Tracklist
Liner Notes
The opening does something the archive hasn't attempted before: it starts with play. "Buttercup" by ceo@business.net at 0:00 is a wry, irreverent piece that dissolves almost immediately into Allies for Everyone's "Bunker" at 2:30 and Hippocoon's rework of "Music Sounds Better With You" at 3:30 — Stardust's original being one of house music's most sacred records. Repurposing it as an opening device is both reverent and cheeky, a reminder that the DJ behind these increasingly serious mixes still has a sense of humour. José González's "Heartbeats" at 8:30, acoustic and tender, slows the pulse before the mix finds its rhythmic footing.
Erre's "Always the Same Eyes" returns at 17:45 in Andres Luque's remix — its third appearance after Mixes 01 and 02. This is one of the archive's most persistent threads, a track that will surface again in Mix 24 and then one final time in Mix 46. A record that bookends the entire seven-year journey, though nobody listening in February 2021 could know that yet. Its placement here, between a driving dance track and Gorgon City's "Tell Me It's True" at 19:30, gives it room to do what it does best: create a moment of atmospheric suspension in the middle of forward motion.
The twenty-four-minute mark assembles a rapid-fire sequence of the archive's sharpest tools. Andy Compton's "That Acid Track" at 24:00, Pryda's "Mirage" at 25:15 — Eric Prydz's darker alias, all hypnotic progressive loops — Alan Fitzpatrick & Jamie Jones' "Sundancing" at 23:30 and again at 26:15, Cosmic Gate's "The Truth 2.0" at 26:00, and Noizu's "Summer 91" at 26:30. Six tracks in three minutes, each serving the same purpose from a different angle: sustaining dancefloor pressure. The DJ is working like a tradesperson now, reaching for exactly the right instrument for each moment, stacking them with a confidence that comes from knowing what each one does.
The energy arc peaks in the third quarter — the first time a mix has pushed its highest intensity past the midpoint. The opening is restrained, the middle builds, and the peak arrives late, suggesting an architectural patience that lets tension accumulate before releasing it. Bicep's "Cazenove" at 42:00 sits in this rising section, alongside Daniel Nova's dark techno and Four Tet's "Parallel 4" at 53:45 — positioning Bicep not as the indie-electronic crossover artists of Mix 01 but as serious electronic producers working in the same territory as Four Tet and the Berlin underground.
Nelly Furtado's "Promiscuous" at 47:30 appears in remix form — an early-2000s pop hit repurposed for the dancefloor with a confidence the early mixes never quite achieved. It sits between deep house and techno without asking permission, its vocal hooks earning their place through sheer charisma. Calvin Harris & Disciples' "How Deep Is Your Love" follows at 48:45 in a deeper remix, another pop crossover handled with more sophistication than the chart-adjacent inclusions of Era 1.
The closing section reveals a new compositional instinct. Disclosure & Kelis' "Watch Your Step" in the Picard Brothers Remix at 57:00, Romy's solo "Lifetime" at 59:30 — a member of The xx stepping into the light with a dance-pop anthem that glows with quiet joy. Then Mark Broom's midnight techno at 1:05:00 pulls the mood down before a final passage through Crazibiza & House of Prayers' rework of "Ain't No Sunshine" at 1:07:30. And then, at 1:08:00: Dustin Tebbutt's cover of RÜFÜS DU SOL's "Innerbloom" featuring Lisa Mitchell. Not the RÜFÜS DU SOL original that has appeared in earlier mixes, but someone else singing their song. It's quietly significant — a sign that the DJ's relationship with these anchor artists has deepened beyond the original recordings and into the wider ecosystem of covers and reimaginings they've inspired.
Mix 13 is where economy becomes an aesthetic. Fifty-one tracks, no wasted space. The recurring selections — "That Acid Track," "Always the Same Eyes," "Saw" at 1:10:00 — appear once each, their single appearances carrying more weight than the triple plays of earlier mixes. The DJ has learned that a track doesn't need to be repeated to be heard. Once is enough, if the placement is right. And in seventy-four minutes, every placement is.