assuming the mistake

Skrillex’s work, in particular, is a lot more of a pile-up, as if someone’s picked all the most obviously, superficially cool and high-impact parts of a dozen different genres, dredged them in stimulants, and started mashing them against one another—the same way Quentin Tarantino can rifle through a dozen film genres and borrow all the best fight scenes. There’s Daft Punk’s insistent pop-dance; the blocky neon blips of electro; the melodic buzz of old video games; the gushy, sentimental melodies of trance; the high-speed skip and glitch of Aphex Twin; the glammy pop feel of L.A. party music—all things that are easy to like. And when you mush them all together into one clanging, high-octane stew, they become extremely easy to like, whether or not the listener has ever known or cared about electronic music before. Not elegant, deep, or moving, but very easy to get a thrill out of.