Tracklist
Liner Notes
Two hours and two minutes, sixty tracks. The running time has found a natural range now — the dramatic contractions of the pandemic year have given way to stability. Mix 09's eighty-nine minutes and Mix 13's seventy-four were experiments in economy; this is the settled rhythm, the session length that feels right when neither compression nor excess is the point. The DJ knows how long a mix needs to be, and it's approximately this.
Lane 8's "Loving You" in Solee's remix returns at 23:30, connecting back through the archive all the way to Mix 01 where the original and the remix appeared side by side. The Solee version has become the definitive one, preferred over the original — a common phenomenon in DJ culture where a remix replaces its source in the DJ's consciousness. Robin S.'s "Luv 4 Luv" follows immediately at 24:30, then Andy Compton's "That Acid Track" at 24:45. Three of the archive's most cherished deep house signatures deployed in ninety seconds — a greatest-hits medley of the recurring vocabulary, placed in the first quarter with the casual confidence of someone who knows these records inside out.
The energy arc is front-loaded — the opening quarter carries the highest intensity, then descends through each subsequent section. It's the shape of confidence: come in strong, establish the mood immediately, then gradually release the pressure until the final quarter barely whispers. The mix doesn't build to a climax. It builds from one. Eddie Amador's "House Music" in the Robosonic Remix at 12:15 and Marshall Jefferson & Solardo's "Move Your Body" at 16:00 anchor the opening push with records that celebrate the genre itself — house music about house music, the tradition reflecting on its own existence.
Justice & Tame Impala's "Neverender" at 47:00 is a collision of French electro and Australian psychedelia that fits neither category cleanly — exactly the kind of selection this archive thrives on. SG Lewis & Lastlings' "All We Have" appears twice, at 43:30 and 48:30, the mix circling back as if checking whether the feeling is still there. Between them, Gorgon City & DRAMA's "You've Done Enough" at 49:00 — a title that reads as both statement and release at the midpoint of the session. The Chemical Brothers' "Hey Boy Hey Girl" at 37:00 reaches back to big-beat history, while Jam & Spoon's "Right in the Night" in Morttagua's remix at 28:15 carries the full weight of '90s trance, reimagined for the present.
The Rolling Stones' "Miss You" at 1:28:45 is the oldest recording in the archive — a 1978 disco-inflected rock track that predates house music by nearly a decade. Placed between ambient electronics and deep techno, Mick Jagger's falsetto vocal sounds like a proto-house vocal, recontextualised completely by its surroundings. The DJ is making an argument the selections have been building toward for fourteen mixes: the lineage runs deeper than Chicago, deeper than New York, deeper than any single genre's creation myth.
Leonard Cohen returns at 1:37:30 with "Lover Lover Lover" — following his presence in Mix 07 via Paul Kalkbrenner's techno remix. Cohen in a DJ mix is always a statement: these are not records anyone expects to hear between dance tracks, and their inclusion speaks to emotional logic overriding genre logic. The Verve's "Bittersweet Symphony" arrives in remix form at 1:39:30, its famous string sample — always hypnotic, always repetitive — finally made explicit as a dance track. Like "Miss You," it reveals the DJ's instinct for finding the groove inside music that wasn't built for the dancefloor.
The closing section traces a beautiful arc from the familiar back to the atmospheric. DJ Call Me's "Swanda Ntha" in the Amapiano Mix at 1:46:15 extends the South African thread that first appeared in Mix 10 — the archive's ear reaching further each time into musical traditions outside the Western electronic mainstream. Patrice Bäumel's "Surge" at 1:52:45 provides cerebral techno counterweight. And the final track is Nox Vahn & Marsh's "Come Together" at 1:55:00 — the same record that opened Mix 09 nine months earlier, returning now as a closing statement rather than an opening one.
A mix that opens with John Summit's new-generation energy and closes with Marsh's atmospheric patience holds those two impulses — the driving and the contemplative, the emerging and the established — in perfect tension. That tension is becoming the DJ's defining characteristic. Neither side wins. Both are honoured. The balance is the point.