{"id":968968,"date":"2023-03-15T15:27:33","date_gmt":"2023-03-15T12:27:33","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=968968"},"modified":"2023-03-15T15:27:33","modified_gmt":"2023-03-15T12:27:33","slug":"the-best-dj-mixes-of-2023","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=968968","title":{"rendered":"The Best DJ Mixes of 2023"},"content":{"rendered":"
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Columns<\/span><\/div>\n<\/div>\n<\/div>\n

The Best DJ Mixes of 2023<\/h1>\n
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All the techno, electro, house, drum\u2019n\u2019bass, ambient, and downbeat you can handle.<\/div>\n
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By <\/span>Philip Sherburne<\/span><\/span><\/span><\/div>\n

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Image by Marina Kozak<\/span><\/div>\n<\/div>\n<\/figure>\n<\/div>\n<\/div>\n<\/header>\n<\/div>\n
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Our electronic music expert<\/em>\u00a0Philip Sherburne<\/em>sifts through the internet\u2019s bounty of DJ mixes to find only the best sets\u2014because life\u2019s too short to waste on stale beats. The following list is presented by release date, from newest to oldest, and has been updated throughout 2023.<\/em><\/p>\n

Check out all of Pitchfork\u2019s 2023 wrap-up coverage here.<\/em><\/p>\n

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James Holden: Dance or Dream<\/div>\n
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James Holden returned to club rhythms on this year\u2019s Imagine This Is a High Dimensional Space of All Possibilities<\/em>. Well, sort of: The Border Community founder, who long ago traded techno\u2019s certainties for wooly hybrids and improvisational play, imagined the album\u2019s churning, muddied grooves as emanations from a dance party heard from a village away, just as he encountered rave music in his teens. This set for the amorphous Speckle series takes a further step back, losing even the drums and reveling in three hours of shifting synthscapes and dramatic atmospheres. Holden\u2019s mix is always on the move, though, propelled by the tumbling arpeggios of classical minimalism and \u201970s kosmische.<\/p>\n

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BMG: IT.podcast.s12e08: No Way Back 2023<\/div>\n
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It\u2019s tempting to imagine what it must have felt like, deep into the 32-hour run of Detroit\u2019s beloved No Way Back party, when Brendan M. Gillen began teasing in New Order\u2019s \u201cVideo 586,\u201d a prototype of \u201cBlue Monday.\u201d Those familiar synths must have seemed like a beacon cutting through the murk, a handrail arcing across a blasted landscape of acidic chaos. As the name of the party suggests, No Way Back is famous for fostering an atmosphere of darkly psychedelic abandon, and BMG\u2019s set lives up to the event\u2019s reputation. Heavy on undulating basslines, strobing drum machines, and resolutely minor-key synths, the 90-minute mix will leave you with the most delectable sense of menace.<\/p>\n

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Michigan: Klarity Clinic 005<\/div>\n
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It\u2019s hard to find much information on the DJ known simply as Michigan; she has played on the Lot Radio and seems to be part of a duo called usbtlety. If her online persona amounts to a trail of breadcrumbs, she\u2019s more forthcoming in this mix for New York\u2019s Klarity Clinic series. Subtitled \u201cMusic for Transformation,\u201d the set nods to a period of life changes, including a move from NYC back to Detroit, for health reasons, and then to Taipei, where her parents are from. That theme plays out in her style of mixing, using interludes and edited scraps\u2014like Gil Scott-Heron\u2019s \u201cThe Revolution Will Not Be Televised,\u201d or a deconstructed snippet of Duran Duran\u2019s \u201cSave a Prayer\u201d\u2014to glue together seemingly unrelated tracks from Smerz and Moodymann. Despite its experimental framework, the set still bangs, snaking an entrancing path through grinding acid, flickering electro, drum\u2019n\u2019bass, and the deep house and melodic trance of its euphoric conclusion. Not many mixes are so carefully thought out\u2014or skillfully put together.<\/p>\n

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Amor Muere: Sunday Mix<\/div>\n
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The debut album from Mexico City\u2019s Amor Muere\u2014the quartet of Mabe Fratti, Concepci\u00f3n Huerta, Gibrana Cervantes, and Camille Mandoki\u2014mixes dream pop, free improv, noise, and mournful avant-folk into a rich, emotionally generous sound. Their Sunday Mix for Crack, however, covers considerably different territory; you\u2019d be hard-pressed to identify the direct influence of Peruvian cumbia on their drifting, atmospheric sound. But the set makes for a provocative study in contrasts, weaving across Cubano son, Bollywood soundtracks, funk-punk from ESG, and slo-mo doom from Andy Stott. They turn up some obscure gems along the way, like Croatian folk savant Branko Mataja, whose inky melancholy is cut from the same sorrowful cloth as their own.<\/p>\n

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Azu Tiwaline: RA.906<\/div>\n
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Tunisian-Cambodian artist Azu Tiwaline\u2019s music is typically a hybrid affair, folding together Amazigh percussive traditions with field recordings from her desert home in the Sahara and elements of dub and dance music from her years living in France. She favors intricately syncopated drum patterns and amorphous shapes. Her Resident Advisor mix, in contrast, is a surprisingly full-on affair, opting for four-on-the-floor beats you don\u2019t often hear in her music. After kicking off with an atmospheric scene-setter of her own, she dives into an hour of clean-lined techno shadowed by glowering synths. Jeff Mills\u2019 flickering chimes echo through her bell tones; the industrial wallop of Berlin mingles with the rhythmic finesse of the UK. It\u2019s still a hybrid\u2014just geared, this time, to the peak time.<\/p>\n

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Maral: TANK Mix<\/div>\n
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Not many mixes include post-rockers Bowery Electric and Japanese psych rockers Boris along with dub pioneer King Tubby, UK garage innovators Groove Chronicles, and Cash Money legend Trick Daddy. Then again, most DJs aren\u2019t Maral. The Los Angeles DJ has a long history of crafting mixes that are as eclectic as they are purposefully sequenced, and this set for TANK<\/em> Magazine is no exception. Some blends\u2014like a slide from Armand Hammer into the experimental Brazilian funk producer DJ K\u2014feel like a kind of alchemy; others have little to hold them together beside the selector\u2019s own enthusiasm. But that unpredictability is half the fun.<\/p>\n

