The Best Remixes of 2014

In case you haven't noticed, DAD is all about the remix; we're so about the remix that we have a weekly feature dedicated to them. While we love showing you the fully-realized robots of today, there's always something about someone who can get under the outer layers and really rearrange the nuts and bolts of an existing thing and turn it into something more, digging into the mainframe, finding the lines of code that work the best, then add new lines and layers to the project.

Not Available Lead
Complex Original

Image via Complex Original

Not Available Lead

In case you haven't noticed, DAD is all about the remix; we're so about the remix that we have a weekly feature dedicated to them. While we love showing you the fully-realized robots of today, there's always something about someone who can get under the outer layers and really rearrange the nuts and bolts of an existing thing and turn it into something more, digging into the mainframe, finding the lines of code that work the best, then add new lines and layers to the project.

Remixes can come in all shapes and sizes, though. While some producers like taking the main jist of a track and taking it up or down to their respective tempos, others will reconstruct the source material, turning it into an entirely new animal. Whole melodies or lines can remain in tact, or they can be chopped and turned into entirely new mantras. There are no limits to how you craft a great remix, and in 2014, we saw our fair share of top notch efforts on the remix front. Here are the best remixes of 2014.

RELATED: The 50 Best Albums of 2016

RELATED: Best Songs of 2016

Nicki Minaj - "Yasss Bish (JayR Neutron Remix)"

Not Available Interstitial

Ballroom and club walk hand in hand, but there are some more aggressive, hyper tones that the vogue scene takes that some club DJs and producers don't dive into. JayR Neutron sorted this one out earlier this year, and perfectly chopped up bits from "Yasss Bish," breathing new life into Nicki's lines. This version might not be for everyone, but if you're really trying to be about the future while shaking your ass, it's time to recognize what's already here.

Sam Smith - “Money On My Mind (MK Remix)”

Not Available Interstitial

2014 found a number of dance music heads "discovering" deep house, as if it'd not been around the entire time. Producers like MK, with remixes like these, highlight what makes that deep house scene tick, and will always be necessary.

Arcade Fire - “Afterlife (Flume Remix)”

Not Available Interstitial

Ten minute remixes aren't the norm, especially in the whole "bass music" scene, but when it's Flume, it's fine. After almost two minutes of atmosphere and awesomeness, we finally get some Arcade Fire vocals, but it still takes another minute before any kind of drums start to creep in. Basically, this is one for attentive, patient listeners with a pay-off that is well worth the wait, and highlights how vital Flume is to music today.

Hudson Mohawke ft. Future, Pusha T, French Montana & Travi$ Scott - “Chimes (Remix)”

Not Available Interstitial

For many, "Chimes" was an anthem for 2014. Those horns, paired with that booming bass, blared from numerous DJ sets, and was even featured in an Apple commercial. Maybe it's our love for hip-hop, but since this new remix dropped, we can't hear this track without hearing Future singing about her heart being "so cold," but that's what happens when you have a cherry hook over a huge rhythm. Even with French's verse swerving things to the left, this one still knocks... hard.

Beyonce ft. Jay Z - "Drunk In Love (Gant-Man Juke Rework)"

Not Available Interstitial

In the sea of "Drunk In Love" remixes that hit in 2014, there's something about the way Gant-Man threw that juke under there that not only catapulted this one above many, but ended up making it one of the best remixes of the year. Juke fits well within the trap confines, and that constant thump is perfect for the tapestries that Beyonce weaved. Why there aren't more official juke remixes of R&B hits is beyond us.

Lido - “Money (R3ll Remix)”

Not Available Interstitial

R3ll was on his remix dean this year, helping further push the boundaries of Jersey club outside of the Garden Stateand America. His take on Lido's massive "Money," bedsqueaks and all, was a great reworking of the original, but an example of how you can take a bunch of familiar bits and truly make them your own.

