Tracklist
Liner Notes
The opening is a statement of duality. Route 94's "My Love" at 0:00 and again at 2:15, UK garage-house framing multiple versions of Nelly Furtado's "Say It Right" — pop and house interleaved, neither apologising for the other. Dennis Ferrer's "How Do I Let Go" at 3:00 is a classic house vocal from one of the genre's most respected producers. Radio Slave's "Another Club" at 5:30. Elio Riso's "Breaking Minds" at 6:30. OneRepublic's "Rescue Me" at 6:45. The first seven minutes contain more genre variety than some entire mixes earlier in the archive. The door is wide open.
Fatboy Slim's "Praise You" in Maribou State's remix at 22:15 takes a hands-in-the-air anthem and transforms it into something contemplative and shimmering — a choice that captures the overall temperament of Mix 15. Basic Channel's "Phylyps Trak II/II" returns at 37:00, and five minutes later Creedence Clearwater Revival's "Have You Ever Seen the Rain" at 42:00 creates one of the archive's most startling juxtapositions: Berlin dub techno and classic American rock sharing the same emotional register. Melancholy, steady, resigned to the weather. Neither feels out of place because both are, at their core, about endurance.
The archive's signature tracks converge in a remarkable sequence between the 84-minute and 87-minute marks. Andy Compton's "That Acid Track" at 1:24:45. Fade's "All I Got" at 1:25:00. Solee's "Shanti" at 1:26:00. X-Press 2's "Say What!" at 1:26:15. Mood II Swing's "Closer" at 1:27:30. Five of the most recurring records in the entire catalogue, deployed back to back within three minutes. It functions as the mix's centre of gravity — the point where every thread the archive has been spinning over fifteen chapters comes together in a single, dense knot. Whether this convergence is deliberate or instinctive doesn't matter. It's the sound of an identity declaring itself.
Fred again.. returns at 28:45 with "Baxter" — a collaboration with Baxter Dury that brings Fred's sample-heavy emotional immediacy together with Dury's deadpan spoken-word delivery. RÜFÜS DU SOL's "Next to Me" at 1:31:45 continues their presence — quieter here, more interior than the anthemic versions of the early archive. Flume's "Friends" at 1:01:15 and "Rushing Back" at 1:04:30 carry the Australian electronic thread forward. Nina Kraviz's "Skyscrapers" at 53:15 brings Siberian techno intensity to a mix that has been, until that point, largely warm and melodic.
The second hour is where Mix 15 becomes genuinely fearless. Stevie Wonder's "Superstition" at 1:43:45. DNA's "Tom's Diner" featuring Suzanne Vega at 1:46:00. The Notorious B.I.G.'s "Juicy" at 1:46:45. 50 Cent's "P.I.M.P." at 1:51:30. 2Pac's "California Love" at 1:53:15. Ed Sheeran's "Bloodstream" at 1:50:30. These aren't remixes or edits — they're the originals, dropped into a set that also contains Depeche Mode, Destiny's Child, and Pink Floyd. The DJ has circled back to the anything-goes mentality of Mix 01, but with three years of established credibility behind it. The hip-hop and pop aren't naivety anymore. They're confidence earned through fifteen chapters of deep house and techno.
Pink Floyd's "Time" at 2:10:15 is the most extraordinary selection in the archive to this point. A seven-minute prog-rock epic from 1973, placed deep in the second hour of a dance mix. The ticking clocks, the explosion of drums, Roger Waters' meditation on mortality — none of it belongs here by any conventional DJ standard. All of it belongs here by emotional logic. "Time" asks the same questions the mix has been circling since the first track: where does it go, what have we done with it, and is there still enough. Depeche Mode's "Shake the Disease" in Tiga's remix at 2:04:45 and Foreigner's "Cold As Ice" at 1:56:45 keep the unlikely genre collisions coming.
The energy builds through the second quarter — Fatboy Slim, Basic Channel, CamelPhat, Nina Kraviz, Nic Fanciulli — heavy hitters stacked through the middle, then maintains before beginning its controlled descent through the classic-rock and hip-hop back half. The final twenty minutes drift into atmosphere: Fort Romeau's "IKB" at 2:20:15, Rustie's "After Light" at 2:23:30, Destiny's Child's "Say My Name" at 2:26:30. And the closing track: Four Tet's "Two Thousand and Seventeen" at 2:33:00 — a title that is itself a timestamp, placing the listener four years in the past. It dissolves rather than ends. The lights aren't coming up; they're fading to black. After two and a half hours of the archive's widest-ranging session, the DJ closes with something that simply drifts away — as though the music was always there and will continue after the recording stops.