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Steffi x Virginia: ITPS097<\/div>\n
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When I think of Steffi and Virginia, I tend to think of their gorgeous 2010 single \u201cYours,\u201d a tearjerker of a deep-house anthem that established the Panorama Bar sound at its most melancholy. But in this 91-minute set for the Zenker Brothers\u2019 Ilian Tape label, the longtime collaborators are in far more energetic form, doling out dark, rolling house and churning loop techno strafed with the occasional old-school rave stab. The 1996 cut that opens the mix (little-known Italian producer Morose\u2019s \u201cHoly Ghost\u201d) sets the tone to come: coiled, shadowy, and flecked with acid basslines and dub-techno accents.<\/p>\n

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Jonny From Space: Recognize<\/div>\n
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Jonathan Trujillo\u2014better known as Jonny from Space, from his long affiliation with the club of the same name\u2014is part of Miami\u2019s rising tide of adventurous club talent, alongside peers like Nick Le\u00f3n and Danny Daze. His Recognize set for DJ Mag<\/em> showcases a sneaky approach to the dancefloor. Whatever Miami\u2019s reputation for bottle-service patrons and main-stage Ultra crowds, Jonny\u2019s trippy, elliptical selections are geared for small, dark rooms, laying down undulating drum grooves beneath a pall of shadow. Even his bangers have an anxious edge: Just check the teeth-grinding synths of c++\u2019s \u201cAngie\u2019s Fucked,\u201d a 2001 classic that serves as a passageway from the mix\u2019s scene-setting atmospheres to its techno nail-biters and coiled electro.<\/p>\n

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OJOO: Unsound Podcast 96<\/div>\n
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If OJOO were a painter, her podcast for Krak\u00f3w\u2019s Unsound festival would be rendered in a dozen different shades of black and applied in thick globs and uneven brush strokes, taking on the three-dimensional heft of a Robert Rauschenberg painting. The Moroccan-born, Brussels-based DJ (fka OJOO GYAL) lays out a sooty base of industrial scrapes and thuds and then piles on noise rap, dancehall, and bass music. Finding unexpected affinities between tracks\u2014layering muscular hand drumming with a smoldering backdrop of digital detritus, say\u2014her blends are as inspired as her selections.<\/p>\n

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Marie Montexier: Lente Kabinet Festival 2023<\/div>\n
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Berlin-based DJ Marie Montexier, a resident with the city\u2019s WARNING parties, has been gaining increasing attention for her vinyl-centric sets over the past few years. At this year\u2019s Lente Kabinet Festival in Amsterdam, she presented a particularly thrilling showcase of her deep-digging sound. Sticking strictly to wax, she evoked the buoyant, big-room feel of \u201990s and early-\u201900s house, alternating chugging, almost proggy percussive grooves with chestnuts like Roland Clark\u2019s \u201cI Get Deep (Shelter Remix).\u201d There\u2019s a real New York vibe to both her mixing and her selections, but she makes room for further afield tracks, including two from Venezuelan raptor-house pioneer DJ Babatr. She cues up universal crowd-pleasers too, like a killer version of Salt-N-Pepa\u2019s \u201cPush It.\u201d That it\u2019s a remix you\u2019ve probably never heard only testifies to her skills as a selector and<\/em> a digger.<\/p>\n

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JD Twitch: Sketches For Summer Mix<\/div>\n
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JD Twitch\u2019s concept of song of the summer differs considerably from the seasonal trope\u2019s typical framing. In place of hard-charging party starters or boisterous club staples, the Glasgow DJ\u2014one half of the hallowed duo Optimo\u2014opts for horizontal fare in this 90-minute mixtape: the hazy sunset glow of Fennesz\u2019 \u201cEndless Summer,\u201d Gershwin\u2019s \u201cSummertime\u201d in multiple iterations, the steel-guitar-kissed Hawaiana of Paul Page\u2019s \u201cCastaway,\u201d and a slice of canal-side jazz bliss courtesy of Alain Romans\u2019 \u201cQuel temps fait-il \u00e0 Paris?.\u201d The range is vast, touching on reggae, krautrock, MPB, and the blues, and the thread that ties it all together is the languor of a hot summer\u2019s day. The whole thing is as lazily refreshing as a bead of condensation slowly making its way down a tall glass of iced tea. (Originally released on cassette in 2021, Sketches For Summer is newly available as a pay-what-you-want Bandcamp download, with the proceeds going to the Glasgow North West Foodbank.)<\/p>\n

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Braxe & Falcon: Sweet Memories Mix<\/div>\n
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Summer calls for simple pleasures, and few delights are more straightforward than the French touch, with its surfeit of hooks and glowing chords. Pioneers Alan Braxe and DJ Falcon are enjoying a boost to their profiles after last year\u2019s Step by Step<\/em> EP, and in this SiriusXM mix, they take a victory lap by trotting out an hour\u2019s worth of classics. Their selections, from acts like Cassius, Etienne de Crecy, and Daft Punk, amount to a greatest-hits compendium of the genre, fleshed out with latter-day tracks like Mr. Oizo and Skrillex\u2019s \u201cEnd of the World\u201d or their own \u201cStep by Step\u201d with Panda Bear, now delectably remixed by Axel Boman. Perhaps because of how familiar the songs are, Braxe and Falcon don\u2019t belabor their blends; they tear through 33 tracks in 60 minutes, riding surging waves of disco samples and richly harmonic chords from peak to peak. They still leave room for some curveballs, like a sneaky Buggles sample that bubbles up in the middle of Daft Punk\u2019s \u201cMake Love.\u201d<\/p>\n

