A wave of upcoming new material from Skrillex has officially swelled, as he turns in his first remix of the year. Taking on Kelsey Lu‘s “Due West,” Skrillex revisits an original piece he already had a hand in, previously serving as the executive producer on Lu’s recently released debut LP, Blood. “Due West” landed in November of 2018, ahead of the album’s full release.
The pair recently got to share a live setting together, with both artists performing at FORM Arcosanti in Arizona in mid-May. Now, Skrillex is offering his own solo spin on the record, giving “Due West” his personal touch. Skrillex’s latest output is the first piece of new material to be released ahead of a highly anticipated Dog Blood EP, along with what the Recessproducer has described as “multiple bodies of work.” Stream Skrillex’s “Due West” remix below.
Eight-time Grammy Award-nominated band Death Cab for Cutie have been releasing alternative hits for over fifteen years, and their longevity is a continued testament to the quality of their music in an over-saturated music marketplace. Now, electronic duo Louis the Child has teamed up with the band to remix “I Dreamt We Spoke Again,” and the pair continue to prove their adaptability as they branch out to a new genre and find a way to make it their own in the remix.
Chilling future bass layers intertwine with the original’s crisp vocals and instrumentals, making Louis the Child’s rendition a perfect select for repeated listening this summer. The duo cuts up the beat to add versatile sonic fillers, adding a new dynamic to the track without totally altering the soul of the original release.
Death Cab for Cutie commented on Louis The Child’s rework in an official release, explaining,
“‘I Dreamt We Spoke Again’ began as a very muted, low-key ghost of a song, but ended up being one of the more dance-oriented tracks that this band has attempted – though in a very throwback, nostalgic sense. So, it was a treat to turn it over to Louis the Child and have them apply all of the bells and whistles of 2019 dance music production to it.”
Louis the Child’s remix of “I Dreamt We Spoke Again” is out now via Atlantic Records.
An equal parts spectral and seductive presence runs through Madeaux‘s remodeling of the ubiquitous, Santana-adopted, Fleetwood Mac original, “Black Magic Woman.”
Though the track eclipsed the charts under the prestige of legendary guitarist, Carlos Santana’s 1970 release, the consequential inspiration behind Madeaux’s rework, he says, comes from Fleetwood Mac’s initial, 1968 issue, which he reveres for its enigmatic, “smoldering quality.”
“I don’t generally listen to house when I’m looking for inspiration because then I’d have the same energy as everyone else making house…” Madeaux tells Dancing Astronaut of the release. “I sought to bring [Fleetwood Mac’s] flavor to the dancefloor, whether on the poolside at sundown, or the after hours when the mood is right.”
Madeaux leaves his indelible, delicious kiss of death on his “Black Magic Woman,” providing his own sultry vocals, adding subtly funky plucks, and an oscillating bass, to boot, that shakes as if it’s all at once soaking wet and scalding. The delectably danceable, house-driven rework will make a devil out of you, too, if you’re not careful.
Swedish dance music sensation Alesso started the year strong with the release of his three-track EP, PROGRESSO VOLUME 1. Those who have seen the producer perform live know that the three tracks within the EP, “PROGRESSO,” “CONFESSION,” and “TIME” were far from new releases for the producer, who has been dropping the tracks in his live sets for quite a while.
Now, Alesso has enlisted Deniz Koyu to release a brand-new remix of the compilation’s hit track, “TIME.” The song was originally inspired by French house music, and in true Koyu fashion, the producer has added additional progressive house layers to add to the energy of the track. The remix’s accompanying music video is perfectly summarized in the festival-filled visuals. Koyu’s touch on the track makes it nearly impossible to sit still when listening to the remix.
A-Trak takes on Axwell‘s wall-to-wall house heater, “Nobody Else,” in a brand new remix that expounds on the groove that Axwell laid down in his original offering. The old-school soul of “Nobody Else” gets an instrumental update in A-Trak’s version. The Fool’s Gold founder pads the track’s distinguishing vocal contribution with trumpet work that brightens the song’s deep house stylings.
A-Trak certainly adds his accessibly quixotic flair, quickening the pace of “Nobody Else,” as piano chords fluidly filter in, to add a multi-instrumental layer to A-Trak’s vision. Axwell captured the spirited mystique of a European nightclub in “Nobody Else,” a tightly constructed track that placed an emphasis on a funky vocal centerpiece, and a particularly cinematic build towards the tune’s end. But now, A-Trak affects an aural image of equal caliber on his rhythmic rework, marking another strong showing from the more-than-capable producer.
