Why skrillex is so popular

Were they going for "Skillet" perhaps, but were too drugged up? Yeah, but they didn't. It's his stage name. I liked when they used his video on a recent video of "Beavis and Butt-head".

What an ugly fuck. Here's one. I like some of his songs but I'm in no way a fan of Dubstep. Skrillex and Ellie Goulding who he is supposedly fucking. What a dick. It's painful to listen to, but it makes a good soundtrack to "let's get the cat stoned" videos. Dance music for hipsters. You people sound old. You sound young, easily led and clueless. Get your facts straight before you call others "old".

Skrillex' popularity will pass just like any other 'next big thing' in music. Dubstep is trend music like disco. It's barely remixed house music from the 90s. Nice try, though. Girl and Boyfriend get parents to offer to pay Interscope money to "promote the song" 6. Interscope gives the song to one of its large and frequently changing pool of DJs. Welcome to todays world of EDM!!!!!!

When I hear Skrillex I know what my parents must have heard when I listened to punk rock. Skrillex for some reason, got the promoters on his side.

Bingo, r They wanted an American. I'm sure that played into the hype. You're right though, there is shitty music in every genre. Doesn't Skrillex have a cousin who's also a dub step artiste who goes by the name "Pyrex"? EDM is becoming the next Boy Band territory. Wow, aren't you the smart one! Not unless your brother is Mark Ronston. Time for a picture of a cat addicted to drugs. Skrillex appears to be a homosexual. I was just going to say that about it, R It looks like a Corey Feldman.

The Queen Bee of the homo nest. It's so cute watching you eldergays pretend to know what you are talking about. Like this guy: [quote]Not unless your brother is Mark Ronston. Pay to keep away the gay. Sort of like the mafia does. In case anyone is interested in being the next Skrillex. Did Skrillex even know he and Elle were dating or did his agency just publish it?

I love the Key and Peele skit on Dubstep:. What about this by Doof:. Speaking of dubstep, can one of you whippersnappers explain it for us el der gays? It's because deadmau5 discovered him and decided to put him on his label.

Rumor is he's dead, true? All rights reserved. He wanted first to reach out to a base of fans. By doing this, he allowed for fans to get to know him better since they were able to listen to his music for free.

This tactic propelled him to fame since it was then that he started receiving widespread attention. If you are already famous, Rolling Stones is bound to increase that fame.

The Rolling Stone would cover the release of his secrete album, Recess, that he released digitally using a Skrillex-branded phone App. Rolling Stone followed the release with a full cover story on Skrillex which further introduce him to new audiences taking his fame and game a notch higher. Grammy awards Another important achievement that has made Skrillex famous globally was the fact that he was able to scoop various Grammy awards.

In the year , he got nominations for five Grammy awards. He went on to win in the three categories, that is, best-remixed recording, best dance recording, and best dance album. Since then he has gone on to win another five Grammy awards. He currently holds the record for most Grammy awards scooped by dance music artist.

So you do what need to do to be happy, but there's plenty of things that I won't do, because no matter how much money is involved, I'm just not interested in it.

I'm very particular. I mean, Scary Monsters was not a commercial release. It came out on Beatport, and there wasn't anything commercial about it. There's no three-and-a-half-minutes pop song, and it was never played on radio. So it can be called commercial depending on what your definition is, but it's not on radio, and nothing else came off it on MTV or anything. That's the thing about today. Something is commercial when there's a plan and a design to make it apply to a bigger demographic, and there's none of that in my music.

It's just a song. I never thought it would be as popular as it is now. There's no verse-chorus, verse-chorus, big sing-along hook—there's nothing like that. I've never spent a dollar on marketing for anything I've ever done. Even with the Mau5trap thing, there was no marketing money. It just comes out, and there's a lot of stuff out there that can be popular without being commercial. I have no idea [laughs]. I don't even want to think about it, because the minute you start to do that, you're starting to plan, and that's never what I wanted to do.

I don't want to plan anything, you know? There's this illusion that I'm riding this wave, but when I made Scary Monsters , there was no wave. There was Dubstep Patio once a month at Cinespace [in Hollywood] on Sundays, and we played the smoking patio, you know? To me, I wasn't doing anything that was gonna blow up.

I was just making music that sounded like—whatever. So for me, I don't like to think about any of that, except for making good music that I'm happy with. Ozone is just super-versatile. The Multiband Stereo Imaging is really nice, and you can bus a ton of things to it for different reasons. I'm actually next to [dubstep producer and DJ] Flux Pavilion right now, and he says it's fucking wicked for everything , really. Everybody uses it. I use it as a multi-band compressor on individual channels—I'll bus out multiple channels if I just want some stereo imaging, and the EQ in there is very nice too.

I really use it all. It's just cool to have so many choices in one. I think where it's really helped me is to create the illusion of a lot of stereo stuff going on, without getting the phase problems. You can use Ozone's stereo imaging and take frequencies above seven thousand [7 kHz], or even a little bit lower, and you can widen everything up there, so that the mix starts to sound a lot wider.

In an environment where you're performing live, where a lot of times you have distortion and different high frequencies bouncing around the room, you don't necessarily need those to be as present, but when the higher end stuff starts phasing, because you've widened everything, it almost tightens up your mix. For how bright and how chaotic my mixes are, I think they work really well in the club because I've widened the stereo image.

If you do that at a lower frequency band, you get phasing and lose the notation, or lose the actual definition of the synth line. But if you brighten things up at the very top of everything, it gives the illusion of a big wide mix.

Well, I don't want to be mysterious about it or anything. Of course I'm not giving away anything either—part of the fun of being a producer is having your own sound. But for me, the drums are simple. It's all about the three pieces that make a really nice drum sound. You need a nice transient in the beginning, and then the note around the hertz frequency that gives it that boof , and then a tail, which can be anything. I usually start with a and compress it to get the harmonics of that hertz note, and then take maybe one or two really good-sounding locked drum samples that don't conflict with any of the harmonics in the You want to tune it at about , and shelve off a lot of that stuff above , and then you have this live-sounding hybrid Then you take a clap or a china [sound] and shelve it off super high, and add some reverb to it and then print it as one.

Balance it while you print it, and then you re-compress it from there and you have a snare drum. I made myself so available. I never got security guards. There were DJs in my scene during that time that had security around them. I never wanted that. I made sure that the relationships that I created were not this pompous, over-the-top thing, because I was already being painted like that anyway.

When you were in the studio, did you have any idea of how special it was, or how much it might resonate with people? During the making of it, we did so many versions of the drop. I thought it was amazing. That is so dope. You kind of created that toxicity yourself. Everyone has their own journey. You saw rappers mimicking screamo artists. You heard electronic music and rap music. Skrillex: I always thought that the sky was the limit with my potential.

I always knew if I kept going and if I connected with people, I could work with anybody. Skrillex: There are a few special ones. Doing music for Disney and being animated in the movie Wreck-It Ralph was really major. That was an exact dream of mine, to do something for Disney — I was the first ever artist that was animated for a Disney film.

Grammys are fucking awesome, but that hit a different chord for me. Playing that song in front of 30, people and having them sing this record mean so much. If I could ever do a theme song for Kingdom Hearts , that would be beautiful.

Skrillex: The crossover of culture. You see things like Minecraft and Fortnite and Twitch, these whole communities. Where are we gonna be in ten years? This feels like a cop-out, but I will say, honestly, my two favourite records of the decade are Astroworld and Purpose. Astroworld did that for me too, it just feels like an important record. Yeezus was also so shifting.