While his name may now be synonymous with the hard-edged brand of dubstep he helped popularize, Skrillex is a multifaceted musician whose catalog runs deep and diverse.
Fans who are accustomed to his crushing wobble bass and searing electro synths may be surprised to learn that the Los Angeles artist actually sports some serious melodic chops. Before Skrillex headlines the Billboard Hot 100 Music Festival, taking place Aug. 22-23 at Jones Beach, N.Y., listen to five less-heralded selections from Sonny Moore’s discography below:
1. Skrillex – “With You, Friends”/”With You, Friends (Long Drive)”
When people say they don’t like Skrillex, this is how I change their minds. Emotional and immaculately produced, his debut EP’s finale perfectly exhibits his melodic sensibilities and penchant for pitch-shifted brilliance. Don’t sleep on the more relaxed and atmospheric “Long Drive” version from his breakthrough Scary Monsters and Nice Sprites EP.
2. Skrillex ft. Ellie Goulding – “Summit”
Skrillex’s third Bangarang EP’s finale is a contemplative ballad that finds Skrillex in a wistful duet with ex-girlfriend Ellie Goulding. As the former frontman for screamo band From First to Last, Moore has never shied away from using his vocals — which he does here to masterful effect with an ebbing low-pass filter.
3. Skrillex ft. Penny – “All I Ask of You”
Often overlooked on Skrillex’s Grammy Award-winning Scary Monsters and Nice Sprites EP, this playful tune with Los Angeles singer Pennybirdrabbit may just become your newest guilty pleasure.
4. Skrillex – “The Reason”
Skrillex’s understated Leaving EP may not have registered far beyond his close fan base, but the free Nest release is well worth revisiting. Particularly its opener “The Reason,” which finds Moore exploring a sparser production style with unconventional sound design and mold-breaking arrangements.
5. Skrillex – “Voltage”
Die-hard fans continue to cling to hope that this soaring vocal tune will one day see release. Live versions have commenced with the familiar refrain of “Cinema” before giving way to Moore’s banshee falsetto, uplifting verses and a superlatively pummeling electro-synth drop. What’s not to like?