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Saoirse: fabric presents Saoirse<\/div>\n
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The Irish-born, London-based musician Saoirse\u2019s mix for fabric contains few dramatic peaks; instead, it bubbles along at a controlled boil. Her very intentional track selection and her style of mixing both favor immersion in the groove. That\u2019s not to say there aren\u2019t standout moments. Jacek Sienkiewicz\u2019s 2003 track \u201cThe Evidence\u201d is steely and monochromatic, a throwback to an era of colorblocked minimal techno; Junes\u2019 \u201cPilot\u201d is lush and dubby, drawing a line between Detroit and Berlin; and Casablanca producer Kosh\u2019s \u201cSquare One\u201d channels the brittle funk of vintage bleep techno, rounded out with a seductive hint of \u201cFrench Kiss\u201d-inspired chords. But even these highlights are quickly folded back into the shape-shifting flow, making Saoirse\u2019s mixing feel almost like a conjuring trick.<\/p>\n

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Bitter Babe: Primavera Sound Madrid<\/div>\n
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There\u2019s a great moment, just a few minutes into Bitter Babe\u2019s Primavara Sound Madrid set, where she abruptly shifts the tempo of a track, transforming Aussie producer Surusinghe\u2019s \u201cGet Flutey\u201d from creeping dembow to spring-loaded club music and then right into the icy square-wave bass of classic grim. The Colombian DJ\u2019s set is full of this kind of energy: colliding traditions, unexpected complements, and endlessly inventive percussion. She cuts up Nina Sky\u2019s classic \u201cMove Ya Body\u201d with a gnarly percussive club track, a dizzying balance of the tough with the sweet. She drops an accordion-led cumbia-house track mixed with the Halloween<\/em> theme. It goes on like that for an hour, the tempo steadily ascending to a giddy trance mix of t.A.T.u., then plunging to a sidewinding cumbia finale: an endlessly entertaining succession of relentlessly percussive thrills.<\/p>\n

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Martyn: Dekmantel 438<\/div>\n
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Though Martyn made his name in the bass-music scene of the mid 2000s, on 2010\u2019s Fabric 50<\/em> he mixed up dubstep with broken beat, UK funky, and techno, as though determined to remind listeners that his interests weren\u2019t limited to any one genre. He\u2019s just as open-minded on his recent Dekmantel mix. After spending the first half of the set moving between relatively austere techno and more colorful tracks (think Anthony Acid\u2019s ravy \u201cDoe Doe Doe,\u201d or the Pump Girls\u2019 acid-drenched hip-house), he pivots on the jazzy broken-beat soul of ROLROLROL\u2019s appropriately titled \u201cSurprise,\u201d featuring Jamie Woon. He then dips into an extended stretch of classic (or at least classically inspired) jungle and drum\u2019n\u2019bass. Running through selections from Dillinja and Source Direct, and ending up with a Detroit-inspired beauty from 4Hero\u2019s Marc Mac, it feels like he\u2019s pulling back the curtain on his formative influences.<\/p>\n

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SPFDJ: The Lab Awakenings<\/div>\n
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A few years ago, SPFDJ told an interviewer that she has a built-in \u201cbang filter\u201d when she\u2019s looking for music for her sets. That filter is clearly in good shape: Her recent set at the Netherlands\u2019 Awakenings festival is a minefield of pummeling kicks, \u201cMentasm\u201d stabs, acid squelch, and rubbery backbeats. Cruising upwards of 150 BPM, it\u2019s a rollercoaster of hard techno, EBM, electro, and throwback rave sounds. But for all the set\u2019s severity, it\u2019s hardly stone-faced: She opens with Charli XCX, after all, and peppers the set with saucy tracks like EiyiE\u2019s \u201cWanna Flirt With U.\u201d (In one breakdown, there\u2019s seemingly a sample of Paris Hilton saying, \u201cThat\u2019s hot.\u201d) The way she grins when a blend goes off is especially welcoming. What remains constant is the energy level: From the twisted synths of the intro to the final concussive crash, it simply bangs.<\/p>\n

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Livwutang: Hessle Audio 03 Jul 2023<\/div>\n
Livwutang: Mixmag Impact<\/div>\n
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It\u2019s not every week that a DJ puts out two of the best mixes of the month in the span of just two days. On July 3, New York DJ Livwutang contributed a breathtaking hour to Ben UFO\u2019s Hessle Audio show on Rinse. Her portion of the broadcast starts about nine minutes in, with gamelan-inflected techno and the eerie draw of Call Super and Julia Holter\u2019s \u201cIllumination,\u201d before making a somehow completely seamless transition to a 30-year-old Sabres of Paradise remix. She covers plenty of ground\u2014bass music, Japanese house, electro breaks\u2014but it\u2019s held together by gradual blends and a contemplative energy, even when it bangs. Livwutang\u2019s Impact set for Mixmag<\/em> published the very next day, and while it leans toward heavier grooves, the selections and sequencing are just as inspired: When Suburban Knight\u2019s vengeful 1998 track \u201cMaroon\u201d segues into an obscure Luke Solomon joint from 2013, you can practically feel the tension slipping from your shoulders, while Swayzak\u2019s classic \u201cSpeedboat\u201d is a straight-up day-brightener.<\/p>\n

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Rrose: On Cue<\/div>\n
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While Rrose\u2019s music continues to drift toward the outer limits of electronic psychedelia, the artist\u2019s roots lie in the Bay Area techno scene of the 1990s. They learned to DJ during a wee-hours radio slot at KALX Berkeley (\u201cthe only way I could get access to Technics 1200s,\u201d they note), and now, to celebrate 30 years behind the decks, they present a selection of techno from the \u201980s, \u201990s, and early 2000s. Every element\u2014Hallucinator\u2019s cavernous drones, Mika Vainio\u2019s crystalline pings, Richie Hawtin\u2019s woozily plunging pitch\u2014feels like zooming in on one granular element of Rrose\u2019s surreal, microtonal undulations. Packed with artists like Jeff Mills, Farley \u201cJackmaster\u201d Funk, and Drexciya, the set is also a timely reminder that virtually everything we call techno today walks in the footsteps of those \u201990s master craftsmen.<\/p>\n

