With such a varied output, the one string that has consistently united David's work is the care spent on the percussive elements of his drum programming and a love for rich textural sounds. With roughly a third of the tracks in the mix being his own productions, this is a perfect example of this very consistency and further evidence of the flawless nature of his DJing. It's also an extremely current selection, with many of the tunes being unreleased at the time of recording. Starting off with some Rush Hour type deep house and the Panoramabar anthem, Late Night Jam, things soon get a little more upbeat. This is where Kennedy excels, managing to temper the frenetic BPM of the Shangaan dance whilst isolating the yearning vocal chant, slotting it effortlessly into one of his Pearson Sound percussive workouts. While utilising the infectious basslines from tough UK funky numbers like Lil' Silva's Bad Girl remix, he manages to avoid the usual hyperactive nature of funky sets, allowing each groove adequate time to snake into the next, jumping between tempos but always keeping it deep with the haunting vocals of Joy Orbison phasing in and even a timely staccato verse from Wiley. It's the simplicity in which he gives nods towards all his influences, from the sub-bass heavy D1 classic Sub Zero to the dubbed-out ethereal garage of Burial, his own Detroit-influenced drums strewn throughout, that gives the mix such a pulsating intensity. The whole thing then winds down beautifully with an ambient number from Hotflush alumnus Sigha that leaves you with a teasing lone note slowly drifting just out of earshot.