Surprise release Don’t Get Too Close shows another facet of Skrillex

“Here we are again,” album opener “Don’t Leave Me Like This” rings out, and we’re immediately presented with the original track that Quest For Fire’s opening track remixed. It’s a clever premise, and throughout Don’t Get Too Close we find nuggets of self-references that make both albums just that much more special. The outro of “Rumble” is found on “Selecta;” and Bibi Bourelly’s performance on “Painting Rainbows” is the sample used on “Still Here (with the ones that I came with).” This track once again closes the album, and its these subtle bits of mirroring that would be missed if you didn’t stop to take it in.

Similarly to its predecessor, Skrillex dips into his back catalogue and brings out 2021’s “Don’t Go” with Justin Bieber, along with its classic “Despacito”-esque guitars mixed into the electronic production. This stands to show that Don’t Get Too Close is more of a pop record than Quest For Fire – not to mention yet another ensemble cast, but this time from the likes of Kid Cudi and 2022’s artist-du-jour PinkPantheress. He even works with fellow Beyoncé collaborator BEAM again on “Selecta,” creating a song that could be passed off as an upbeat version of Renaissance’s “ENERGY.”

It's fun to see UK garage making an appearance on “Ceremony” with Bladee, adding yet another facet to Skrillex’s wheelhouse, and not feeling out of place as he dips into this new genre. This then melts into “Real Spring,” where notes of Rap and Hip-Hop mesh with the electronic sounds – similarly on “3am,” where Skrillex continues to play with vocals as he did on Quest For Fire, and turns the vocoded hook into an oscillating synth for the latter half of the track. While these two albums could hold up on their own, each in their own genre, it’s interesting to see how much Skrillex has linked the two.

There’s something to be said about the final three tracks too. Skrillex slows the album down with title track “Don’t Get Too Close,” taking nearly two minutes of calming sonics before Bibi Bourelly’s innocent lyrics join in. It’s then pushed into “Mixed Signals,” which is essentially a ‘part two’ to its former, adding in drum machines and Swae Lee over the same chords. Bibi then returns for “Painting Rainbows” and rounds off the album with elements from both former tracks, but this time without any innocence – just like the upped production, she means business here. The progression across three tracks detail a level of intelligence to how Skrillex has presented Don’t Get Too Close, and it’s inspiring to see.

The fact that this was released so close to Quest For Fire, and the fact it links so much to it, raises the question of whether this record would’ve been better if it was released first. After listening to it, it adds certain depth to its predecessor and itself, but if this came first it would’ve only made Quest For Fire better and a more enjoyable listen. Perhaps we’ll never know the reasoning, and anyway, the albums still work as a pair no matter which way round they’re released.

If you do as the album title instructs and keep your distance from the record, it’s a great compilation of urban pop infused with hints of EDM. However, if you take the risk and take a closer look, Don’t Get Too Close has depth and substance that makes it another stellar installation from Skrillex.