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Jana Rush: H\u00d6R July 3, 2023<\/div>\n
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Berlin\u2019s H\u00d6R\u2014a DJ platform broadcasting from a closet-sized studio that resembles a public restroom\u2014is heavy on the high-energy sounds currently popular across Europe: techno, trance, drum\u2019n\u2019bass, post-everything club. Compared to the intensity of those styles, Jana Rush\u2019 H\u00d6R set is unusually understated. The Chicago DJ-producer\u2019s selections run plenty fast, but her adventurous take on footwork is coiled and hermetic, looping short, syncopated snippets of drums, keys, and vocals into tight tangles that creep forward with extreme care. It\u2019s gratifying to watch her mix: She works with the concentration of a scientist, setting cue points, sliding faders, and tweaking EQs with a supreme sense of control.<\/p>\n

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Autechre: Mix for Neuvoids<\/div>\n
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It\u2019s not every day we get a DJ mix from Autechre, so it seems fitting that when they do turn up, it\u2019s on a little-known streaming platform with just a few hundred Twitter followers. They start out with the B-boy fascinations of their youth and turn up some real gems, like Ishtar\u2019s trippy French electro pop from 1982. As their zigzags get more extreme, they make some surprising juxtapositions: Swedish electronic weirdos Sluta Leta slide into Westside Gunn\u2019s \u201cGood Night\u201d; a psychedelic Stranglers track from 1981 gives way to Spunk\u2019s easy-listening funk from the same year. And just when Bob James\u2019 \u201cNautilus\u201d has you wondering if you\u2019ve switched SoundCloud streams, they come back to increasingly twitchy electro jams and then close out with a half hour of noise and ambient. On paper, it might not make a lot of sense, but this mix\u2019s twists and turns are refreshingly unpredictable.<\/p>\n

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Helado Negro: Phonic Mirror Part 11<\/div>\n
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Helado Negro kicked off his Phonic Mirror mix series five years ago, promising \u201clots of weirdness and lots of joy.\u201d Since then, it has turned into a collection of snapshots of the artist\u2019s interests and inspirations. Some episodes follow a broad theme like autumnal music; others have gathered his vinyl purchases from around Brooklyn and Queens. The latest installment follows a narrower path than usual: It\u2019s all reggae from the \u201980s and \u201990s, heavy on synth-soaked dancehall and springy digidub. He kicks off with an absolute day-brightener about rainy days, goes traipsing through the playful toasting of Duchess Shine\u2019s \u201cSweet Talking,\u201d and takes in delightful covers of \u201cJust Gimme the Night,\u201d \u201cNothing Compares 2 U,\u201d and \u201cLegalize It.\u201d For fans of the \u201cSleng Teng\u201d riddim or Honest Jon\u2019s Watch How the People Dancing<\/em> compilation, it\u2019s a feast of General MIDI presets and sugary Casio tones, and as summery a mix as you could hope for.<\/p>\n

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Barker: 3024 Tapes 025<\/div>\n
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In recent years, Berlin producer Sam Barker has developed a unique style of drum-free techno, in which flickering synths largely replace the percussion. In this mix for Martyn\u2019s 3024 label, he goes in the opposite direction. Mining a seam of tracks between 140 and 160 BPM\u2014\u201cthis space between techno and jungle that doesn\u2019t revolve around straight kicks,\u201d as he puts it\u2014he leans hard on percussive intensity. The first part of the set moves through bass-heavy tracks with a dubstep undercurrent, with glowing chords occasionally cutting through the gloom. Halfway through, things get intense, as heavy hand percussion slams into Middle Eastern drumming, fast techno, punishing electro, and even a latter-day remix of one of grime\u2019s founding documents. The set\u2019s exhilarating energy is matched by Barker\u2019s unusually smooth mixing and unerring sense of pace; the lush finale makes for the perfect gentle comedown, and a return to Barker\u2019s typically harmonic wheelhouse.<\/p>\n

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Fever Ray: RA.883<\/div>\n
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Fever Ray\u2019s Karin Dreijer teams up with the production duo\u00a0Aasthma on a sleek, exhilarating set of left-field bangers. Avant-garde African sounds play an outsized role, particularly the bazillion-BPM blur of singeli artists like Sisso, Jay Mitta, and\u00a0DJ Travella; French-Congolese duo Tshegue drop punked-up percussive club sounds, while South Africa\u2019s Sho Madjozi invokes WWE\u2019s John Cena in a hypnotic song reminiscent of\u00a0DJ Mujava\u2019s \u201cTownship Funk.\u201d Fever Ray fans will be most excited by a pair of unreleased remixes: Slovakian DJ Nifra\u2019s take on \u201cWhat They Call Us\u201d is right in time for the\u00a0trance revival, while Avalon Emerson comes down from her\u00a0dream-pop cloud to deliver a tough, muscular \u201cCarbon Dioxide\u201d rework.<\/p>\n

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Huerco S.: @ Podlasie, Chicago 21.04.2023<\/div>\n
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In his own productions, and with the releases on his\u00a0West Mineral Ltd. label, Huerco S. often gravitates toward the hazy extremes of ambient, where detail seems to dissolve in a sooty murk. But put him in a club context, and he can bang. This nearly two-hour recording from Chicago\u2019s Podlasie starts out heavy\u2014the introductory track sounds like attack planes on the horizon\u2014and just gets heavier from there. Breakbeats, UK garage, techno, bass music, whatever you want to call the coiled syncopations of Peverelist\u2019s \u201cPulse I\u201d\u2014they all get swirled together in a mass of jabbing drums and dank, sticky low end. Things get particularly fun in the second half: DJ Babatr\u2019s\u00a0raptor-house edit of LFO\u2019s classic \u201cLFO\u201d injects a dose of d\u00e9j\u00e0 vu; Windowseeker\u2019s \u201cAspire+\u201d channels the trippiness of psytrance; and Chicago rapper Lil Jay\u2019s \u201cRound N Round\u201d makes for a moment of unhinged levity before the set disappears down a passageway of Autechre-inspired fractals.<\/p>\n

