Global Underground present a brand new artist to take the reigns for one of the world’s most acclaimed and revered compilation series – Adam Freeland. Mexico City 032 is the latest release from the legendary label and is the first GU release from UK breakbeat pioneer. The genre-smashing British DJ (Now based in LA) has delivered an amazing double-disc mix based on his recent sell-out gig at Club Continental in Mexico City.

Global Underground has made its name through releasing quality progressive mix compilations. Starting with early seminal releases from the likes of Tony De Vit, Paul Oakenfold, Sasha, John Digweed, Dave Seaman and Nick Warren, the GU series has grown into one of the finest examples of dance music on the planet. Danny Tenaglia, James Lavelle, Danny Howells, Deep Dish (together as a duo or separate as Dubfire and Sharam in recent releases) have helped pull the series to new heights in recent times, while the GU stalwarts like Sasha and Warren still feature prominently with releases that demonstrate why they’ve dominated the genre for the better part of a decade.

Like James Lavelle’s earlier contributions, Mexico City 032 represents a step away by the label from the traditional progressive house sound that GU fans have come to adore the world over. Adam’s style crosses many genres and this mix aptly demonstrates this style with a plethora of dance/rock hybrid tracks like Sharpen the Knives from Phones’ and one of the greatest purveyors of this sound, Evil 9.

As Freeland was at the forefront of the breakbeat phenomenon, a genre that I’m not usually that warm towards, I went into this review with slightly preconceived ideas as to what would be delivered. Within two songs they were completely thrown out the window and never to return. Disc One is an orgasmic collusion of electro, rock, progressive, tech, house and slingy funk. From the first song the electro influences are prominent with Walking Machine, In The Trees and Half an Edit. While F*** by Superdiscount squeezes in there with some funky, slingy house, the majority of the opening exchanges are all heavily laced with electro.

The disc does have an Australian flavour to it with the Midnight Juggernauts remix of Wet n Wild by KIM, and Spank Rock’s hit track Bump getting some well deserved airtime courtesy of the Switch remix. It’s an energetic mix that peaks with Oliver Huntemann’s 37 Grad. Freeland drops plenty of layers into the track with vocals, beats and instrumental components like drums and grindy electric guitars. But right throughout he doesn’t overpower the vocals, which is one of the reasons the mix is so seamlessly pieced together. You often find yourself thinking that you’re still on the same song before glancing at the stereo and noticing that you’re already two tunes down the play list.

The second disc is completely ad hoc to the first, with the energy and tone dropping noticeably. This creates a deeper, moody atmosphere and better represents a wind-down chill out compilation rather than the custom built dance floor destroyer that is the first disc. But this isn’t to say that it’s enjoyable, as some of the album’s finest moments are situated on the second disc. Minimal techno and energetic build ups are the course of the day for this mix, in a manner that teases the audience and makes them want more.

The mix has a very live band element to it with a number of rock based selections, none better than the brilliant Lazy Eye by the Silversun Pickups. And as previously mentioned, there’s a strong selection of minimal house in this mix, with Terminal, Butterfilies & Zebras, There Comes a Time and my personal favourite Lump, by James Holden. It’s not all ‘live’ and minimal though, as Advance is one of the highlights of the mix; a slinging funky number that is incurably catchy.

In summary, it’s hard to fault this double disc compilation album. Disc one is purpose built for destroying dance floors wherever you’d happen to play it, while disc two brings a brilliantly moody and dark tone that is highlighted by some fantastic minimal techno selections. To nitpick, I would have preferred to have had the two discs swapped over, with the deep, dark and moody sounds taking place on the first CD before finishing the job, so to speak, with disc two being the slammin’ 3am mix. Though to be honest though this is far from an excuse not to buy this album, as it dips its fingers into that many genres that basically anyone, and everyone will be satisfied. Easily one of the best GU releases in recent years.

Have a look below at a mini documentary on Adam Freeland’s latest GU release.