Heads Will Roll. Heads Will Roll. All right, well, this one, you know, I tell this story in the booklet of In The Loop, the compilation. I feel like the best thing I can do is just tell this story again here, because there's one story about Heads Will Roll, and it's this story about Heads Will Roll. And I'm happy to tell the story now in hindsight, because at the time, the remix almost didn't happen. So it's funny to think back, because what happened was, the Yeah Yeah Yeahs put out this album called It's Blitz. I want to say it was their third album. And there was a lot of hype around it. So I remember listening to it and really digging it. And there was a few songs that were standouts to me. And they came out in the spring. I want to say maybe March or April, definitely like right before Coachella. And I remember I went to Coachella, which is in April, and I watched them perform. And they had this big eyeball on stage. It was really cool. And I already had a hunch that I think it was the second song on the album, Heads Will Roll. I was going to want to do something with it. Now, usually, you receive a remix request from an artist. But I sought this one out. You know, people would ask me to do remixes. And I would turn them down. Most people, I would just say, I'm sorry, I'm busy. But this one, when I heard the song, I remember thinking, I want to mess with this. This will be cool. So I told my manager at the time, I said, track down the Yeah Yeah Yeahs. Tell them I want a remix, Heads Will Roll. And my name didn't have that much weight at the time. But luckily, someone was open to it. And they sent me the stems, the files for it, with some sort of deadline. Whatever that deadline was, I missed it by a lot, because I tinkered and just continued to fiddle with this remix for so many months. It had to sound just right. I remember I had this first idea that was more of like a electro bass line, similar to Bonkers, the track that Armand had done for Dizzee Rascal. Scrapped that idea. And then I came up with the seeds of the version that we all know now, where I took the string part from the Yeah Yeah Yeahs version, which was a Mellotron string. So it was a really cool sound. And chopped that up into these dance stabs. I heard that pattern in my head. It just felt like that's the pattern that it had to be. I remember that came out pretty naturally. I put in a lot of work to get those string chops, those hits, to have just the right kind of punchiness. Because the original sound was not punchy at all. The original sound was almost a pad. And I wanted it to be like... So I had to really figure out, because I didn't have any training in engineering. I was just winging it. And I had an idea for the bass line that I played out. I remember I couldn't figure out what kind of drums to do. I had like five different types of drums that I tried. I knew what the string chop was. I knew what the bass line was. But the drums... I don't know. And eventually, I remember essentially copying the drums from Tiga Mind Dimension, especially the hi-hat pattern. So I did that. And still, I tinker with it more because the structure, you know, the arrangement of the song, how long the verses are and how it goes from the verse to the chorus to the this to that, what the transitions are. When are there drum fills? In those years, we didn't have pre-made Vengeance drum fill patterns. We didn't have like a one file that you just drag in and it goes... We didn't have that. We had to just go and write the thing, just program it and figure out what kind of crash to build up on top of it and how to do the high-pass filters and all that. None of that is very hard, but I was just kind of figuring it out. And I really spent a long time. And then even after that, there was like the decorations, that little squelching, that thing. That was just me messing around, chopping up sounds that I was making and really, really, really obsessively messing with the structure, the arrangement, the transitions to get everything dosed just right. I didn't want there to be too much of anything in there. Every element had to have its place, its reason. And there it is, y'all.