look back: La Roux – In For The Kill (Skream’s Let’s Get Ravey Remix)

This track, a dubstep classic, helped cement Skream’s status as the godfather of the genre.

It is hard to see much similarity between the track and some of the other current big players of dubstep such as Flux Pavillion or Skrillex: it is far more minimalist with less big electronic sounds. It seems more like a precursor to post-dubstep – a slightly less exotic Jamie Woon or James Blake track. Skream has slowed down the original version, or at least it sounds like that, and taken out much of the background ‘noise’ so we are left with La Roux’s dream-like, alluring voice, echoing to further give the sense of solitude,  and a curious organ sound playing over a sinister, difficult to detect bass.

La Roux - Elly Jackson performing at The Wareh...
La Roux – Elly Jackson performing at The Warehouse Project in Manchester, November 2009 (Photo credit: Wikipedia)

The track has many moments where an uneasy silence hangs in the air between vocals; this is unnerving because there are just enough empty seconds for the listener to contemplate this silence. The best part of the song is about 4 minutes in, where there is about 8 seconds of silence before La Roux comes back in over a faster tempo drum beat. You can feel the energy surging through the speakers.that, and taken out much of the background ‘noise’ so we are left with La Roux’s dream-like, alluring voice, echoing to further give the sense of solitude,  and a curious organ sound playing over a sinister, difficult to detect bass.

However, the name of the remix is misleading. This is more contemplative than ravey; slightly melancholic and similar to much of the most exciting music in the electronic sphere over the last year or so, from The Weeknd to James Blake.

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