Remixes are everything. Producing great remixes is an art form, and making memorable remixes can be your calling card. We've seen managers speak on the virtues of getting known by remixes, and seen a flurry of bootlegs help producers ascend. We keep track of the remix scene on a weekly basis, and really take pride in highlighting the alternate takes that producers put onto established material. 2014 has provided us with some stunning reworks; here are the 14 best of 2014 (so far).
Mercedes - "Full Tilt (Ulterior Motive Remix)"
Ulterior Motive's already been known for pulsating drum & bass riddims, but this rework of Mercedes' "Full Tilt" is another animal entirely. It has glimpses of their dnb work, but this one has all kinds of digital percussion and vocal chopping, letting it play in a number of different realms, including more trap-y spots.–khal
Lorde - "Tennis Court (Flume Remix)"
This track hasn't been even released at this point and yet this remix has over seven million plays in two months. Flume's ability to slyly re-touch and remix tracks to his own style and flavor is truly awe-inspiring and after a stellar 2013, he has done the same this year with an even bigger stage and audience. Taking 2013's breakout star Lorde and her track "Tennis Court," Flume extinguishes any doubt over his pop prowess.–Jake
Dog Blood - "Shred Or Die (DJ Sliink Remix)"
DJ Sliink getting this remix was a great look. The fact that he tore this tune a new asshole made it so much better. At times this one is pure trap turnup, guaranteed to get your party started, at other times it goes into the shredding, where worlds truly collide, leaving Sliink as the bridge to the future of party music. Dude just gets it, and isn't afraid to mix up styles. Massive.–khal
Pharrell - Happy (Kaytranada Edition)
Kaytranada isn't just soul-filled house-y disco numbers; he has a lot of hip-hop juice out there, and his 'edition' of "Happy" feels like something a Jill Scott could really tear up. Something about the way he worked those drums. Dude's just on point... but you can go ahead and continue to sleep.–khal
Beyonce ft. Jay Z - "Drunk In Love (Gant-Man Juke Rework)"
"Drunk In Love" was one of the main cuts being reworked ever since the end of 2013, and while everyone and their music teacher has some kind of trap rendition of this one, leave it to Gant-Man (who might've brought juke to its highest heights with his remix of Beyonce's "Check On It") with his juke rework of "Drunk In Love." He plays it cool with more trap elements at first, but as the track builds, we get those hyper juke rhythms in there, alternating from the slower groove to the more fast-paced wave. Even Jay sounds dope over this one.–khal
Sam Smith - “Money On My Mind (MK Remix)”
With everyone claiming deep house as their own, we're glad someone like MK is out there, continuously getting remix work. Dude really knows how to keep it soulful, taking Sam Smith and his interesting choice of hook and bringing it into the back room, adding some soulful pianos and giving this one a huge amount of bass. This remix knocks, simple and plain.–khal
Pharrell ft. Jay Z - “Frontin’ (Disclosure Re-Work)”
This one came out of nowhere. Why? Who knows. We guess Disclosure just felt like reworking one of their favorite tunes? We don't ask too many questions, especially when the tune remixed is a favorite. It's funny; I used to not like Pharrell's singing, but post-"Get Lucky," and hearing him on Disclosure beats, it feels like he might be better suited to rock over house/UK garage/disco rhythms. Can't an android dream (of something that isn't electric sheep)?–khal
Que - "Bobby Johnson (Ateph Elidja Remix)"
The Bromance crew loves them some hip-hop, but it's the way they siphon rap aggression into their hard-as-nails techno sound that makes crowds flip. Newcomer Ateph Elidja weaved a menacing instrumental around Que's standout cut, turning it into a mantra for some crazed scientist, creating some zombie thug with an AK and no conscience.–khal
Migos - "Dope In My Sock (AC Slater Remix)"
On this remix, AC Slater made the case for Migos not only being one of the best groups to remix, but the argument that Migos could probably quit their hip-hop life to become MCs for a night bass outfit. This is as hype as anything they put out in a rap vein, featuring nothing but their ad-libs, but AC turned this beat into a purple raver eater, infecting everyone in earshot with the need to turn up.–khal
Katy B - "Crying For No Reason (MORRI$ Remix)"
The artist that's now known as P Morris went in full bae mode for this remix, putting even more emotion in Katy B's single. Her chorus was already packed with all kinds of #feels, and as Morris rode that wave of chilled R&B-laced instrumental sounds, he propped this one up on high, letting Katy soar. If they don't work on original material together at some point, the world has been letdown.–khal
Nicki Minaj - "Yasss Bish (JayR Neutron Remix)"
That vogue/ballroom scene is really turning out some interesting sounds. When word that MikeQ and the Qween Beat crew were doing a remix package for Nicki Minaj's "Yasss Bish," my mind got blown. They already have a lock on the club-ready remix culture, and have a way of properly isolating tracks to a few fire elements, then constructing a beast around them. This one hits hard, doesn't wait for you to catch up, and will roll over you before you have a chance to catch your breath and understand.–khal
Slum Village - "Fall In Love (Moody Good Remix)"
When Moody Good dropped this, I'm not sure anyone knew what to expect. Lo and behold, taking the sleepy hit and turning into a massive bass-dropping anthem, Moody Good proved he knew exactly what he was doing as he set the stage for his stellar debut album. Channeling bass music ethos of the late '00s and early '10s, Moody Good delivered his own unique take on the classic Slum Village and we can't thank him enough.–Jake
Nasty Habits - "Shadow Boxing (Om Unit Remix)"
Doc Scott produced a bonafide drum & bass classic with his cut "Shadow Boxing" under his Nasty Habits guise back in 1996. While it's been remixed by a number of dnb players, it took almost 18 years for a proper rework to spring forth, with Om Unit taking up the challenge and letting this tune breathe. Unfortunately, the only clips that exist of this tune online are around two minutes, so you only get the more chilled, laidback bop thrown under the tune; that second drop takes things into a proper darkside jungle sound. Eerie and ominous, just like the original.–khal