15 Essential Mixes We Need To Hear

BBC One Essential Mix 15 Essential Mixes We Need To Hear

It's been said that having a BBC Radio 1 Essential Mix is a DJ's true big moment; not playing a festival or releasing an album to critical success, but rather curating a two-hour long mix on a singular radio program. It might seem crazy, but an Essential Mix is in fact an important piece of electronic music culture. Since October of 1993, the Pete Tong-helmed program has broken ground within the dance music scene, highlighting a wide array of DJs, allowing them to showcase their turntable skills for this block of time. Some take the time to fully express their sound, while others have mixed in genres and songs that have been more influential to their development, and the results are usually stunning. No where to do you get a clearer picture of what it takes to be a good DJ than by listening to them in the Essential Mix.

With that said, there are some great talents that have not been invited to express themselves for Pete Tong's program that we fill could truly be a gift to the Essential Mix series. You might also be surprised at who's not been featured yet!

Click to start the list
  • yhyh

    Not trying to hate but I disagree with this entire list with a few exceptions (DJ Craze). The Essential Mix is supposed to showcase mixing as an artform in itself, (which is why i’m glad you used the word “curate”). You learn so much about the producer from listening to them, As an avid listener of the series I can honestly say more than a few Essential Mixes have changed my outlook on music ,and certain genres, entirely. I can’t see a Flosstradamus or “Bro Safari” mix doing that, not at the stage they are right now anyway. All these mixes belong on Diplo and friends, not the Essential Mix block. Just my opinion but I feel there’s very good reasons why these people haven’t been featured (yet). big up TNGHT and Disclosure.

    • http://www.rockthedub.com/ khal

      I’d say the work Flosstradamus did for MistaJam’s “Daily Dose” is a great example of them doing just what you mentioned.

  • Peter Stimson

    ha i agree with disclosure and craze. this trap stuff needs to die.

    • http://twitter.com/nichobert nich obert

      Trap is awesome from an American perspective. Something’s finally unseating some of the bro step and brolectrohouse booking.. Oh, and I feel like we all love Rick Ross and Waka Flocka Flame. It’s fun, it’s getting dumbed down, but dumb can be cool too. LIES dumbs the fuck out in their own way, but they’re fairly unimpeachable.

    • http://twitter.com/808sJake Jake L

      Hate to break it to you… trap isn’t going to die any time soon. It might not always be called trap (and personally, I think it needs a new name), but the 808 heavy low ends and the snare and hi-hat rolls….that’s here to stay for a while.

      • Peter Stimson

        yea its here to stay but that doesn’t mean that we all like it. oh well, thats why i listen to other music!

        • http://twitter.com/808sJake Jake L

          Fair enough! No one is forcing anyone to listen to it :) I know there’s styles of music I don’t particularly enjoy, and so I just don’t listen to them. No sense in pushing my own negativity!

  • http://twitter.com/nichobert nich obert

    Amon Tobin has basically been the best musician walking the planet for the last 20 years. He’s moved from sampling old jazz records through more computer based sounds through live instrument and crazy musique concrete sound design while maintaining a thread of identity that most producers couldn’t hold onto if they switched from house to techno using the same equipment and methods.
    He deserves any accolade or spotlight he can get. I love that he acheived his highest notoriety through ISAMs crushingly abstract sounds and groundbreaking visual spectacle. For a guy who has been saying “fuck the lights, put all the money into the sound system” since the mid 90s, it was a perfectly timed about face. Marrying forward thinking sounds with visuals that put to shame the Pretty Lights and Keokis of the world hiding their generic sounds behind a wall of colors.

    I’ve seen him a few times, but my favorite was at Camp Bisco (a jamband festival turned breeding ground for some of the worst and most popular electronic music in the US- this is where the ketamine dealers learned about bro step and subsequently began hitting those shows up, which I’m sure didn’t hurt a Bassnectar or Skrillexs popularity one but). – anyway, Amon Tobin was on one stage, there was about 50 of us there as Simon Posfords lame PSY chill out project Hallucinogen In Dub had pulled thousands to the main stage- we watched as Tobin tore through a furious set of originals while a heavy windstorm blew in. Pieces of Amon’s stage are flying off, kids are running for their lives, a tent blows into the field from the campgrounds and the whole time Amon is ratcheting up into darker and darker forms of jungle music.. It was fucking amazing. There were exactly9 people left when Amon finished, and it was the best DJ set I’ve ever witnessed

    • http://twitter.com/808sJake Jake L

      Yup. I already KNEW I had to see Amon but it’s firsthand accounts like this that just re-confirm this and remind me that this is becoming a pressing matter.

  • http://twitter.com/nichobert nich obert

    I’m always confused about Zed Bias, Zedd, Zed’s Dead. What is up with that?

    • Peter Stimson

      zed bias is the best of the bunch

  • Tinda Rayet

    zeds dead do have an essential mix the best one of the year so far imo

    • http://www.rockthedub.com/ khal

      why yes, we know. this feature was written in February, before they had a mix.