I loved Skrillex as a kid, and I know plenty of people in the world did too, but he has obviously come a long way since his brostep days. I can't even say I'm very familiar with his work, since I haven't even gotten around to listening to his output when he was part of From First To Last, but I remember enjoying Recess when it came out very vividly. Some of his biggest brostep hits like Bangarang and First of the Year (Equinox) remain close to my heart, but it's obvious he has evolved tremendously since then. His collaborative nature brought him around a serious chunk of the music industry, putting his creative mind alongside those from the electronic, pop and alternative scenes. I haven't been keeping track of his work since Recess, since I'm not the biggest fan of the singles format, so I was pleasantly surprised to hear him finally returning to the album format after nine whole years (eight if you count his project with Diplo, Jack Ü).
I didn't expect him to drop two albums in one go, but I think most of us now have realised that there's a clear difference in the material on each album. Whether your opinion involves calling one album good and one album bad or not, it's evident Skrillex wanted two different experiences for two different audiences, and Quest For Fire is the more explorative and alternative-influenced one. As fun as it is to see Fantano diss one and praise the other, I don't think it's fair to call Don't Get Too Close outright bad, more of just simpler and easier to experience. That said, I too don't have much to say about Don't Get Too Close, so I'll just dive into Quest For Fire.
Quest For Fire has a much more diverse and intriguing range of genres than Recess, and is a light year away from his early brostep days. I think this record is another strong testament to his creativity and perfectionism as an artist, able to make bangers in every genre and style he touches, as well as a great thoughtfulness for collaborative potential that results in some very distinct and tasteful soundscapes. He has refined his craft to the point where his music can be simple but always to the point, no longer relying on layered complexities or loud and bold energy to carry the music.
I think the best way to enjoy a record like this is to not expect it to fit into any one sub-genre of electronic music. The pool of collaborators alone pulls in so much influence from countless genres, but each track has something unique to offer and differ greatly from each other. RATATA flips the classic Missy Elliott track Work It in a modern and stylish way, XENA sees Palestinian artist Nai Barghouti lend her vocals in her language to a strong techno banger. Supersonic (my existence) takes on a sizzling bassline courtesy of the Dylan half of 100 gecs and Noisia, Butterflies has Skrillex going full house with Four Tet's help and Starrah's vocals. It's clear how much Skrillex has expanded his range of electronic production and tastes, and how much more refined and nuanced it has become.
There's plenty of moments to be had on the tracklist. Skrillex is still as skilled a master as he always has been when it comes to drops, even if it's not Scary Monsters and Nice Sprites anymore. The drop on Leave Me Like This is absolutely dumb hard, the slick traditional dubstep bass drop on Tears has some insanely clean wubs, the grimey electronics on Rumble and Hydrate are primal, and the sentimental rave beat of Still Here (with the ones that I came with) is an atmospheric experience. Skrillex has zoned in on the secret to making great dance tracks, and just about every song makes you want to move.
This record, more than just an astonishing return to the album format, is also kind of a tribute to his history. A few longtime collaborators and friends from the electronic and alternative scenes make an appearance in both Quest For Fire and Don't Get Too Close, and there are references sprinkled throughout both records about his early days. The interlude Warped Tour '05 with pete WENTZ is the most obvious example, but little details like having Porter Robinson on Still Here (with the ones that I came with), bringing Anthony Green on a track, and the younger-self concept on the title track of Don't Get Too Close, it feels like Skrillex has taken the time to reflect on his nearly two-decade long musical journey, raging through a myriad of genres and industries and making a name for himself along the way.
I regard Skrillex as an artist that truly understands the art of making music, and no matter what soundscape he is trying to build, I can respect that he is always trying to make something worth making. Even though his debut album Recess was not the most commercially successful record, I have a great impression of it and what Skrillex was able to pull off at the time. Quest For Fire just feels like Skrillex embracing his curious and explorative nature and letting all corners of his world influence the music he makes, and it is, to me at least, a new milestone in his career.
Rating: 8/10