Skeleten drops two new remixes for ‘Live In Another World’

The Sydney producer recruited underground DJs Moktar and Jennifer Loveless to reimagine the track

Producer Skeleten – aka Fishing member Russell Fitzgibbons – has shared two new remixes of his recent single ‘Live In Another World’.

To reimagine the track, first dropped back in June, Fitzgibbons has recruited fellow Sydneysider Moktar and Canadian-born, Melbourne-based DJ Jennifer Loveless. The former approaches the track with a blend of prickly, breakbeat-inspired percussion and traditional Egyptian instrumentation.

In a press release, Moktar said he was “stoked to have remixed” the track, calling Fitzgibbons “one of my favs and a great friend”.


“It also happens to be my favourite track of his to date. It was a lot of fun throwing in my touch on this single,” he said.

For Loveless’ take on ‘Live In Another World’ – dubbed the ‘Endless Arvo Mix’ – the artist went for a heady, club-ready feel with atmospheric synth risers and dry, thumping percussion. She noted that her aim was to “highlight the groove existing in the original track”, calling it “an endless mover”.

Listen to Moktar and Jennifer Loveless’ remixes of ‘Live In Another World’ below:

On his decision to enlist the two artists for his new remix package, Fitzgibbons said: “This one was always destined for the club treatment and I feel very lucky to have Jennifer Loveless and Moktar meet me there. Both of these artists are so experienced and innovative in creating new worlds on a dancefloor and that’s exactly what this is all about!”


‘Live In Another World’ came as Fitzgibbons’ third release as Skeleten for 2021, following the standalone single ‘Walking In Your Name’ back in February and a reworking of the Cosmo’s Midnight track ‘We Could Last Forever’ in June.

Fitzgibbons debuted the Skeleten project last August with the single ‘Mirrored’, following it up shortly thereafter with ‘Biting Stone’. Today’s (September 15) press release notes that “at the core of the project lies a strong sense of uncomplicated openness, as the music naturally took shape over relaxed, late-night sessions between other work”.

Fitzgibbons himself said that working as Skeleten allowed him to experiment with genre by making music “with absolutely no intention, just doing exactly what felt good in the moment”.

“It was only after I had all these ideas floating around that I started to realise how much it sounded like me, and maybe understand a little of what I was getting at,” he said.