Midweek Mixes (02/02/22)
A run-down of some of the mixes and radio shows that have been soundtracking my existence – from the box-fresh to the tried-and-tested – all guaranteed to brighten up your week.
A carefully constructed wander through refined electro, breaks, house and techno. I think my favourite thing about this mix is the consistent way these tracks balance heaviness with light touches. Many of them are pretty full on, and would presumably be even more so in a club, but there’s always something that pulls them back from being too much for me. Call it a good eye for an unexpected quirk, or simply a sense of humour, but in the end this upfront selection of tracks manages to leave me with a feeling of buoyancy each time I get to the end.
Ouissam hits it out of the park once again with an hour of uplifting and musical party tunes that would go down a treat on a beach on Phú Quốc (where I believe he’s playing this weekend) as much as they would on a late Sunday morning at Panoramabar. Or, indeed, as they have in my kitchen in Lisbon over the past week, and on the metro, and in the airport waiting for my flight…yes it’s on repeat.
The mix is wall-to-wall bangers, from the Bananarama-a-like 80s dub mix opener (or maybe it’s actually Bananarama?) through to the Kenix-a-like dubbed-out disco freakout closer (or maybe it’s actually Kenix?), but I’m going to single out just one track for special mention, as it acts as the shining centrepiece of an already gleaming spread.
It starts to come in at around 36 minutes, with a tumble of toms and congas over the top of the outgoing Kerri Chandler-a-like house tune (or maybe it’s actually Kerri Chandler?). After nearly a minute a huge and chugging analogue bassline comes in, driving with all its might as a guitar starts riffing and spaceship noises herald the arrival of the track’s central acid line. This bubbles up slowly in the mix until incredibly silly sirens start wailing overhead and, finally, the piano comes in. This is high drama, no prisoners taken in the pursuit of ecstasy, but with a wink while we’re at it. Then it’s time for the percussion break - think ‘At Midnight’ meets any number of tribal house tunes (yes this tune is tribal, but somehow cool with it?) - and then everything comes back to take us home.
Ouissam lets this epic play out for 8 minutes before mixing in what I would describe as an on-trend ladsy-trancey tech-house ‘roller’ that’s everything the previous track isn’t…and this is no bad thing. In fact it works wonderfully, and is just another example of someone who, simply, really gets it.