Mihai Popoviciu compiles eight remixes on Selected Remixes

Ronnie Spiteri, "Purple World"

Mihai Popoviciu’s Selected Remixes feels less like a new EP than a clean read on how he handles other people’s material, and the opener makes that plain fast. Released on May 18, 2026, the set begins with Ronnie Spiteri’s "Purple World" and immediately commits to the long-form club mode, with the whole collection sitting between 6:11 and 7:48. The release-page tags, electronic, deep house, house music, electronica, and minimal techno, tell you why it matters: this is music that lives in the seam where those labels still overlap.

Makcim and Managemend

The second stop, drawn from Makcim and Managemend, shows why Popoviciu’s name carries weight in this corner of the room. Born in Romania in 1981 and from Sibiu, he started producing in 2001 after the pull of the 1990s rave scene, so his sense of movement has always come from the dancefloor rather than the studio as an abstract idea. That history shows up in the way he keeps a remix lean without stripping away its push, the kind of balancing act that lets a track stay recognizable while becoming more direct and more functional.

Mario Aureo

By the time the Mario Aureo remix arrives, Popoviciu’s discography starts to look like a map of trust from across the house-to-techno spectrum. Beatport’s artist bio places his first signed track on DJ Hell’s International Deejay Gigolo in 2005, then follows it with the June 2007 release of "First Contact" on Pascal Feos’ Level Non Zero Recordings, before later work across Highgrade, Fear Of Flying, Hudd Traxx, Bang Bang, Diynamic, Poker Flat Recordings, Bedrock, and Dessous. That span matters here because this remix set does not feel like a side road, it feels like a distillation of a producer who has spent years refining how to keep a groove intact while tightening the contours around it.

Jackspot

The Jackspot remix fits neatly with the identity of Cyclic Records, the label Popoviciu founded in 2012 and still runs himself. Resident Advisor and Discogs both describe Cyclic as a Romania-based home for high-quality dancefloor music that ranges mostly from house to techno, and that framing explains why this anthology feels so natural under his name. Popoviciu is not using the remix format as decoration; he is using it the way a good selector uses a transition, as a way to keep the room moving without calling attention away from the motion itself.

Dachschund

The Dachschund remix is where the release’s most useful argument comes into focus: minimal-techno taste and house instinct are not separate camps so much as adjacent habits of listening. Across these remixes, Popoviciu shows how a source track can be thinned, sharpened, and made a little more atmospheric without losing its pulse, and that is exactly the kind of translation work this scene rewards. The appeal is not just in polish. It is in the way roughness can be left in place as a working element, not a flaw, so the groove still feels human.

Michel De Hey vs m.i.r.k.o.

Michel De Hey vs m.i.r.k.o. lands in a lane that still feels very current in 2026, where Beatport’s Minimal / Deep Tech category sits right beside house and techno rather than outside them. That matters because Popoviciu’s sound has long been described, including in recent Resident Advisor event copy, as a balance of minimal, house, and groove-driven precision. This remix anthology fits that description exactly, showing how a producer can operate in the border zone without flattening the differences that make each source track worth revisiting.

Luca Doobie

The Luca Doobie remix keeps the set from reading like a single mood stretched across eight tracks. Popoviciu’s skill is not simply in making everything sound cleaner, but in preserving momentum while changing the frame around it, so each source material still feels like itself after the translation. That is the sort of remix identity that becomes visible only over time, because it depends on consistency of touch rather than a loud signature. Here, the signature is the confidence to subtract just enough and leave the dancefloor room to do the rest.

Smalltown Collective and David Keno, "Do You Dance"

The closing remix, Smalltown Collective and David Keno’s "Do You Dance," lands at 7:07 and finishes the sequence with the same practical clarity that opened it. By the end, the set has made its point through accumulation: eight remixes, all in that six-to-eight-minute club range, all built for flow rather than quick consumption. That is what makes Selected Remixes feel bigger than a tidy package of reworks, because it turns Popoviciu’s catalog of moves into a visible lineage, one that keeps house’s swing and minimal’s restraint in the same room without forcing either one to leave.