All 34 Tracks From Skrillex’s ‘F*** U SKRILLEX’ Album, Ranked

This final track on the album is riddled with fun moments and important information, but it’s not actually music so therefore by technicality it is ranking last.

And with that out the way, we’ll say that Skrillex has always had a reputation for being one of the absolute nicest guys in all of electronic music, and in keeping with that tradition, the MC voice that appears throughout the album spends its last two minutes and 43 seconds thanking Skrill’s many collaborators, including all of the album’s 25-plus guest artists and also people like his longtime photographer Marilyn Hue, his agent, Lee Anderson of Wasserman and, in what seems to be a shoutout to the album’s cover, “the unknown graffiti artist who vandalized our wall.”

Skrill ends the project by shouting out the millions of people who’ve been cheering for him for roughly 15 years, with the final line of the album being “and of course, a big shout out to you, the fan, the listener, the supporter, the believer, without you, none of this would have been possible. Thank you.” Indeed Skrillex is both an arbiter of some of hardest music on the market, and a class act, always.

“We’ve got the hard drives! Everything must go!” the radio voice announces at the top of this 46-second track, the album’s ninth song, which also features a few moments of heavy breathing, maniacal laughter and, indeed, some quite squishy beats.

The minute and 16 second-song winds up ominously, balancing glitch and hip-hop and building into a cinematic wall of music around the minute mark.

“We killed Skrillex!” the MC gleefully announces at the opening of the track, “listen to this song and we’ll tell you where to find the body!” Sounding like the revving up of an engine from hell, the complex and absolutely hectic track (the third on the album) is a collab with German producer and rising singer Nakeesha. “Rest in peace,” the MC voices growls at its end.

Crunchy and fractured, this 44-second track sounds like dubstep shattered into a million pieces, and indeed a voice announced that “this this is f—ed beyond repair” about 33 seconds in. Maybe so, but we like it.

As the title indicates, this is a 29-second beat featuring animal sounds including bird calls and the howling of wolves made with L.A.-based producer Team EZY. Deeply pleasant, it functions as an atmospheric interstitial moment to take a damn breath as it also tees up the track that comes after, “MIRCHI TEST.”

One of the project’s three appearances by emerging producer swedm®, the first half of “BABY ROYAL” is (relatively speaking) low key IDM, while the second half is like getting punched in the face for 51 seconds, but in a way where you welcome it.

Picking up for “BOOSTER” leaves off, this 38 second wild one (the album’s 22nd song) starts with a full on cavalcade of frantic, high BPM percussion before it takes a hard left into a glitchy, fuzzed out wall of music.

Coming after the headbanger “BIGGY BAP” the 1:48 track “SAY GOODBYE” (the 27th track on the album) starts as a breather. But don’t get too comfortable, as Skrill and swedm® release a big, mechanical sounding dubstep drop that’s then traded with softer moments laced by vocals from singer/songwriter NJOMZA.

One of two appearances by 100 Gecs’ Dylan Brady on the album, “BOOSTER” includes flutes reminiscent of the season three White Lotus theme song, rolling low end and some fairly tongue in cheek vocal drops announcing things like “Dyan Brady, going hella brazy,” “it’s another certified classic!” and “I heard that snare took him two years to make.” (Although it is in fact possible that that snare did in fact take him two years to make.) The one-minute, 52-second track (the album’s 21st) then takes a turn for lighter, more glowy territory, ending with a sample of Skrillex asking “Smoky can you just edit it down more” then taking a hard turn into the album’s next track “FRICKY VIP.”

Rapper Zacari and vocalists Starrah and Ilykimchi trade vocals on this relatively low-key track, with the female voice that appears throughout the project cooing “ooh, Zacari,” “sing for me Starrah” and “I love you Kimchi” as the song tees up the track “ANIMALS BEAT” that follows.

The production and vocal delivery by LOAM on this one is altogether evocative of Charli XCX’s Brat, with the piano in the minute and 16 second track’s final third serving some of the project’s most delicate moments.

“Jónsi, where are you” purrs the female voice, apparently coaxing out the Icelandic singer and Sigur Rós member, whose voice is woven into a deeply complex beat that arrives in glitchy waves. “Wow!” the female voice says approvingly at the end of this track’s 51 seconds.

A minute and six second with Virtual Riot and Nakeesha, the album’s 14th track is all swagger and punchy and deeply layered walls of production.

