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Check out the winning Play remixes of Etienne De Crecy, Miss Kittin, Vandalism, Nicky Romero, and more

By Steven Dermody
etiennedecrecy

The exciting and interesting results keep pouring in from our latest Play contest winners, with another round of remixes that showcase just how passionate and talented our greater Beatport community is.

There was plenty of original strength for our contestants to remix, with the likes of Miss Kittin, Nicky Romero, Josh Wink, Smash TV, and Tiesto all providing their track stems for reinterpretation. Check out the winning tunes below, and enter the current stock of Play contests here.

First up, Russia remixer Amersy, who took on Nicky Romero’s big-room banger “Symphonica,” brought in some polished sawtooth synths to complement the lovely orchestral breakdown, which stays intact. “While I was making the remix I tried to express my potential as a musician and achieve the most popularity in this regard,” he told us.


Hud’s remix of Miss Kittin’s “Maneki Neko” actually sounds more nu-disco-tinged than the original, which is more on Kittin’s classic electro tip. Hud went with a Hot Creations-style bassline, while organically shifting the drums and giving the track a more bouncy feel over all. Of course, it helps to have Miss Kittin’s magical voice to work with, and Hud certainly does her justice with this solid reinterpretation.


Acapulco, Mexico’s Calixto, who won Vandalism’s “Anywhere Else Tonight” remix contest, had this to say about which part of the original resonated most with him: “I think in many parts of the song, like how I played with the vocals in the intro, and of course the most important part, the drop, this is where I worked the hardest because I wanted it to be intense and I wanted it to change the whole song beat.” All the components of modern electro house are in place on the remix: squelching synths soaring left then right, a fist-pumping beat, and a breakdown that leads to the ever-important drop. In this case, the drop is possibly more interesting than the original. Nicely done.


Hippo Disco took top honors in Etienne De Crecy’s “We, Computers” contest. “As huge fans of Etienne De Crecy, we wanted to emulate the atmosphere that his music creates but with our own twist on it,” they said, and the remix achieves just that, shaving off over two minutes of the original yet keeping all the bits that made it work. The killer vocoded samples remain and they take the synth lead into a happier place, creating a condensed version of the original that stands with it toe to toe.


P-Ben’s remix of Josh Wink’s “Balls” sounds like a combination of all three mixes on the original single. P-Ben adds a nice housey feel to it with some loose percussion, but keeps the drive of the original in place. “I did not think [I'd] win this contest,” he told us. “I first made this remix for fun as a fan of Josh’s label, and my dream was to join the Ovum family so I’m very happy!”


South Africa’s Kyle Watson turned in a splendid remix of Smash TV’s “Noise & Girls,” making a relatively upbeat deep-house track even more dancefloor-friendly. He adds a more breakdowns throughout, creating tension and a few extra notes on the bassline, giving it a bit more funk. “I really love the original mix,” he said. “The vocal caught me straight away. I really just wanted to do the original mix justice, and obviously put together something simple but groovy, that I imagined would fit well on Get Physical. South Africa really has some amazing producers but it’s tough here for us to get noticed globally, so I figured I’d put a remix together that I hoped would help put SA on the global house music map.”


Tackling Tiesto’s “‘Take Me,” Greek producer Alex Balog keeps the vocal front and center, but goes a bit harder than the original, dialing down the massive synth lead and adding a distorted plucking sound that drives his remix along. “I really tried to put in as much feeling as I could,” he says.


Italy’s Flatdisk submitted the winning remix of “Escape” by Paris & Simo, Bright Lights, and 3lau, in which they flipped a big-room stomper into a big-room dubstepper. “We wanted to bring our floating/ethereal sound into that to make a fusion between an acoustic and an electronic atmosphere to achieve maximum expressiveness,” they said. Indeed, their atmospherics are a standout touch.