Tiësto continues to steamroll through releases, adding a hybrid big room, G-house, and Brazilian bass spin to Billie Eilish‘s single “Bad Guy,” off her debut album, When We All Fall Asleep, Where Do We Go? The Dutch DJ builds a four-on-the-floor percussion arrangement along with riding open hi-hats that cascade into the haunting melody from the original, hand in hand with a bouncing bass line.
The 50-year-old patriarchal force in dance music proves his production prowess is keen as ever, re-envisioning the 17-year-old prodigy with ease, in turn curating a collaboration that spans generations. Tiësto ended last week by releasing his collaboration with fellow touring musician, Justin Caruso, “Feels So Good,” featuring vocalist, Kelli-Leigh. The track was the ninth song from Tiësto’s recent Together EP, released via his own imprint, Musical Freedom.
Juicing the remix drop for all it’s worth, Diplo even brought out Lil Nas X and Billy Ray Cyrus to perform the certified chart-topper live at Stagecoach. Considering he could have gone in any direction imaginable with his remix, Diplo’s spin on “Old Town Road” actually manages to breath new life into the track and build on its already viral appeal. The track hums and whistles with cinematic percussion arrangements carrying Billy Ray’s late-addition verse and of course the tune’s inescapable hook. Listen to Diplo’s rendition of “Old Town Road” below.
Mija has again turned to the multi-talented Ryan Forever for a joint release of the Skrillex-discovered producer’s “Dead Flowers & Cigarettes.” The rework sees release with an androgynous turtleneck in tandem, which Forever designed himself for the Made By Mija clothing line. Amidst jungle beats and fluttering samples from the original, an intruding bass lays the groundwork for the highly percussive remake.
“I’ve always said to people that I think my brain is half girl, half boy. I was a complete tomboy as a kid, until I discovered that I liked boys and quickly embraced my femininity,” Mija recently told NEST HQ. “But even then, the boys I crushed on often looked/acted very feminine. I believe that everybody carries both male and female qualities within them, and that gender is not exclusive to our physical forms.”
Aside from bumping elbows in various Dirtybird-centric circles, Mija and Forever have collaborated on a number of mode-fluctuating projects. One of the most recent of these includes Forever’s role as visual director for Mija’s music video accompanying the original take of “Dead Flowers & Cigarettes.”
Find the turtleneck and other garments from Mija’s clothing line here.
The idiosyncratic sound constructions that distinguish Flume‘s style flourish on “Dreamtime,” one of the many sonic gems that glisten with audible brilliance on Flume’s recently released mixtape, Hi, This Is Flume. A cacophony of glitchy electronic elements on loop, rhythmic tapping, and a tunnel of white noise that is both airy and eerie comprise the components that construct an opening that leaves a resounding impression on Flume’s listeners.
So, too, does Spirix’s. The California-based electronic entity tackles Flume’s “Dreamtime” in a new remix. Spirix’s flip of the Hi, This Is Flume favorite surfaces as Spirix’s first showing after a four-month hiatus. As Spirix’s re-imaginative effort demonstrates, the brief reprieve from the production circle served as an effective incubation period for Spirix’s sonic edge, which is perceptibly sharper in this latest undertaking.
Spirix cuts the wispy, dreamlike vocal of Flume’s original, to foreground his electronic trajectory of revision. From an atmospheric ascent with synth work of an indie-cinematic strength to back the track’s climb, to a layered descent delightfully upbeat in nature, Spirix’s version of “Dreamtime” is reflective of his own unique musical vision. Spirix’s remix is versatile; the revamp is an undeniable playlist stunner, and simultaneously well-suited for potent club play.
It’s almost April 14 and for Game of Thrones fans, eyes have anxiously been fixated on that date as it marks the premiere of the final season of the hit HBO series. Surrounding this hype is a vast array of promo, of which includes a recent re-creation of the show’s iconic theme song in conjunction with Mountain Dew’s new Thrones-centric ad campaign.
The theme song “remix” consists of one lyric—”Dew,” eventually making way for Migos to hop in for some bars delivered from atop the iron throne. The “Dew” singers include NBA All-Star Joel Embiid, EDM power-duo The Chainsmokers, NASCAR driver Dale Earnhardt jr, and more.
The Chainsmokers are clearly huge GOT fans themselves, paying tribute to the series during their Ultra Music Festival 2019 set (see the pair holding swords and playing an electronic cover of its theme at 1:11:30).