Alesso ft. Tove Lo - “Heroes (We Could Be) (Branchez Remix)”

Not Available Interstitial

Alesso's "Heroes" featured a super-beautiful vocal that ended up getting a number of official reworks, but Branchez's version stood out from the rest, primarily because he found a way to reconstruct the beauty of Tove Lo's vocals into a more somber, sultry track. Perfect lounging with bae material.

Migos - "Dope In My Sock (AC Slater Remix)"

Not Available Interstitial

Whatever you want to call it–night bass, bassline house, house & bass–the sound that AC Slater pushed this year seemed to finally permeate into regular house music conversation. What's dope about AC is that he can blend a pure love for rap and make it work perfectly. You'd think that his take on Migos' "Dope In My Sock" was done with Migos' consent; their ad-libs on this are perfect.

Drake - "6 God (Gravez VIP) (ft. Chris McClenney & Drewsthatdude)"

Not Available Interstitial

One of the beautiful things about being a fan of so many different facets of the electronic music scene is that when you're done turning up, you can settle down to tracks that maintain those sensibilities, but are for a more chilled state of mind. Gravez has been on one in 2014, to the point where many peg him to be next up, and his VIP of Drake's "6 God" (with Chris McClenney and Drewsthatdude) found a great way to add skittery trap drums and sly, jazzy instrumentation to some hype Drake bars. Drake ends up being another part of the tune, as opposed to just spitting on top of it, which works out VERY well for the VIP overall.

Katy B - "Crying For No Reason (MORRI$ Remix)"

Not Available Interstitial

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.

Que - "OG Bobby Johnson (Ateph Elidja Remix)"

Not Available Interstitial

Ateph Elidja's next up for the Bromance crew, who has found a way to blend darker techno vibes with hip-hop tracks to make something much more moody and sinister. While many weren't ready for the sound of Yeezus, nor were they flocking to this remix, it'll all make sense once Brodinski drops his album. For now, Elidja's macabre take on "OG Bobby Johnson" will have to do.

Owen Pallett - “Song For Five & Six (DJ Rashad & DJ Spinn Remix)”

Not Available Interstitial

While it might be weird to consider the footwork sound "minimal," Spinn and Rashad's take on "Song For Five & Six" does a lot with a little. We have the drums, the signature TEKLIFE patterns, and this hyper-repetitive melody. It's one of those bits that doesn't truly build up or break down into anything insane; it rides a wave many of us have been hearing inside of our heads, and keeps that moment transfixed for three minutes. It's part of the genius of Chicago's footwork scene, and what made Rashad so prophetic. It's equally astonishing when you realize that they ended up looping a bit from the very beginning, making it stand out on its own.

Jeremih ft. YG - “Don’t Tell ‘Em (Alesia Remix)”

Not Available Interstitial

In a year where R&B made a real return in many forms, Jeremih was an enigma all to his own. He's being drawn to the limelight with tracks like "Don't Tell 'Em," but isn't comfortable there. Whatever you think about his reasoning, he had a hit on his hands, and the French crew known as Alesia took it to another level, adding some fuzzy bass and bounce to Jeremih's huge single. They even kept YG's feature in tact. Remixes like this are why we constantly hope more electronic producers creep into the mainstream conversation.

Beyonce - “7/11 (Skrillex & Diplo’s Jack U Remix)”

Not Available Interstitial

While we love falling in love with deeper, more involved remixes of huge singles, sometimes you just need to relish in material that'll make you spin while your hands are up in the middle of the dancefloor. Two of the most touringest DJs in the entire dance music scene, Diplo and Skrillex, form like Voltron as Jack U, utilizing the secrets and gems they pick up around the world to create a universally huge sound. Their remix of Beyonce's "7/11" drops some colossal bass underneath Beyonce's lyrics, which are obviously aimed at getting crowds motivated up in the club than trying to evoke some more meaningful message. Turn up for turn up's sake is always a blessing.

