Travis Scott – Sicko Mode (Skrillex Remix) Review


Skrillex just guaranteed that “Sicko Mode” will be played at every club, festival and party.

Not too long ago, he remixed Kendrick Lamar’s “Humble” and transformed it into heavy rotation-track.  The remix feels more like 4 edits on the drums with a remixed middle part that has more of the Skrillex-sound we know. It feels very minimal and that works in this track’s favour because it will guarantee more plays in the clubs for its lack of experimentation. The best part has to be the Jersey Club section that comes in at 4:25.

The Jersey Club section has me wondering if we’re going to hear some Jersey Club collaborations with Skrillex. It would be a smart move and hopefully, he has something in the works with DJ Sliink or even some other producers from the Club community. Skrillex is definitely smart and obviously will benefit from riding this wave, but it feels much more like one of those shout-outs to the culture of Club sound.

The placement of the Club section of Sicko Mode is placed at the end; ensuring that it got the last attention of the listener. Overall, this track was already good and we all have been playing this song multiple times. Thankfully, you can now add to your party playlist an even more uptempo remix. This song will do well with those people who like to dabble in EDM (there’s a difference) and those who like the Heavy Bass, Jungle Terror, Jersey Club and Dubstep elements.

If you haven’t heard the “Humble” remix yet, well you need to. Skrillex has much success with his Rap remixes, and we saw how successful “Wild for the Night” with A$AP Rocky was, So we can only expect even more of this style to come out.

///Victor M.

The Questlist (Dance, October 2013)


GMC 2013So last night, on October 12th, I had the pleasure of DJing at an event out in Oakland.  This was the first time a lot of my good friends have seen me DJ since I’ve immersed myself more and more into music.  As with many of the gigs I get where I have free reign to play whatever I want, I tend to drop a few experimental songs to see how the people respond.

Since March of this year, I have delved deeper into dance music, and just anything upbeat that I can groove to.  So to all my friends, and everyone else, here are some of the remixes and mash-up’s that make me just want to dance, stomp, clap, and everything else.  Enjoy: [Read more…]

Aerrow Shapiro’s Pick – #17 – Remixes 2: 81-11 by Depeche Mode


Aerrow Shapiro’s Pick

Pick #17: Remixes 2: 81-11 by Depeche Mode (album)

By Aerrow Shapiro

6/18/11

As a follow-up to their previous remix album back in 2004, called Remixes 81-04, Depeche Mode has released Remixes 2: 81-11 during the month of June 2011, completing the band’s contract with EMI.  While the title may sound sort of like a misnomer (with the earliest featured remix being “Fly on the Windscreen [Death Mix]”, originally released since 1985 and featured on some of the remix album’s different editions), it refers to remixes of songs in which its original versions span from their 1981 debut album Speak and Spell to their most recent studio album Sounds of the Universe (released in 2009), along with new remixes specifically made for this album.  Like its predecessor, the album (available in single-disc, triple-disc, and six-LP vinyl editions) also has “classic” remixes that were previously released in any form, in addition to those “new” mixes.

For the “classic” remixes featured in there, they managed to feature some that didn’t make the cut on the first volume and some that did not get released at the time of the predecessor’s release (which include those relating to their 2005 album, Playing the Angel, and its aforementioned follow-up, Sounds of the Universe).  One of the best cuts in this compilation include SixToes’ reworking of their song “Peace”, which turns a song that originally has Depeche Mode’s synth-pop sound into one that is more of an orchestral ballad.  Another remix that made the list is the Peter Bjorn & John remix of “Fragile Tension”, which adds lush sounds and additional instrumentation and vocals to the original.  Other remixes worth mentioning include Dan the Automator’s remix of “Only When I Lose Myself”, Jacques Lu Cont’s take on “A Pain That I’m Used To”, The Orb’s version of “Happiest Girl”, and “Strangelove” mixed by Tim Simenon and Mark Saunders (who would later produce DM’s 1997 album Ultra).

However, the best highlight, at least in my opinion, is the selection of “new” remixes specifically made for this album, most of which are featured on the third disc of the album’s triple-disc edition, as well as on the later sides of the six-LP vinyl edition.  These remixes feature classic songs newly remixed by various artists and remixers.  These include Norwegian production team Stargate transforming “Personal Jesus” with an electro-house feel (which became the lead track for the remix album’s single “Personal Jesus 2011”), Miike Snow’s Karlsson & Winnberg remixing both “When the Body Speaks” and “Tora! Tora! Tora!”, and DJ Eric Prydz (who you might be familiar with the song “Call On Me”) doing “Never Let Me Down Again”.  But out of all these mixes, the ones worth the most buzz is former DM bandmates Vince Clarke (who would later form bands Yaz and Erasure) and Alan Wilder (who would be later known for his music project Recoil) remixing “Behind the Wheel” and “In Chains”, respectively.  For the former, Clarke added a dance-like feel and atmosphere to “Behind the Wheel” with some of his synth-like sounds, while keeping up with the progression of the song.  And for the latter, Wilder made “In Chains”, made it more cinematic with a blend of dark synthesizers, keyboards, and beats, with fantastic results.

Whether you love remixes, Depeche Mode, or anything in between, Remixes 2: 81-11 has an impressive mix of “classic” remixes and “new” ones that will keep anybody busy.  With that said, I recommend this as my pick.