Originals

Running

[Young Gods Remix]

A somewhat obscure Halsey track that I’ve always really liked.

This one was a lot of fun to put together. It’s not dubstep, which I haven’t done in a while, but it still has a really satisfying drop and a lot of weight when it comes in.

The production came out especially rich and wide, with a lot happening across the stereo field and a deeper, more immersive sound. There are layers tucked throughout that really open up on a good pair of headphones or a decent system.

There’s also something about the mood and atmosphere of this one that has a strangely romantic effect on me. It feels intimate, a little dark, and kind of enveloping. I really love the way this one feels as much as the way it sounds.

Haunting

[Can’t Speak Dubstep Remix]

A little-known Halsey track that I’ve always loved. All original music on this one.

I made this in Ableton, and it was actually the first time I had ever used it. A friend whose opinion I greatly respect told me I had to give Ableton a try at least once, so I jumped in and threw this together fairly quickly for my first time ever using that full-blown music production app.

The composition plays around with multiple time signatures and some unusual timing, which made it especially fun to put together.

I really like how this one turned out. There’s just something about the composition that still hits hard for me.

Loki Hurr

[The Theme from Loki Remix]

Inspired by the ominous outro music in Loki, this track began as a small cinematic idea and grew into an epic, end-of-the-world dubstep piece. I brought the series theme into Logic Pro and built a new world around it: massive drums, heavy bass, dramatic transitions, and a sense of chaos closing in from every direction. The goal was to capture that feeling of mythic danger and turn it into something built for a big system.

Let Me Be

[Tumbledown Remix]

After watching Tumbledown, I was struck by a scene in which the widow of a beloved folk musician discovers an unheard recording and listens to it for the first time. The emotional weight of that moment, and the song itself, stayed with me, so I decided to give it a dubstep treatment.

This was a labor of love. The original guitar and vocals had to be manually quantized before I could build the remix around them, and it took a long time to get the balance right. I sat on the track for years, and when I returned to prepare a final master, I realized I had accidentally trashed some of the supporting project files. Thankfully, I had exported the track beforehand. What remains is the finished piece: a sentimental song rebuilt with weight, movement, and a darker electronic pulse.

Dubshine

[The Shining Dubstep Remix, Extended]

I have always loved the movie The Shining, so I set out to deconstruct its world and rebuild it as a bass-heavy nightmare. This version features completely new drums and subs, extensive re-editing, and a full remaster. The sound design uses space deliberately, moving elements around the stereo field to give the different characters and scenes room to haunt the track.

The extended version takes its time getting there. It has a longer intro, an added full verse, and a more drawn-out outro, giving the atmosphere room to build before the track fully unravels. Headphones are recommended as you will catch much more of the movement, detail, and eerie placement throughout the mix.

Dubshine

[The Shining Dubstep Remix, Edit]

The edit version of Dubshine condenses the same nightmare into a tighter, more immediate experience. It has the same rebuilt drums, upgraded subs, re-editing, and remastering as the extended version, but gets to the impact faster.

It is built around the unsettling theme of The Shining, with layers placed across the stereo field to make the voices, characters, and tension feel closer than they should. The extended mix is my personal favorite for the full journey, but this edit delivers the core experience in a sharper, more direct form.

A To The Obama

[Various Old School Megamix]

This is an old-school megamix built on the Adobe CS3 rollout music, which became the foundation for everything that followed. From there, I layered in vocals and cuts from The D.O.C., Eazy-E, The Pharcyde, Beastie Boys, and Too Short.

The result is a collision of classic hip-hop, turntabilism, and laid back house party vibes. It is a tribute to the kind of mix that is meant to keep revealing another reference, another vocal, or another beat every time you play it.

Part Of Me

[Sticks and Stones Dubstep Remix]

Katy Perry’s “Part Of Me” already had the right mix of confidence and emotion for a rework, so I transformed it into my “Sticks and Stones Dubstep Remix.” The pop structure is still there, but the production is dirtier, heavier, and more aggressive.

Expect filth, grime, yawz, and a stronger low-end attitude, an unapologetically bass-driven version of a song that was ready for a little more bite.

Not Over You

[Doing Just Fine Dubstep Remix]

Gavin DeGraw’s “Not Over You” is a sad but powerful pop song, and I wanted to see what would happen when it met dubstep. This Doing Just Fine Dubstep Remix keeps the emotion up front, then adds a little filth, grime, and plenty of yawz underneath.

It is melodic and heavy at the same time: a breakup song with an electronic edge, designed to pull at the heartstrings before hitting with bass.

Hard

[Jello Biafra Meets LL Cool J]

Hard pairs a sample from LL Cool J’s “Candy” with cuts and a spoken Jello Biafra passage about a situation in Humboldt County. The contrast is intentional: a smooth, familiar vocal and laid-back scratches set against something more pointed and uneasy.

This track is meant to feel playful, strange, and a little provocative at the same time. It is a collage of sounds, ideas, and attitude assembled into its own world.

Shame Of Life

[Spoken Butthole Word Surfers]

Shame Of Life explores the tension between who a person used to be and who they are trying to become. It lives in that uncomfortable place where growth, regret, self-awareness, and hope all exist at once.

The contradictions in the track are deliberate. The music shifts between darkness and release because the subject itself is never simple: changing your life does not erase your past, but it can change what that past means.

The Storm Before The Calm

[A Better Man Remix]

Vocal remix of The Pharcyde’s classic “Passin’ Me By,” this track is built from the ground up with all-original production. This vocal track has always had a special place for me, as it does for many people who grew up with ’90s hip-hop, so this was my way of honoring its feeling without simply copying it.

The Storm Before The Calm carries that same reflective spirit into a new space: nostalgic, personal, and rooted in the kind of song that stays with you long after the beat fades.

Colors

[Death Is My Set Remix]

A 35th-anniversary rendition of Ice-T’s classic “Colors,” rebuilt with all-original music and cuts. Rather than simply revisiting the song, I wanted to give it a fresh sonic backdrop while respecting the urgency and weight that made the original so powerful.

The result brings classic hip-hop energy into a new production environment, using original instrumentation, rhythm, and turntable work to create a tribute with its own identity.