Clocking in at a minute and 29 seconds (a relatively long track for this album) “MORJA KAIJU VIP” is an absolute flex, with the complexity of its bass hits altogether creating a peak stank face heater built from skittering beats that pleasingly bounce back and forth in your headphones and neural synapses.

The album’s opening track intros the big voice of god narrator that appears throughout, with this voice announcing that the producer “left as the world fell into chaos and walked into the light. This. Is. Skrillex.” before a very non-plussed sounding female vocal comes in to kind of sneeringly declare “Skrillex is dead.” You wouldn’t guess it by the power of this production, which sizzles with lightning rod synths and finds various voices yelling “rest in peace Skrillex!” an interesting, evocative tone -setter for the 33 tracks that follow.

The last few moments of “ULTRA INTRO” melt into this one, but the track then pares that booming production way down and effectively spends a minute and 29 seconds delivering far out sound design that throws in a kitchen sink of pitchy, then glitchy synths and relentless beats all laid over an earthquake of bass. “Skrillex, that’s a good one!” the MC voice proclaims at the end of the track, and it is.

The 32nd track of the album is one minute and 40 seconds of pure, roaring, punishing, absurdly oversized American dubstep that evokes Skrill classics like “Scary Monsters and Nice Sprites” and “First of the Year,” but with somehow an even harder and more buzzsaw feel. Amen.

“Nuke radio! We make your eardrums bleed!” the MC voice proclaims at the opening of “DRUIDS,” and indeed by this the 25th song of the album, it’s been a real wild ride. But Skrill and bass master G Jones do not relent. The track is more videogame soundtrack than bass two-by-four to the dome than a lot of the other music on the album, but as is their predilection, the pair wind it up before unfurling a grab bag of sounds centered around a rolling chunk of low end and a vocal drop that advises “smoking is bad for your health, especially when it’s your own flesh that you’re smoking.” Fellow bass hero Alison Wonderland also has a writing credit on the minute, 39 second song.

Made with producer LH4L, this massive wind-up bass track centered around a huge drop with the vocal repeats “watch me pop it like a pro,” which this one will absolutely make you want to do. Peaktime Skrill at his finest, it’s possible this track is named for it’s use in Skrillex’s set at Ultra Music Festival this past weekend, when he played the fest for the first time in a decade during a headlining set on the mainstage, although it’s also possible it’s just named after its absolute maximalism.

“Reject society, return to nature,” the radio voice suggests on this one, with the “Animals Beat” from earlier in the album returning here over gentle synths and vocals from Whitearmore and jamesjamesjames. “Give me like, a trap beat, a half time” Skrillex states on the track, with this percussion then layered in amid a vocal call out to Parisi, the duo who worked on the track along with Swedish producers Eurohead and Varg2™. The whole thing then explodes open at the 1:17 mark, throttling into a elastic beat and vocals that dare “can you bounce it” before it all ramps up even further with slicing synths and the whole thing building to delicious controlled chaos. “You’re in the right place for GOOD electronic music” a voice declares as the track, the album’s 18th, transitions to the next.

The album’s eighth track is a breather moment, at least initially. “F— you Skrillex, you think you’re Andy Warhol, but you’re not” the radio voice declares in a the project’s titular moment, with the whole production then exploding around the 30 second mark, with production soundinig like intergalactic gunfire and samples from DJ Khaled’s 2019 “Top Off” and Brandy’s 1998 “U Don’t Know Me (Like U Used To).” 

The 38 second “MOSQUITOTOUILLE” is the sonic equivalent of screaming as loudly as you can with your hands in the air, and also the album’s 28th track, a point by which the whole thing has basically launched off into outer space on a fuel of hype and adrenaline.

Taking us back to the golden age of trap, the album’s 15th song includes the genre’s iconic “damn son, where’d you find this” vocal drop, then proceeds to accomplish a lot in 32 seconds, going all out on the walloping beats that defined trap back in the early 2010s, the same era Skrillex was himself ascending adjacent to this style and scene.

The album’s second song is a hectic minute and 29 seconds that heavily features rapper Hawaii Slim and goes all in punchy beats and a headbanger of a bass drop that seems to almost scream (in a good way) in the song’s last 20 seconds.

Skrillex effectively samples and expands on his own work here, with “TEARS LOST DROP” seeming to be a moment from t he Quest For Fire track “Tears” that wasn’t included in that 2023 song. A collab with Dutch producer Sleepnet (the artist born Nik Roos who has production credits all over this new album) and bass legend Joker, this fresh take on a previously released song is crunchy and massive, with a D&B foundation and some atmospheric lightness within the last 30 seconds, in which a female voice also inquires “Oh my god, is that Joker?”