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Otik: RA.882<\/div>\n
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Bristol\u2019s Otik describes his Resident Adviser podcast as \u201cmusic I\u2019d want to hear at a warehouse party at 3 a.m.\u201d\u2014a deceptively light description for a decidedly heavyweight sound. Like his new\u00a0Xoul Trap<\/em> EP, his selections tend to blend rolling drums with ethereal pads or vocal loops, and the sense of uplift only increases as he gathers steam. While Otik is known as a standard-bearer for a particular strain of UK dance music, much of the set feels like a transatlantic conversation, with the archetypically UK sounds of jungle and garage balanced out by samples of iconic American tracks like Blaze\u2019s \u201cLovelee Dae\u201d or\u2014in a particularly genius moment toward the end\u2014Nina Sky\u2019s slinky \u201cMove Ya Body,\u201d whose skipping refrain adds even more momentum to his powerhouse grooves.<\/p>\n

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GRRL: Crack Mix 497<\/div>\n
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North Carolina producer GRRL\u2019s\u00a0recent EP for Jubilee\u2019s Magic City label is a hard-charging amalgam of electro, bleep techno, and straight-up rave, and their\u00a0Crack Mix is no less intense. But whereas her EP is split between thrill-ride exhilaration and darker shades of paranoia, their selections explore a wider range of emotions. Throwback electro jams like Human Rebellion\u2019s sashaying \u201cHold On\u201d might inspire manic grins, and the breakbeats of Arkajo\u2019s \u201cEarth\u201d (sped up to breakneck speed) call back to the darkling pleasures of classic tech step. But peer beneath the gnarled lines of GRRL\u2019s intricately twisted percussion and you\u2019ll find deeper, more contemplative moods in cuts like Skee Mask\u2019s \u201cReviver.\u201d The set goes plenty hard, but there\u2019s a welcome sense of subtlety in even its most bracing passages.<\/p>\n

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Korn\u00e9l Kov\u00e1cs: PMx10<\/div>\n
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Korn\u00e9l Kov\u00e1cs usually plays house (or at least house-adjacent<\/em>) music, but in this sleek, 46-minute set for fellow Swede Peder Mannerfelt\u2019s mix series, the Studio Barnhus co-founder digs into drum\u2019n\u2019bass. It\u2019s not a total curveball; rolling breakbeat rhythms fueled \u201cGet Goofy,\u201d an upbeat highlight from his 2022 album\u00a0Hotel Koko<\/em>, and as a teen, Kov\u00e1cs got his start playing drum\u2019n\u2019bass on Swedish national radio. He runs the gamut of the breakbeat universe here: A few classic cuts get rinsed, like DJ Hype\u2019s 1994 anthem \u201cRoll the Beats,\u201d but mostly he keeps his eye on what\u2019s happening now, like DJ Swisha\u2019s sneaky flip of Don Toliver\u2019s \u201c5X\u201d and Minor Science\u2019s almost cartoonishly kinetic \u201cWorkahol,\u201d the bright colors and distinctive hooks giving the set its playful flair.<\/p>\n

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Gold Panda: XLR8R Podcast 976<\/div>\n
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That Gold Panda\u2019s Derwin Schlecker is an unfailing purveyor of vibes has long been clear from his productions, which channel Dilla and Four Tet in sparkling, sun-kissed loops. But the most striking aspect of this set is how he makes unexpected connections between such disparate material. Tapping a throughline of pulse and burble, he spends the first part of the mix pursuing lush polyrhythms through jazz drummer Sarathy Korwar and the jazz-influenced Burnt Friedman; later, he traces a line between the snapping dembow of Equiknoxx\u2019s \u201cFly Away\u201d and the rippling tabla of Ravi Shankar\u2019s \u201cTala-Tabla Tarang,\u201d then extends the same line into the liquid droplets of Masakatsu Takagi, Tortoise, and Susumu Yokota. It\u2019s as carefully thought through as it is intuitive, offering fresh perspective on old faves.<\/p>\n

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Jake Muir: Theory Therapy 51<\/div>\n
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Even after listening to Jake Muir\u2019s latest mix multiple times, I\u2019d be hard-pressed to tell you exactly what\u2019s happening in it. The Berlin-based musician has a taste for quietly spellbinding sounds and textures, and the patient touch with which he weaves them together is equally subtle. This set is fluidly mixed that you rarely can tell where one track ends and another begins, or whether three or four different things might be happening at once. You get tendrils of soprano saxophone swirled into a pool of drone; foghorn pulses in a field of shimmer; and resonant chimes submerged in splashing water. Discussing the rise of wellness philosophies in ambient music, Muir\u00a0notes that, given the current political climate, \u201cmaybe we should be making and highlighting music that has a bit more agency.\u201d Accordingly, there are hints of disturbance beneath the surface here, fascinating complications that only deepen the set\u2019s beauty.<\/p>\n

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Call Super: PURE Guest.034<\/div>\n
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It feels like Cocteau Twins are having a minor moment in electronic music: Every month it seems like I hear a Cocteaus track slipped into an ambient mix, and then there\u2019s Avalon Emerson, who\u00a0cited the Scottish group\u2019s ethereal sound as an influence on her own\u00a0shift from techno to dream pop. Now Call Super says that they endeavored to build an entire set around Seefeel cofounder Mark Clifford\u2019s 1995 remix of the Cocteau Twins\u2019 \u201cViolaine.\u201d This mix for\u00a0Taipei\u2019s Pure G isn\u2019t an ambient set, though: As always, Call Super delivers floor-centric cuts with an immersive pull, covering snapping bass music (Arkajo\u2019s \u201cTape 17\u201d), slippery techno (Leigh Dickson\u2019s 2002 cut \u201cPraise,\u201d divinely remixed by Baby Ford), and rugged breaks (Kasra V\u2019s \u201cVoice Note to Self\u201d). As tough as the grooves get, they\u2019re almost always overlaid with\u00a0dreamy, shimmering layers of synths; this is music for moving to, but it also facilitates getting lost in your mind. Nowhere does that play out more unusually than when he finally drops that Cocteaus remix, about three-quarters of the way through, pairing Elizabeth Fraser\u2019s dulcet voice with a juggernaut of a techno track.<\/p>\n

