If we’ve learned anything from the myriad Skrillex Selects over the past months, it’s that Sonny Moore has an excellent taste in music. Even if you haven’t heard his sets, these playlists let you delve into the mind of one of LA’s premiere tastemakers and get a sense of what he likes, and what he thinks the future holds.
Rolling Stone must have caught on, because they caught up with Skrillex to ask him about a bunch of classic and new tracks and what he thinks of them. This paralleled the very similar interview that SPIN did with Martin Garrix only 9 days ago – one of the tracks is on both lists, even – but we’ll look past that.
With very little exposition, Rolling Stone gets into the meat of the article, starting off with some Grateful Dead, some Janis Joplin, and even some Aphex Twin.
The Come to Daddy EP is one of my top three albums or EPs of all time. This song in particular is like a zeitgeist for how I produce music. It’s such a crazy journey, like five songs in one song. It starts out with these tribal electronic sounds, then the melody comes into an arpeggio that reminds me of Donkey Kong Country 2 or Mario Kart, and the cuteness of it has you like, “What does this song even mean?” Then at the end you have a crazy sound that’s like all these metal balls clicking and clicking faster and off-tempo — and then all of a sudden this crazy drum-and-bass acid beat comes in, and it all makes sense. I’ve memorized every single hit and every single accent and every single solo, because I’ve listened to it so many times.
Once Rolling Stone rolls around to asking about Taylor Swift’s collaboration with Kendrick Lamar, “Bad Blood,” Skrillex is able to wrap it back around to Jack Ü and their own Bieber collaboration.
I think this is an awesome testament to how artists can evolve. A year ago, you never would have thought that Kendrick Lamar and Taylor Swift would make a song together. I think more things like that are happening, like Jack Ü and Justin Bieber. It’s just a fun, catchy song.
Check out the rest of the tracks and commentary on Rolling Stone.
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