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Quest For Fire

£16.38£32.76Clearance
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About this deal

Don’t Get Too Close, the more adventurous but marginally less successful of the two, scores the interior world of our hero’s adventure in a very-now merger of emo, rap, J-pop, memecore, video game music, and angsty boy-girl duets. Again, guests on every available surface: old bud Justin Bieber, rappers Chief Keef, Kid Cudi, and Swae Lee, and viral pop arrivals PinkPantheress and Prentiss.

All songs, produced, recorded, mixed and mastered by Skrillex on the Mothership, all over the world. Selected items are only available for delivery via the Royal Mail 48® service and other items are available for delivery using this service for a charge. Wolfgang Gartner appears courtesy of Ultra Music. Ellie Goulding appears courtesy of Polydor Records, a division of Universal Music Operations Limited. Big Beat Records, Inc. for the United States and WEA International for the world outside of the United States. Listen to the first 15 seconds of Skrillex’s forthcoming single, “Rumble,” featuring Fred again.. and Flowdan, above.In the last decade he’s worked with industry giants ( Diplo, Ed Sheeran) and edge-curious artists ( Vic Mensa, Kelsey Lu), scored a Harmony Korine movie ( Spring Breakers), briefly reunited with his old screamo band From First to Last, collaborated with Japanese megastar Hikaru Utada for the whimsical RPG Kingdom Hearts III, and somehow released a song with the surviving members of the Doors (“Break’n a Sweat”). Yet he hasn’t put out a solo album since 2014’s Recess, and by his own account, the last few years have been tough. Quest for Fire is a huge evolution from the brash, stadium-sized ragers of Skrillex 1.0. He’s finally absorbed the fundamentals of dance music: basic stuff, like having a rhythm that makes you want to move your body. Everything rolls along like it’s actually going somewhere—not a flatulent dubstep waddle, but an aerodynamic gallop that brings to mind a deeper lineage of loud and obnoxious dance music, from the technical end of drum’n’bass to “proper” dubstep, Northern bassline, and Chicago juke. Skrillex has been on a sonic adventure, alright. The title of his long-awaited second album, ‘Quest For Fire’, reflects the journey that Sonny Moore has ventured on in the decade since the dubstep scene-leader dropped his game-changing ‘Scary Monsters and Nice Sprites’ EP in 2010. In the period that followed, he’s worked with everyone from Diplo and Justin Bieber to J Balvin and Ed Sheeran. Housed in a custom-made 13" x 13" hard-shell, acrylic box featuring a die-cut Skrillex logo on the front. The snobby response wasn’t just about the money, the perceived inauthenticity, or that EDM was such a straight, white, and male phenomenon. It was very much also about the music: the fairground drops, the skrrr-eechy synth leads, the idiotic samples, all the ways a bassline can be compared to an unwell digestive system. But Skrillex was the master of brostep, a technical wizard, and the most imaginative of the new breed of festival behemoths. Before EDM’s billion-dollar bubble burst, he’d hopped to safety in pop’s upper tier.

His debut album ‘Recess’ arrived in 2014, and while releases have been steady, a full collection has been elusive. Created between LA and Japan over three years, this long-awaited second album is feverishly hyped, and he enlists megastars present and past, as if to prove his pop cultural impact is no less relevant than it was last time around. All songs produced, recorded and mixed by Skrillex at The Honeycomb, Los Angeles, CA except "Scatta" co-produced by Foreign Beggars and Bare Noize.

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