They just made music and they were themselves. The Doors, I felt like they were the same way. "At the time I started making electronic music, it wasn't a certain scene," Skrillex says. Later in the day, drummer John Densmore is expected to drop in, making this the first time all three will have played together on a track in more than 30 years. As Skrillex preps an agro-dubstep beat to blast over the monitors, we suddenly catch a glimpse of his guests: Robbie Krieger and Ray Manzarek, also known as one half of The Doors. A film crew is there to document the moment-one of five segments that will end up in director Amir Bar-Lev's Re:Generation, a documentary tribute to our modern obsession with electronically manipulated music, as seen through the eyes of some of its top producers. Sonny Moore, aka Skrillex, is ensconced in a plush recording studio in downtown Los Angeles, calmly awaiting the arrival of a pair of rock legends. He also swears by Ozone for "tightening up your mix," and loves to mess around with Trash.
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As an expert of reading the crowd and knowing how to gracefully control the mood of a room, Skrillex dipped in and out of hard-hitting dubstep and bass music, to Jersey club, to “calmer” music to give people a chance to breathe, during a set where the gas pedal mostly seemed to be held down by a brick.He's remixed Lady Gaga, La Roux, Bruno Mars and more, and has recorded with the surviving members of The Doors. When he played 2012’s “Make It Bun Dem,” the lights in the venue turned green, red, and yellow to fit the reggae-inspired dubstep track. He of course also played his dubstep classics like “Bangarang,” “Summit,” and “Scary Monsters and Nice Sprites,” as well as his remix of “Cinema,” during which he brought the song’s producer Benny Benassi on stage for the drop. Jersey club was, hands down, the overarching musical theme of Skrillex’s set. The stage was also filled with tons of industry folks, friends, and family including fellow artists Slander, WAVEDASH, Anamanaguchi, Pluko, and Memba - who all danced along to the artist they clearly hold great respect for. His hair was in sort of a ponytail and he was accompanied by his photographer Marilyn Hue, who took videos of him for the duration of the show. He was dressed in a plain white t-shirt, dark green pants and white sneakers. Skrillex looked happy to be playing and appeared to be having a blast on stage, where he occasionally stood on the DJ table to hyped up the crowd to jump and go wild. Songs That Defined the Decade: Skrillex's 'Scary Monsters and Nice Sprites' A low-pitched voice recording greeted everyone with “good evening, and welcome to this, your worst nightmare” - an announcement that was immediately followed by a mischievous cackle and scream, which then transitioned into the now-famous Squid Game theme song.
Phones filled the air as fans recorded the intro to his adrenaline-packed two-hour set. Skrillex stepped onto the stage and took control of the dance floor immediately as the lights dimmed, with cheers and a palpable sense of excitement erupting across the venue. There was in fact so much grooving that several drinks were sacrificed at the hands of shuffling dancers, creating a nice splash zone on the elevated viewing platform.īy 11:30 pm, the moment the 3,000-person crowd had been waiting for had come. and turned the VIP section, where the vibe can often be pretty dead, into a place where people grooved and moved to the thumping sounds of grungy bass house reverberating across the space. Wax Motif seamlessly transitioned onto the decks at 10:15 p.m., shifting the music to the garage and bass house for which the Australian DJ/producer is known. “Who’s ready for spooky season?! I only have thirty minutes left but let’s throw it back!” she shouted to the crowd, before launching into a bunch of pop-punk hits - with the crowd shouting every word to Fall Out Boy’s 2005 classic “Sugar, We’re Goin Down” before the set ended. 20 Questions With Boys Noize: On His Red Light District Origins & Selling His Vinyl Collection To…Īt 9:15 pm, Noodz took the stage and played an hour long set to an already large crowd at Avant Gardener’s sizable indoor space, skillfully traversing genres including hip-hop, trap, garage, house and a little throwback surprise.