Dog Blood - "Shred Or Die (DJ Sliink Remix)"

Not Available Interstitial

For many in the Jersey club scene, Sliink's rise within the ranks of dance music overall has been a great example of anyone being able to make it. No one really expected him to get tapped for an official remix of a Dog Blood tune, especially something as gnarly as "Shred Or Die," but Sliink found a way to make this one his own, guitar riffs and all. This one repeatedly beats you upside the head until you've admitted defeat, to the point where you start enjoying the pain, which is where things get VERY interesting.

I See MONSTAS - “Circles (Special Request Remix)”

Not Available Interstitial

I See MONSTAS can write a huge song, there's no question about that. "Circles" was big and felt like it deserved to be sung by the choir standing behind the honorable Reverand Rave God, but they had a plan for the remixes, and that plan involved drum & bass. While Mat Zo channeled that MRSA side of things on his rework, Special Request went deep in the jungle, churning out a take that felt like it dropped in '96. The use of the vocals was perfect, but it was all of that sub bass and chopped breakbeats that sends this one over the moon. While many are flocking to the jungle sound via the juke scene, that pure jungle vibe is alive in what Special Request has been cultivating.

Slum Village - "Fall In Love (Moody Good Remix)"

Not Available Interstitial

For most fans of hip-hop, remixes like this are sacrilegious. Heavyweight dubstep vibes maniacally manipulating such a beautiful Dilla instrumental? Yup, it happened, and it was amazing. This was the opening salvo for those wondering who Moody Good was, but realistically, it's in his name: while the bass in this one is so emotive and moody, it's just good as hell. The original is memorable for a number of reasons, but turning "Fall In Love" into a chunky, hypnotic bass music anthem? Sometimes, the things in music that shouldn't happen are the things that DEFINITELY need to happen, just to break those creative confines down and progress.

ZHU - "Faded (Lido Remix)"

Not Available Interstitial

Lido was king of the remixers in 2014; very few producers were as consistent as he was in twisted songs with his beautiful melodies. Lido really came into his own this year, and reworks like this showcase that perfectly. The sultry start-and-stop of "Faded" felt like someone lapsing in and out of blackout mode, trying to keep bae on their mind while slumping into their seat on the train–drunk dialing, not getting through, and cursing aloud. If the right ears make sense of the groundwork Lido's already laid, it'll be game over.

Nasty Habits - "Shadow Boxing (Om Unit Remix)"

Not Available Interstitial

With all of the talk about the jungle scene's resurgence via the appreciation for the sounds of juke and footwork, it's great to see solid, new school versions of certified drum & bass classics. Doc Scott's Nasty Habits alias dropped "Shadow Boxing" in 1996, and it took 18 years for someone to match the malevolence of the original, but Om Unit did it this year with his new remix. It doesn't stray far from the original, keeping that memorable warning in tact, but there's a chill in the beats that both plays on the dubbier aspects of the subs and gives it a bounce that the original didn't previously have. Of course Om Unit gives it a slight twist with the drums in the second half, but it's the fact that he knew what to leave alone and what to change that makes this remix stand heads above not only the ones that came before it, but above most of what dropped in 2014.

Disclosure - "Latch (Lido Remix)"

Not Available Interstitial

Earlier this year, Lido's name rang off loudly due to Universal removing his remix of Disclosure's "Latch" from SoundCloud. The entire SoundCloud copyright system has been a source of anger for many producers, remixers, and fans in 2014, but it's insane to think that a producer who in a not-very-distant former life was a rapper signed to Universal Norway. In any case, none of the official remixes of "Latch" touched what Lido did with his take. Sam Smith's vocal soars like it hadn't since the original, but Lido's lurching, emotional track takes things to heights the original didn't try to take it, really playing off of the lowwer registers that Sam employs in the verses to the bigger, brighter portions of the hook. Another astonishing remix that should've easily been an official rework instead of a thing of Internets lore.

Latest in Music