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Tristan Arp: 3024 TAPES 003<\/div>\n
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Tristan Arp\u2019s last album, 2021\u2019s\u00a0Sculpturegardening<\/em>, used ambient tones to express complex rhythms, and one of the most notable recent albums on his Human Pitch label, Salamanda\u2019s\u00a0Ashbalkum<\/em>, was similarly gauzy. But there\u2019s nothing restrained about the Mexico City producer\u2019s guest mix for\u00a0Martyn\u2019s 3024 Tapes series, which folds together explosive, broken-beat club music with wiry techno, voluminous dub, ragga jungle, and 180-BPM drum\u2019n\u2019bass. He drops a few standouts along the way\u2014South African rapper Sho Madjozi and French producer She\u2019s Drunk\u2019s \u201cAmadoda\u201d is a percussive party-starter\u2014but the real treat is hearing how neatly he weaves together such tangled polyrhythms.<\/p>\n

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Doc Sleep: Sunday Mix<\/div>\n
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Doc Sleep has a finely tuned ear for low-key electronic sounds: You can hear it in her\u00a0curation of Jacktone, the label she co-founded, as well as in her own\u00a0productions, which call back to the leftfield techno of the \u201990s. She takes several steps further left in her Sunday Mix for\u00a0Crack<\/em>. She begins with a base of ambient jazz\u2014liquid harps from Nailah Hunter and Nala Sinephro, a stunningly atmospheric Rhodes fantasia by George Duke\u2014and builds out from there with selections from Low, Junior Boys, and Devendra Banhart & Noah Georgeson that sit in the interstices between ambient and indie. In the second half she slips sideways into slow-motion funk from then and now, pitting Laurie Anderson against Afrikan Sciences. The spiritual-jazz finale drives home the relaxed and refreshing weekend mood.<\/p>\n

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Kassem Mosse: Truancy 301<\/div>\n
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Germany\u2019s\u00a0Kassem Mosse, a staple of vaunted lo-fi house label Workshop, has strayed into some pretty murky waters in recent years, and he drifts out to sea once more with this Truancy mix. It\u2019s still a dance set, full of muscular machine grooves and peppered with cuts from like-minded souls like Omar-S, whose 2022 drums-and-voice cut \u201cCan\u2019t Explain\u201d opens the proceedings on a ghostly note. But he tends to gravitate toward airy, eerie tracks filled with empty space: There\u2019s a haunted-house vibe to one lurching cut suffused in evil muttering; another offers a dank, dubby spin on techno that\u2019s nothing but hi-hats and bass. He gives free rein to his psychedelic instincts with a splash of dubbed-out horns in a fake-out about two-thirds of the way through, only to lock into a ruminative deep-house finale, squeezing every drop of tone color from a paltry piano loop. It\u2019s classic Kassem Mosse, finding the expressive potential in the driest, most desiccated sounds. And if it\u2019s KM\u2019s atmospheric side you\u2019re after, don\u2019t miss the fluid, post-Balearic currents of his\u00a0Stora Skuggan set, which sounds like it\u2019s been concocted out of watercolor paints and Play-Doh.<\/p>\n

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Nyokabi Kari\u0169ki: Sunday Mix<\/div>\n
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Steve Reich\u2019s iconic \u201cCome Out\u201d\u2014which loops a snippet of a young victim of police violence saying, \u201cI had to, like, open the bruise up and let some of the bruise blood come out to show them\u201d\u2014takes on a new significance as the opening track in\u00a0Nyokabi Kari\u0169ki\u2019s Sunday Mix for\u00a0Crack<\/em>. The Kenyan experimental musician\u2019s new album\u00a0Feeling Body<\/em> charts her own experience of long COVID, a disease that some sufferers have struggled to convince medical professionals is a legitimate malady with tangible symptoms. Kari\u0169ki\u2019s album is a healing journey that rejects hackneyed wellness clich\u00e9s, and her mix follows suit; there is as much tension in these otherworldly ambient selections as there is tranquility. She favors acoustic instruments with a vividly physical presence, like Mabe Fratti\u2019s cello and Bendik Giske\u2019s baritone saxophone, which she balances with more ethereal elements, like the layered voices and birdsong of her own \u201cEquator Song.\u201d It\u2019s a beautifully fluid set, so it\u2019s only fitting that it wraps up with\u00a0Feeling Body<\/em>\u00a0closing track \u201cNazama,\u201d a song that equates healing with flowing rivers.<\/p>\n

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AceMo: AceMo @ Howard\u2019s (Austin, TX)<\/div>\n
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When New York\u2019s\u00a0AceMo touched down in Austin, Texas, to play the January edition of a party called\u00a0Thank You for Sweating, the management busted out a tape deck to preserve the occasion. The result:\u00a0AceMo @ Howards -TYFS, a 90-minute set of deep, pumping house music neatly divided across two sides of a cassette. From the photos of the joint, Howard\u2019s definitely looks like a sweatbox, and AceMo came prepared. The A-side stretch is a long, gently sloping on-ramp lined with moody, immersive cuts like Mike Huckaby\u2019s \u201cBaseline 88\u201d and Ron Trent and Chez Damier\u2019s eternal \u201cUntiled A1,\u201d from 1994, while the B-side subtly notches up the intensity, tipping from classic American strains of dance music\u2014Kyle Hall\u2019s\u00a0Midwestern funk; a\u00a0Boricua anthem from Strictly Rhythm\u2019s Rare Arts\u2014into\u00a0slipperier, UKG-tinged grooves. They\u2019re all big, chunky tunes, flush with midrange tone color, and AceMo blends them with exceptional finesse.<\/p>\n

