at 57:30, there's a progressive house corridor running through the middle of this mix that points clearly toward where the taste is heading: away from festival anthems and toward records that DJs play for each other. Kölsch's "Grey" returns at 2:09:15 — the same track that appeared in the opening minutes of Mix 01, now deeper in the running order, more trusted, more at home.
The energy arc is front-loaded for the first time in the archive. The opening quarter carries the highest intensity, then the mix gradually, deliberately unwinds. It's the opposite of a traditional DJ set — instead of building to a peak, it begins with intent and works its way toward stillness. The contrast with Mix 01's flat sustain is instructive. That was someone maintaining a mood. This is someone shaping one. The DJ is learning that a mix can have a trajectory, can take you somewhere different from where it found you.
Ten Walls' "Walking With Elephants" at 34:00 — that unforgettable, loping bass saxophone melody — marks the point where the opening energy starts to settle into something more exploratory. The pop layer thins further. LMFAO's "Shots" at 2:10:15 sits between Kölsch's "Grey" and Krystal Klear's "Neutron Dance," and it feels like a last guest from a party that's already ended. Mark Ronson's "Don't Leave Me Lonely" appears in both Claptone and Purple Disco Machine remixes at 1:20:00 — the original is pop, but the treatments are pure house. Pop songs are no longer played as pop songs here. They're filtered through dance production, given new context, stripped of their chart identity. The DJ is no longer mixing a playlist. They're curating a world.
Lane 8's "Loving You" returns in Solee's remix at 1:25:00, keeping that thread alive — the connection between two artists that was first discovered in Mix 01 and now feels like a fixture. Gorgon City & MK's "There for You" at 1:23:00 is pure UK house, warm and reliable. Estelle's "American Boy" in the Lost Frequencies Remix at 1:31:15 is one of the last crossover pop inclusions that feels truly at home. Peggy Gou's "Starry Night" at 2:20:00 brings a different energy — playful, club-ready, the sound of someone who mixes with joy rather than intensity.
Bach's Toccata and Fugue in D Minor returns at 1:46:45, just as it did in Mix 03 — becoming a recurring device, the classical intervention that announces the mix's ambitions extend beyond any dancefloor. The xx's "On Hold" in Jamie xx's remix appears twice at 1:48:00 and 1:52:30, bookending a passage of atmospheric electronics. Jamie xx, like Four Tet, represents a bridge between indie sensibility and dance music production, and his repeated inclusion feels pointed: these are the artists who prove that electronic music and emotional intelligence aren't mutually exclusive.
The mix dissolves into Lane 8's "Brightest Lights" at 2:16:45, then Bicep's "Just" at 2:33:00, and trails off through atmospheric fragments until Kaosklap's "Road to Nowhere" closes at 2:37:00. The title reads as unintentional commentary on where the archive stands at this moment. Five mixes in, the road isn't nowhere — it's somewhere increasingly specific. The range is narrowing, the taste is crystallising, the selections are becoming recognisably the work of one person rather than a survey of everything one person has heard. The journey from listener to DJ to curator is well underway, and Mix 05 is the pivot point — the chapter where the editing starts and never stops.