The track has been a staple in recent live sets, notably played by artists like Fideles during their performance at Afterlife Tulum . About the Artists
Skytech became known for a specific sound: big, brash, and incredibly polished. Their production style was tailored for the "Big Room" era—music designed to fill stadiums and echo across festival grounds like Tomorrowland or Ultra.
That trailing "Exten..." likely suggests a few possibilities:
"I dropped this at 4 AM at Printworks London. The crowd turned from tired to feral. That vocal is weaponized." – "Skytech finally made a track that sounds like a dusty record and a laser show at the same time." – James Hype Skytech x Masters at Work - Work -Skytech Exten...
At the 32-bar mark, the MAW vocals give way to Skytech’s signature production style: a rising, side-chained synth pad, white noise sweeps, and a rhythmic clap pattern that builds tension. The bass drops out for two bars, creating a "lift" effect beloved in big-room house. This segment is 100% modern EDC/Mainstage architecture.
The track is only 3:45 long – short by MAW standards (their extended mixes often hit 8 minutes), but long by modern radio standards. It features no drop double-time cliche. There is one main melody: the vocal. Everything else is rhythm.
: "Work (Skytech Remix)" or "Work (Skytech Extended Remix)". The track has been a staple in recent
In 2021, MAW officially relaunched their digital catalog, making decades of classic house hits and unreleased remixes available on modern streaming platforms. 🛠️ How to Use This Track If you are a DJ or curator, the Extended Mix is the preferred version for: Club Sets:
In the mid-2010s, a trend emerged: Festival DJs needed to play "classics" but with a 128 BPM, electro-house punch. Skytech likely created his version of "Work" as a (an unofficial remix) for his live sets.
To fully appreciate "Work," one must understand the original context of Masters at Work. Formed in New York in the late 80s, MAW bridged the gap between disco, boogie, and house. They were not just DJs; they were remixers for Madonna (Justify My Love), Michael Jackson, and Deee-Lite. That trailing "Exten
When analyzing the arrangement of this specific version, several elements stand out that explain its enduring popularity:
Enter Skytech. For fans of the "Golden Era" of EDM (roughly 2010–2016), Skytech is a recognizable name. Comprised of Polish producers Mikolaj Staszewski and Grzegorz Przezdziecki, Skytech rose to prominence through the "Armada Music" and "Wall Recordings" ecosystem. They were contemporaries of Dimitri Vegas & Like Mike and fellow Polish star KSHMR.