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Queen Asher ft. Rehema Tajiri: H\u00f6r Berlin<\/div>\n
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Tanzania\u2019s Rehema Tajiri had been making music in regional styles like zouk and taarab for two decades before she began\u00a0singing over the lightning-fast beats of\u00a0singeli, whose tempos can run as high as 300 BPM. Tajiri found her way into the singeli scene under the tutelage of pioneering producer\u00a0Sisso but these days, she\u2019s spreading the style\u2019s gospel to a new generation: her own daughter, Queen Asher, who makes beats and performs alongside her mother. Their set for H\u00f6r Berlin could double as the plot for a\u00a0Freaky Friday<\/em>-style family comedy: A runaway particle accelerator sparks a mother-daughter mind meld.<\/p>\n

Peering calmly into her laptop, Asher weaves a mesh of dizzyingly syncopated, sped-up loops of tinny drums and Casio-like keys; Tajiri freestyles nonstop, sing-speaking in short, percussive bursts that mimic the music\u2019s frenetic cadence. \u201cThe singeli is a very intense body experience,\u201d Tajiri recently\u00a0told an interviewer. \u201cOnce you get the beat, you can dance for hours; it\u2019s like a trance.\u201d That enveloping vibe comes through in the duo\u2019s performance, which doesn\u2019t so much develop as glide like a magic carpet for nearly an hour. But it\u2019s not\u00a0entirely<\/em>\u00a0trance-like: Every now and then, Asher doffs her headphones to dance alongside her mother, the two women smiling and bobbing as casually as they might at home.<\/p>\n

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Salamanda: Sharp Type Co 004<\/div>\n
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When they compiled their submission for New York digital type foundry\u00a0Sharp Type\u2019s mixtape series (yes, it really does seem like\u00a0everyone<\/em>\u00a0has a mix series these days), Seoul duo\u00a0Salamanda decided to focus strictly on Korean music. Many of their selections are far from the pastoral climes of their 2022 album\u00a0Ashbalkum<\/em>. After a placid orchestral introduction, they veer left into a\u00a0bracingly atonal aria for guitar, percussion, and voice from composer I Sang Yun, then survey a variety of strains of noise:\u00a0haepaary\u2019s ritualistic vocalizations;\u00a0Choi Taehyun\u2019s rock-tumbler dub;\u00a0JOYUL\u2019s free-range oscillations. Berlin-based bela breaks the spell with\u00a0a gorgeous piece of organ music, opening the way for a second-half stretch of\u00a0blippy IDM and\u00a0sunrise calm, along with three typically bucolic songs from Salamanda themselves.<\/p>\n

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DJ Lilocox:\u00a0Drums (Lata)<\/em><\/div>\n
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Lisbon\u2019s\u00a0DJ Lilocox has been affiliated with Pr\u00edncipe Discos in various contexts for a decade now, most recently as a solo artist with 2018\u2019s\u00a0Paz & Amor<\/em>\u00a0EP, where he put a sleek, buoyant spin on the percussive sound of Afro-Portuguese batida. A new mixtape for the label turns the clock back to his early years, when he was still hammering out the contours of his loping, syncopated style. Stitching together 43 tracks from Lilocox\u2019s own archive,\u00a0Drums (Lata)<\/em> is clearly cut from the same cloth as his later work, full of resonant log drums and clanging metallic accents. But it\u2019s a smoother ride than he would eventually become known for, balancing the crisp polyrhythms of his ancestral Cape Verde with the laid-back pump of deep house. Closed-minded Lisbon club owners once used the disparaging term \u201clata\u201d\u2014Portuguese for \u201ctin can\u201d\u2014to describe the music of Lilocox and his peers. With\u00a0Drums (Lata)<\/em>, he proudly reclaims the word, putting his own stamp on this scene\u2019s dynamic musical history.<\/p>\n

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Anu: Ryuichi Sakamoto Special for Soup to Nuts<\/div>\n
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In November, London DJ and radio presenter Anu began immersing herself in Ryuichi Sakamoto\u2019s catalog, listening to every album, soundtrack, composition, and live recording that the 71-year-old composer and electronic musician has made. Her deep dive yielded a\u00a0two-hour set for NTS Radio that covers the breadth of his career in chronological order; a\u00a0companion entry on Anu\u2019s blog offers essential context for her selections. She tackles obligatory highlights like \u201cRiot in Lagos\u201d and \u201cBibo no Aozora,\u201d but also less canonical picks like 1991\u2019s \u201cRap to the World,\u201d a dancey collab with New York house fixtures Towa Tei and Satoshi Tomiie, or \u201cGreat Africa,\u201d which folds sampled dog barks into meditative a new-age\/synth-pop hybrid. Sakamoto is in\u00a0ill health\u2014in a recent\u00a0livestream, he admitted that he may not be able to return to performing\u2014which only makes this intimate portrait of him feel urgently timely. A month after her Sakamoto special, Anu\u00a0turned her lens to Yukihiro Takahashi, a fellow member of Yellow Magic Orchestra who\u00a0died in January.<\/p>\n

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aya: H\u00f6r Berlin<\/div>\n

Online streaming platform H\u00f6r is typically home to some of this decade\u2019s bangingest techno, trance, and club music. So it figures that the UK DJ\u00a0aya, ever fond of bucking expectations, would go to an opposite extreme: building patient, slow-motion beats and skulking dancehall into singeli-like whirlwinds and brain-scrambling syncopations. Even when she\u2019s dropping queasy, atonal drones, aya maintains an unusually deadpan stage presence: In the opening minutes of her set at H\u00f6r\u2019s Berlin restroom-cum-studio, as seasick glissandi rise and fall around her, she types out a message on her phone and holds it up for the studio camera, stone-faced: \u201ctheres no mic sorry lads.\u201d Once the technicians get the mic working, she makes good use of it, lacing extremely challenging (yet impeccably mixed) selections with a seasoned radio DJ\u2019s genial banter. \u201cThere are some techno bros watching on YouTube right now who are\u00a0screaming<\/em>\u00a0at me to stop talking,\u201d she notes at one point. \u201cTo those people I say\u2014\u201d and here she mutes the audio and makes kissing noises into the mic before slamming the beat back.<\/p>\n

