If your parents know what a “drop” is, it’s very likely because of their exposure to Baauer’s 2012 smash hit “Harlem Shake”—a tune so ubiquitous that you couldn’t enter a group setting at the time without someone coaxing everyone around them to make their own contribution to one of the internet age’s longest-running memes. Trap, moombahton, hip-hop, breaks, rampant sampling—they were all folded into what became Baauer’s calling card of a track, but that’s only part of his foundation. Whether before or after that breakthrough, the New York producer born Harry Rodrigues has always been blending all manner of influences into his style of bass-heavy dance music, which can swing from upbeat and infectious to icy and menacing. Here he offers Apple Music some insights into the music that informs his world view—and his second LP, PLANET’S MAD. Moderat, "The Mark - Interlude" “This track is used as a cue as Natalie Portman stares into the face of an alien at the end of Alex Garland's movie Annihilation. We were writing in LA when it was in cinemas, and one night we went to see it and it blew my mind. This scene and this track stayed in my mind when making PLANET'S MAD.” Missy Elliott, "Work It" “Stone-cold classics get overlooked. This track moves through like five different sections. It’s spacey and minimal and futuristic and pop and danceable. You can hear the way elephant sounds and FX interrupt the verses—that’s something I still do in tracks.” Mos Def, "Sex, Love & Money" “Percussion dominates this slept-on Mos Def flute slapper. I even like that he just performs the same verse twice and that’s it. That’s the song. Done.” M.I.A., "Bird Flu" “Switch, who produced this record, has been a big influence since I started. Again, this is a big direct inspiration. I’ve worked with Maya and tried to tap into this energy—the balance of organic sounds and synths. Banger.” Dizzee Rascal, "I Luv U" “Classic. I was in school in London when this record came out and it changed everything.” Kanye West, "On Sight" “Dumb-loud Daft Punk acid 303 and Kanye screaming: It’s those two things in equal measure. It works. But no one else could do it.” D Double E, "Street Fighter Riddim" “Another perfect record that reminds me of London.” The Chemical Brothers, "Galvanize" “Again, you’re probably picking up some themes here. Futuristic beats with organic sounds and world samples, spun up into hip-hop. And this was a hit. This was a radio record. Doesn’t sound like anything else. It’s sorta effortlessly genreless, and I love that.” Daft Punk, "Technologic" “Before Busta Rhymes turned this into the ultimate slapper, the robots were so ahead of everyone. The confidence to use those kinda cheap, tight drum sounds with a cartoon voice. I think they are the best to ever do it.” Fatboy Slim, "Drop the Hate" “This stuff's been so out of fashion for the last 10 years, but listen with fresh ears. What I loved about this era was it felt like everyone was into dance music. This wasn’t EDM. This was a bigger thing that everyone partied to.” Basement Jaxx, "Where’s Your Head At" “There’s a million reasons to love this song, but I notice how rich the arrangement is here. Even that minimal break to bass and drums before that chorus drops is perfect.” Simian Mobile Disco, “Hustler" “Huge tune for me growing up. And hearing it now, it still doesn’t fit in any genre. You can tell that’s a big thing for me.” SebastiAn, "Walkman" “Another classic French electro cut. Those Ed Banger guys just aren’t scared of the red. Compression is fine in Paris.” Jan Driver, "Dozer" “DRUMS! Huge bassline. Incredible record. Slept on, I think. Definitely inspired the making of PLANET’S MAD.” Justice, "Waters of Nazareth" “I know this was the song that blew up before their debut album. I know how that feels! This was a big song for me growing up, and those damn Frenchies just have a better sound than anyone else. What’s in all those cigarettes?” The Prodigy, "Out of Space" “Taught me everything I know about cutting breaks. But also twisting vocals into tracks.” UK Apache & Shy FX, "Original Nuttah 25" “Just wanted to show people I can go psycho when I need to.” Daft Punk, "Revolution 909" “This is my ASMR. This is a flawless record. I could've picked so many Daft Punk records here, but this one flows so nice.” Double 99, "RIP Groove" “Play this record at any time of the day and it feels like 2 am instantly.” Randomer & Fife, "Too Many Times" “After the UK explosion of dance labels a few years ago, Randomer started making gnarly techno. But his early garage stuff is incredible.” DJ Pied Piper, "Do You Really Like It?" “We took all these records for granted growing up, but listen to how amazingly produced this record is. Bright, hooky pop music for the club. A song so good it crossed over.” Rustie, "After Light" “This was a classic for me and big inspiration. Rustie is a king. Just amazing energy.” The Streets, "Blinded by the Lights" “Been thinking about this track a lot recently. How all the parts are pushing and pulling with the timing. Makes it really melancholic and euphoric at the same time.” Visible Cloaks, "Valve" “Amazing group from Portland with inspiring sound design and ambient influences. I'm a big fan of the Commend store that their label runs in the Lower East Side, New York. It’s a communal space and record and bookstore. It’s great.”