In these disparate times, DJs are failing to be phased by the current worldwide club closures. The Black Madonna, Call Super and Four Tet are just a few names that have been broadcasting, via Boileroom, from their quarantine. Likewise, Radio 1's eclectic mix of residents are pulling through with some incredible selections: Joy Orbison, Sherelle, Paul Woolford and many more are providing hours of listening pleasure. A few of us decided to share a couple mixes we've been raving on about since the year started.


COTTY'S SELECTION


Rory Milanes for Benji B

You may know Rory Milanes as one of Palace’s pro skaters, but bloody hell can he DJ. For 30 minutes, at the end of Benji B’s broadcast (27/02/2020), you can hear him immaculately mix a blend of disco, soul and Chicago house. Tracks by Moodymann and Marcellus Pittman all feature, and if you like the sound of this then get yourself down to his ‘Ditch’ parties with Hinge Finger’s Will Bankhead. Next time we are in the Capital, we certainly will be. Listen here.



Caribou's Essential Mix - 29.02.2020

Previous essential mix winner Dan Snaith has just released his new LP, ‘Suddenly’, under the beloved alias Caribou. To celebrate, the singer, songwriter, DJ and producer came back onto the radio 1 airwaves for another stellar mix, featuring so many unreleased tunes you’ll think your shazam has stopped working. Arguably the most notable track in the eclectic selection of garage, soul, tech and funk, was one from Jamie XX. ‘IDon’tKnow’ is yet to have a release date, but you can hear it at around 1.49.00-1.50.00; Its an outrageous, rave ready rhythm. Some Daphni dubs also feature, so really this is 2 hours of essential listening.



MIKEL'S SELECTION


Enei - Critical Sound @ 338

Kicking it off we have the Russian juggernaut Enei, and his performance for Critical Sounds' recent 338 takeover. Every time this man steps behind the 1s and 2s he takes complete control of the dance using his ability to read the crowd and deliver everything that they’ve come for. Opening with a VIP of his recent hit track Sinking, it did exactly that!



DieMantle (DJ Die B2B Dismantle) - Keep Hush

Next up we’ve got DJ Die and Dismantle going B2B under their partnered alias DieMantle. Being a Keep Hush event, the set was played in intimate surroundings, and Bristol's Basement 45 was the perfect spot. With Inja backing the pair on mic duties, the set was destined to slap! The first half of the performance was a banging selection of different genres, constantly switching between reggae, disco, funk and tech. After entertaining the crowd with 30/40 mins of fancy blends, the two decided it was time to bring in the drums. The set's remaining hour was packed with bouncy riddims, class emceeing and silly baselines - another reason this set deserved a mention!



MAXIMILLION'S SELECTION


Max Cooper @ London's Barbican

Here is a tase of different. Max Cooper, Live at the Barbican, brings to us the ultimate fusion of light and sound in an audio-visual experience like none other. From the dreamy chords of 'Perpetual Motion’, to the depth defying kick and bass arrangement found in ‘Void’, Max Cooper truly knows how to take the listener on a journey both sonically and emotionally. This performance in particular presents a constant development between the psychedelic balance of chaos and regiment, giving the listener freedom to lose themselves in either the uplifting sounds of nature, or some precise, slamming deep tech grooves. Personally, I think this is a monumental performance. So if that sounds like a bit of you, then give it an immediate listen.



Floating Points @ Printworks

This next choice needs no introduction. Floating Points, Print Works. The purely analogue, interstellar-like performance carries the crowd through a strange dissonance of sonics, with hints of the instantly recognisable Floating Points ‘sound’ being dropped here and there. His 360 degree rendition of ‘Ratio’ places the listener in a disorientating atmosphere, until the weighty kick hits. This will have definitely reminded the audience that they were completely off their chops, in a dark warehouse somewhere in central London. Sam Shepherd closed with my personal favourite, ‘Bias’. With its ever lasting build-up, and hallowing synth melodies, it forces the crowd into a state of tension. This is receptively relieved through its refreshing breakbeat drop, which anyone can bop and bass-face to. Floating Points evidently knows how to craft a set into something you’ll never forget. Now that’s how you do it.