Perhaps one of 2016’s best albums, Boys Noize’s Mayday broke down the norms and expectations accompanying electronic music production. Tastefully blending early techno and electro influences into a newfangled amalgamation, Alex Ridha’s fourth album under the Boys Noize project is mindfully creative and aggressively innovative.

While the first Mayday remix album – released two weeks ago – can be thought of as a more refined cousin of the original LP, the second remix iteration takes a slightly different direction. In its approach, the first remix album endowed some of the original album’s tracks with an old school feel, as the case with the “Overthrow 303 Overdub,” while taking a more minimalistic approach with others, such as the silent mix of “2 Live.” Rather than retro or minimalist revisions, the sophomore collection twists the original tracks into energetic, boisterous, and even jovial adaptations. While the previous remix album arguably looked to the past for inspiration, this second EP seems to draw upon more contemporary motifs.

Boys Noize protégé Raito proffers perhaps one of the EP’s best tracks. The rising French DJ has released multiple records on Boysnoize Records, an independent label managed by Alex Ridha. In this particular EP, Raito takes Boys Noize’s inauspicious “Midnight” and makes it his own. Known for simple, catchy melodies, big room kick drums, and a taste for retro-inspired synths, Raito’s remix in this case makes for a wild adaptation of the original sinister piece.

Mayday‘s cardinal track “Overthrow” gets a slight modification in a club version, but maintains much of the original track’s style, feel, and structure. Compared to the 303 Overdub, the club version hardly seems like a remix, but that’s not to say there’s nothing different. About halfway through the remix, the lead synth takes a slight turn in a tasty variation. Rather than a complete overhaul, this new version is a nice treat for fans of the original track.

GILA’s remix of “Rock the Bells” morphs the original track with ethereal feel, adding slow breaks, a shrill high frequency sound, and quirky vocal samples. Nonetheless, this track maintains energy with the staple acid synth found in the original. Amato’s remix of “Euphoria,” while relatively minimalist, drives up the intensity with distorted kicks and apt techno inspired sounds. Tensake’s remix of “Starchild” transposes Poliça’s vocals, adds a four-on-the-floor kick snare, and reimagines the original as a more upbeat disco-inspired track.Sydney-born Jensen Interceptor crafts an absolutely foreboding remix of the absurdly abstract, “Hardkotzen,” and Chambray caps off the album with a mirthful house remix of Boys Noize, Hudson Mohawk, Spank Rock collaboration, “Birthday.”

As monumental as Mayday was in its groundbreaking deviation from genre-norms and expectations, it seems appropriate that such a work should be made a new over and over again. The quality seen in this remix EP and its prior rendition gives fans a sonic landscape of new Boys Noize and friends remixes. While no further remix EPs are currently slated for release, more would certainly be welcomed.

Stream Mayday Remixes Pt. 2 below: