On their fourth transmission as YES TO ALL, D-Formation and Alex Medina compress late-night muscle and classic club memory into two originals and a Aiwaska rework that deserves equal billing. Title cut “Réquiem” is the velvet hammer: a sub-heavy pulse and wiry percussion shepherded by whispered vocal fragments, more insinuation than hook, engineered for that moment when a room collectively leans forward. “Crescendo” flicks the house switch—leaner swing, stacked claps, and those lifted, almost gospel-coded vox that rise without ever turning syrupy. Both tracks feel ruthlessly dialed for the floor, but never generic; they’re built like architecture—clean lines, pressure in the foundations. (Details per the label’s press note for YTA004. )
The twist is Aiwaska’s “Réquiem” remix, a peak-time rinse that doesn’t bulldoze the original so much as chamfer it. He tightens the groove into a turbo-efficient house/tech-house chassis, feeds in glitch-flecked vocal edits, and rides a punchy bassline that locks dancers into that eyes-closed, teeth-bared loop—euphoria by design, not excess. It’s the version that will quietly do damage in broad-shouldered sets, and it deserves spotlight beyond a footnote in the promo cycle. (Remix approach as described in the release sheet. )
Taken together, “Requiem” reads like a study in restraint: three routes to club release, zero filler. YES TO ALL reaffirm their taste for timeless pressure; Aiwaska reminds everyone why a smart remixer can re-frame a track for peak hours without stripping its soul. File under: built-to-last.
