Electronic music right now is like the bond market in the early 80’s: BOOMING. And just like nobody quite knew what bonds exactly were back then, some people still aren’t sure what to expect when they hear the words “electronic music.” If this infinitely undefinable brand of music is the bond market, than right now dubstep would have to be Wall St. -- the newfound epicenter -- and ever since breaking onto the scene with his “Scary Monsters & Nice Sprites” EP, American dubstep producer Skrillex may well serve as this market’s Salomon Brothers.

 I’m still on the fence when it comes to Skrillex. The degree of genre-defining creativity found in his work is something to be marveled at indeed; however, at the same time I could never seem to determine whether or not I liked the overall tone. Of course it’s always a good soundtrack to blast while jumping a flaming car over seventeen busses, but what about when the car is not on fire?  After listening to his new record released in December titled “Bangerang,” the virtual mascot of the impossible to ignorable genre may have given me what I needed to pick a side.

As you can imagine, the album starts off with a bang, and it’s not long before you begin to notice sounds of change beating against your chest in the form of distorted bass. It’s more melodic, structured, and less cartoonish in almost every aspect: our little boy is becoming a man.

As much as “Bangerang” separates itself from “Scary Monsters & Nice Sprites,” it is sure not to disappoint the Skrillex faithful. Most of the tracks are juiced with enough pleasant sounding filth and grime to make the interest rates rise. Listen to the track entitled “Right In,” and you’ll know exactly what I mean.

At the end of the day, “Bangerang,” is a symbol of Skrillex’s groundbreaking vision and creativity, and leaves us with no questions as to why he has positioned himself at the pinnacle of American electronic music. We may finally have something to sell back to those English bastards across the pond.         

 Listen to “Kyoto,” “Right On Time,” and “Summit,” featuring the vocals of Ellie Goulding