Mix 32: October 2023

October 2023

59mDuration

0BPM

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0Tracks

0 MBSize

Dance (59%)House (13%)Pop (10%)Electronic (8%)R&B/Soul (5%)Funk (3%)Downtempo (3%)

Tracklist

Liner Notes

The quiet continues, and it's not a fluke. Fifty-nine minutes, forty tracks — the new normal confirming itself. Mix 32 establishes the template for everything that follows: shorter, softer, more atmospheric. The energy barely varies across four quarters, sustaining a single mood from start to finish like a room held at one temperature. Where the early marathons' flat arcs came from not knowing how to shape a set, this flatness is a choice. The mood is set and held with discipline.

Vincent Antone's "Everyday People" opens at 0:00 — funk, warm and communal. Confidence Man's "Holiday" at 3:45 carries the kind of breezy Australian energy that the archive has always gravitated toward. Then Purple Disco Machine, Duke Dumont & Nothing But Thieves' "Something On My Mind" in Solomun's remix at 8:15 — three artists from different worlds filtered through one of electronic music's most tasteful producers. It's the kind of track that defines the quiet era: emotionally rich, dynamically restrained, built for listening rather than dancing.

Amy Winehouse's "Tears Dry On Their Own" at 28:00, followed immediately by Skepta's "Can't Play Myself (A Tribute To Amy)" at 28:30 — two tributes to the same artist, placed back to back. It's one of the archive's most poignant sequences: Winehouse's raw vocal followed by Skepta's grime-electronic homage. Both artists carry complicated legacies, and their adjacency creates a moment of genuine feeling that transcends genre categories entirely. Gorgon City's "Lost & Found" at 20:45 and John Summit's "Deep End" at 32:30 maintain the archive's contemporary connections.

Eric Prydz's "Opus" returns in the Four Tet remix at 25:30 — a track that once commanded nine-minute stretches in the hot era, now sitting quietly in a fifty-nine-minute set. Its reduced prominence mirrors the archive's overall compression: the big gestures are still present, but they take up less space. Kollektiv Turmstrasse's "Sorry I Am Late" at 32:45 carries a beautiful irony in its title — arriving deep in the quiet era, as though the track itself is apologising for not showing up sooner.

Mousse T.'s "Horny '98" at 41:00 appears three times in rapid succession — the extended mix, the radio edit, and the extended again. A burst of cheeky late-'90s house energy in a session that otherwise runs cool. The triple play recalls the Toni Braxton and Tinlicker repetitions from earlier mixes, but here it feels like comic relief — the DJ momentarily breaking character to remind you they still know how to have fun. CamelPhat & Will Easton's "Witching Hour" at 41:30 follows, its title catching the mix's late-night mood.

cassö, RAYE & D-Block Europe's "Prada" at 47:15 and PNAU & Empire Of The Sun's "AEIOU" at 49:00 close the selection with accessible pop-dance warmth. Curtis Mayfield's "Move On Up" in Eric Kupper's vocal mix closes at 52:15 — for the second consecutive session. A track so insistently optimistic it functions as a mantra: move on up, keep going, the direction matters more than the speed. In the quiet era, repeating that message twice in a row isn't repetition. It's faith.