The Singles Jukebox

Now Burial’s gotta release a single! Called Yogi and Skrillex and Pusha T and uuuuuggggghhh…

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[5.22]

Brad Shoup: On today’s remix, Pusha T teaches a shop class. The band kids find him utterly charming. He has them make a lot of scales.
[6]

Katherine St Asaph: I don’t have enough testosterone in my body for this.
[2]

Iain Mew: This has a particularly joyful set of Skrillex kwmphs and bwwwwmmks. It just doesn’t say much for the underlying material that ripping it into shreds is the best bit.
[6]

Thomas Inskeep: I think I figured it out: Yogi cut a single titled “Burial,” featuring Pusha T. Skrillex & TrollPhace did a remix. Moody Good did another remix. Stitch pieces of all three versions together, and Skrillex gets moved up to co-equal billing because he’s Skrillex. Which works for me, especially when Pusha T is rocking a chorus like “I came, I saw, I conquered, I balled,” the natural way forward from Jay-Z’s “ball so hard” refrain on “Ni**as In Paris.”
[7]

Crystal Leww: Is Skrillex done letting Diplo take partial credit for his work yet? Good. This wave of rap-EDM he’s done in the last couple of years has been exhilarating.
[7]

Scott Mildenhall: “Double Barrel”! But flipped into a diametric opposite of it. Dave Barker’s boasts were relaxed, but Pusha T parades like an emperor oblivious to the ramifications of his destruction. He has assembled a corps of producers around him, but their counsel just dilutes his power. Things were better when he had only Yogi for input. That Skrillex wrangled his way to the top of the bill on the strength of contributions — shared with TrollPhace — that only serve to diminish the lyrical claims to empty threats is a scandal, but that’s politics.
[6]

Micha Cavaseno: There’s probably nothing more mortifying than the fact that Skrillex is loosely collaborating with someone named “TrollPhace”. Pusha T continues to make the personality that he’d exhibit on Hell Hath No Fury seem like the most distant of memories. Hard to guess who you could credit those Special Ed chops and the lurching horns to judging from the mess of the record. Is it truly worth sorting through for this jock jam of “Trap”? Even the bonus breakdown is just wobble buzzsaws and extra nagging, as if Skrillex really does want to enjoy a permanent state of mosquito buzzing.
[2]

Anthony Easton: The chainsaw whine, the super quick percussion, the overly processed vocals — I am always interested in how close we can get to overwhelming the processor, breaking down what we hear, refusing to be melodic or the pleasant. More conceptually interesting than aesthetically rewarding, but the points are mostly for interest.
[8]

Alfred Soto: A violin scraped over the last fifteen seconds provides the only hint of wit and adventure on a track that recycles “Harlem Shake” sc-sc-scratches.
[3]