Tracklist
Liner Notes
Morgan Page's "The Longest Road" in the deadmau5 remix arrives early at 5:00 — now on its fourth archive appearance, always placed near the opening, always functioning as a threshold. Once you hear that melody, the preliminaries are over and the real work begins. London Grammar's "Baby It's You" at 7:30 is a brief moment of fragile beauty before the mix hardens. Tinlicker & Robert Miles' "Children" at 13:00 marks its fourth archive appearance too, the melody that signals allegiance to emotional electronic music with deep roots. But here it's surrounded by tougher material — Patrick Kunkel's "Crossbreed" at 19:45, Marc Marzenit's "Perron" in Wehbba's remix at 23:00, The Whiteliner's relentless techno at 28:00. The reverence for "Children" remains, but the neighbourhood has toughened.
The middle section is where Mix 11 finds its identity. Between 35:45 and 44:15: Andy Compton's "That Acid Track" twice (35:45 and 38:15), Fade's "All I Got" at 37:30, Danzel's "Pump It Up" at 37:45, Mark Knight & Armand Van Helden's "The Music Began to Play" at 38:00, SolyMar & Megamen's "All I Need" at 38:45, Demarkus Lewis' "Body Tonic" at 40:00. It's a masterclass in deep house tool tracks — records chosen not for their melodies but for their grooves, their ability to sustain a floor without demanding attention. Demarkus Lewis' "Body Tonic" makes its first appearance here and will become another recurring signature — nine mixes through Mix 38. It's soulful, physical, proof that you can make people move without a single melodic hook.
Basic Channel's "Phylyps Trak II/II" at 44:30 is the most significant deepening of the archive's reference points yet. Basic Channel are the founders of Berlin dub techno — one of electronic music's most uncompromising subgenres. The track is minimal to the point of abstraction: rhythm, texture, and almost nothing else. Its inclusion in a mix that also features Tiësto's "The Business" at 55:45 and a Bee Gees "Stayin' Alive" remix at 1:04:00 speaks to the remarkable widening of the DJ's frame. They're no longer just collecting what's current. They're reaching into the canon with one hand while keeping the other on the most populist tracks in the world.
Bicep appears twice — "Apricots" at 52:00 and "Orca" at 1:15:45. These aren't the accessible indie-electronic crossovers of their debut era, not the "Glue" that launched Mix 01. "Apricots" and "Orca" are deeper, more abstract, built from sampled textures and rhythmic patterns rather than melodic hooks. The evolution of Bicep in this archive mirrors the DJ's own trajectory: both started accessible and have moved progressively underground. Both tracks land in the second half, after the house tools have done their work, functioning as emotional counterweights — moments of textured beauty after sustained rhythmic intensity.
Paperclip People's "Throw" in Slam's RTM Remix returns at 1:06:15 — its second archive appearance, deployed in the exact same structural position as in Mix 08: deep in the second half, when the energy needs a final push before the descent begins. The DJ is developing go-to strategies for their key tracks. "Throw" isn't just a favourite. It's a weapon, and they know precisely when to reach for it. Gorgon City's "Burning" at 1:09:30, their third appearance in consecutive mixes, confirms the UK bass-house anchor is now a permanent fixture.
The energy builds in the second quarter, peaks early, then gradually descends — an almost physical logic. Sprint, then cruise, then cool down. The final twenty minutes are a controlled descent: Christian Smith's techno precision at 1:10:30, Patrick Topping's "Be Sharp Say Nowt" at 1:26:30, MEDUZA's "Lose Control" at 1:27:00 — now on its third appearance, a reliable late-mix marker. Then RÜFÜS DU SOL's "New Sky" at 1:31:00 signals the transition from dance to atmosphere, followed by Christian Smith & Wehbba's "Mutate" at 1:33:00 and Julian Wassermann's "Sol" closing at 1:33:45 — ambient electronica dissolving the final beats into space.
This is the mix where the bedroom becomes the booth. Not someone playing records they like, but someone constructing a journey with tools they've chosen for specific purposes. The signature tracks recur because they work in particular positions. The density serves a function. The genre balance reflects technique as much as taste. Eight months into the pandemic, the person behind the decks has earned the title of DJ through the only means that matters — doing it, alone, night after night, until the instincts sharpen and the collection deepens and the mixes start to sound like they come from someone who knows exactly what they're doing.