The talking, as fun as it is, is just one teensy part of what makes aya\u2019s H\u00f6r set so thrilling. Mostly, it\u2019s the grooves, particularly in the latter half, as she weaves an increasingly dense lattice of overlapping polyrhythms. \u201cI had a bit of a manic episode lately, and I made this,\u201d she admits as she unleashes a strangely beautiful, impossible-to-parse fugue. \u201cTwo hundred BPM, 6\/4, 19-tone equal temperament\u2014clearly having a bad day.\u201d Maybe so. Fortunately for us, aya\u2019s bad days yield results that are at once spellbinding and laugh-out-loud funny.<\/p>\n

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John Talabot: Mix No. 60<\/div>\n
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Barcelona\u2019s\u00a0John Talabot blends records so gradually that it\u2019s easy to forget where you are in the mix. There\u2019s no before, no after, just a blissfully perpetual\u00a0now<\/em>. His preference for patient repetitions and gently psychedelic textures only heighten this sense of temporal slippage. In this set for Parisian clothing brand \u00c9tudes\u2019 ongoing mix series, he extends his unusually smooth touch across a wide stylistic span: from ambient to\u00a0Detroit techno to an unexpected stretch of darkly supple\u00a0UK garage. For the coup de gr\u00e2ce, he somehow manages to twist 2-step\u2019s syncopations into a home stretch of corkscrewing psytrance. It\u2019s not a development you\u2019d ever see coming, but in Talabot\u2019s hands, it feels completely natural.<\/p>\n

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Autechre: Artificial Intelligence \u2013 1992 Contextual Mix<\/div>\n

Released in 1992 on Sheffield\u2019s then-fledgling Warp label,\u00a0Artificial Intelligence<\/em> was a game-changer. Compiling tracks from\u00a0Autechre, the Orb\u2019s Alex Paterson, and Aphex Twin, among others, it codified the idea of home-listening electronica for the rave generation. On December 30, 2022, to commemorate a 30th-anniversary reissue of the comp, Autechre live-streamed a\u00a0five-and-a-half-hour set of music from the period. Kicking off with slow-motion soul from Baby Ford, who would eventually become known for spine-tingling minimal techno, the pair spend the early stretch of the mix ruminating on airy downtempo that seems to hover a few feet off the ground, tapping not just scene staples like LFO, GTO, and Nightmares on Wax but also industrial legends Coil and even Sade. Things heat up as they go deeper, fueled by the brittle sound of Sheffield bleep, hip-hop, and euphoric rave from both sides of the pond. (The\u00a0crowd-sourced tracklisting is a crucial accompaniment.) As always, much of the joy of an Autechre set is in savoring the disconnect between the music they make and the music they DJ\u2014there\u2019s little obvious linkage between these acid-house staples and\u00a0the heavily abstracted crunch of their 21st-century work. But sets like this also function as X-rays of the duo\u2019s sensibility, tracing the hip-hop and techno pulses that slide beneath the surface of even their most chaotic work.\u00a0 (Stream on Mixlr.)<\/p>\n

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Midland: Group Therapy<\/div>\n
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Last December, Copenhagen\u2019s\u00a0Group Therapy\u2014promoters of \u201ctherapeutic safer-space oriented raves\u201d\u2014observed World AIDS Day with a fundraiser for a pair of Danish nonprofits. For the opening slot, UK DJ\u00a0Midland picked out a selection of treasured records for what he calls \u201cmy love letter to everyone we lost to AIDS.\u201d Over four hours, he progresses from scene-setting ambient and downtempo to the ebullient sounds of disco, house, and techno, using a storyteller\u2019s careful sense of pacing to move between sorrow and celebration. He weaves poignant voiceover snippets into his blends, such as Harvey Fierstein explaining the essence of the \u201cgay sensibility,\u201d or a group of ballroom dancers rhapsodizing about the importance of their chosen family. Across a wildly varied landscape of adventurous club music dotted with tunes like Arthur Russell\u2019s \u201cJust a Blip,\u201d Kylie\u2019s \u201cSlow,\u201d and Madonna\u2019s \u201cBurning Up,\u201d a mosaic of communal memory and shared meaning emerges\u2014a picture of dancing as a means of survival.<\/p>\n

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Tim Reaper b2b Kode9: Unsound Podcast 85<\/div>\n
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When Hyperdub label boss\u00a0Kode9 performed a live audio-visual set at Krakow\u2019s Unsound festival last fall, his main-stage appearance paired abstracted digital sound design with game-like graphics and an anticolonial sci-fi narrative\u2014heady stuff. Just a few hours later, though, he triggered a more purely visceral response in a back-to-back DJ set with rising UK junglist\u00a0Tim Reaper, whipping up a 90-minute maelstrom at 160 BPM. They kick off with a brittle stepper peppered with grime bleeps, then waste no time getting to crowd pleasers like DJ Spinn and DJ Rashad\u2019s \u201c4 the Ghetto\u201d and Omni Trio\u2019s \u201cRenegade Snares (Foul Play Remix).\u201d From there on, it\u2019s a relentless rush of jungle breaks and footwork triplets, peppered with spinbacks, curveballs, and pop earworms. Among the highlights: Sully\u2019s \u201c5ives,\u201d whose percussive melody suggests sci-fi worldbuilding, and Reaper\u2019s own \u201cGive Me More,\u201d a veritable deluge of Reese bass and Amen snares. Dance music doesn\u2019t get much more exhilarating than this.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/article>\n

Source URL: https:\/\/pitchfork.com\/thepitch\/best-dj-mixes-2023\/<\/p>\n","protected":false},"excerpt":{"rendered":"

Columns The Best DJ Mixes of 2023 All the techno, electro, house, drum\u2019n\u2019bass, ambient, and downbeat you can handle. By Philip Sherburne November 30, 2023 Image by Marina Kozak Our electronic music expert\u00a0Philip Sherburnesifts through the internet\u2019s bounty of DJ mixes to find only the best sets\u2014because life\u2019s too short to waste on stale beats. […]<\/p>\n","protected":false},"author":1,"featured_media":968969,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[54],"class_list":["post-968968","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-politics","tag-pitchfork-com"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/968968","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=968968"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/968968\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/media\/968969"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=968968"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=968968"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=968968"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}