You cant really break up “RECOVERY,” the album’s seventh song, and the one that comes before it, “THINGS I’VE DONE,” with ‘RECOVERY” essentially functioning as the second half of “THINGS I’VE DONE.” Featuring Kentucky-born experimental bass producer Space Laces, this one weaves in the “things I promised” vocal from the track prior, using this half to shift the song from a plaintive, screamo-style in these glitchy, choppy 70 seconds.

“F— Skrillex,” this is Sonny Moore!” the radio voice declares ahead of one of the album’s most delightful moments, vocals from Skrillex himself. “If you could hear me now why don’t you recall, I was the one who cared after alllll,” he sings on the 57-second track, setting the stage for more of his own singing that comes later on the project.

,And just as quickly as Bibi Bourelly gives a moment of levity on the track that precedes this one “G2G”, the album’s 31st track “DNB TING” turns the hype dial up so high that it sounds like something might actually break, with the song — a collab with London artist Majestica — delivering a minute and five seconds of winding, absolutely ferocious and unrelenting electro-laced bass laden, with sirens!

One of the longer tracks on the album at two minutes and 14 seconds, “ZEET NOISE” features Boys Noize (the other half of the longtime Skrillex side project Dog Blood) and Dylan Brady of 100 Gecs. It opens with the MC voice chuckling ominously before declaring, “I sold my soul to give you this song,” and while the backstory isn’t clear, whatever swap had to be made was worth it for a piece of music that kind of feels like being inside a washing machine made of techno and gabber. Waves of gentle synths are briefly added to the percussion (the BPM of which evokes an anxiety attack) with the whole thing then pared down again to a tight, fast-moving assemblage of complex percussion.

“It might ILLEGAL to hear this s–! You’re not even supposed to be HEARING this sh– right now!” a voice declares at the opening of this one by Skrill and longstanding bass scene star Wuki. Together the guys make what sounds like waves of radiation to fry the front lobe, with the two minute, 55 second song (the longest on the album) dropping the seemingly tongue-in-cheek vocal drops that declare “I have Skrillex trapped in my basement, play this at full volume or I’ll put him in the whole… Free Sonny Moore… This beat drop has been seized by Atlantic Records and has been replaced with silence.” A few moments of cricket sounds follow before the whole thing builds up again into a full on headbanger that’s intermittently dotted with spare, hollowed out sounding drums that play like ASMR.

“Yo, I see you Naisha” a voice declares before the entrance of Indian singer Naisha, who Skrill also brought out during his set at Ultra this past weekend. Revving like a racecar, this track rides on the her swaggy “gula-B” vocal, which weaves like silk through the choppy, glitchy, experimental bass production. “Naisha, I fear you ate that up,” an anonymous female voice says at the end.

“I can see the sun shining through the clouds! We made it! Bibi, take us a home girl,” a pair of anonymous voices declare in the intro to “G2G,” the album’s 30th track. Indeed, by this point the thing does feel like it’s ramping up for its final moments, with Bourelly (a previous Skrillex collaborator on Quest For Fire) delivering one of the project’s most pop-forward and melodic moments with her vocals, which state that “if it costs you your soul, it ain’t worth no amount of money” before a sample of a roaring crowd is introduced. “Glory to god!” Bourelly sings as the track closes, revealing what its title stands for and giving the project one of its biggest moments of levity and straightforward celebration and joy.

“You’ve gotta believe in the VOLTAGE that lives inside us!” Skrill himself sings on what’s effectively the last track on the album. “So let’s buckle up and break our walls down! You’ve gotta believe in the voltage that lives inside us! You’ve gotta believe there’s something moooore!”

He then unleashes 42 seconds of classically Skrillex-style dubstep, the genre that he essentially created 15 years ago, before then paring the production down to just some pretty piano before reintroducing his screaming, triumphant voice, the power and rawness of which might actually make longtime fans tear up a little, or at least give goosebumps to anyone who has the capacity to feel. “VOLTAGE” could in fact be one of the most, if not the most, emotionally resonant, truly moving songs of the entire Skrillex catalog, a seeming call to arms about the necessity of finding not just one’s inner power, but a greater power and a reason to live. Following 32 tracks that flex his all-time incredible abilities as a producer, sound designer and curator its this one that demonstrates his spirit, philosophy and voice, and which therefore functions as the album’s peak moment.