Some artists just make songs, but others make music that defines a moment in your life. Avicii (Tim Bergling) was that kind of special, once-in-a-generation artist. He cared deeply about every detail in his work, making sure melody and emotion were the most important things. He didn’t just write tracks; he created music full of feeling that became the soundtrack for millions of people.
Back in May of this year, Avicii’s Family, Pophouse (the owner of his masters) and Universal Music released a compilation album, seven years following his death. Included in the album was ‘Let’s Ride Away’, a new original. Posthumous music should be dealt with very delicately and respectfully, and Pophouse and Universal are not doing that.
The single sparked significant controversy. ‘Let’s Ride Away’ was a finished track that Avicii had teased on social media, though in a very different form. It originally featured vocals from Kacey Musgraves, but the song was shelved after she chose not to be part of the release. As a result, new vocals were needed, which led to Elle King’s involvement. However, it was not just the vocals that changed. A large portion of the production was also reworked after Avicii’s passing, despite the fact that he had already finalised the original version (a mix and mastered version leaked). Many fans have expressed disappointment that the version released does not reflect Tim’s original vision, and they have made their opinions clear across Avicii’s official social media channels.
Even outside of the single controversy, people question the need for a compilation album seven years after his death. Many fans have requested the release of some favourite unreleased singles, not a repackaged album. It is important to keep an artist like Avicii’s legacy alive, but at what cost? When does it become inauthentic? That time is now. Following the album, which was a repackaging of his already released music (not a release of the batch of finished unreleased music that is confirmed to exist), the parties involved in his music decided to release (so far, at least) six remixes of ‘Let’s Ride Away’. These have not been in a one-and-done package, but all different single releases spanning almost three months. This method is to ensure the best results on the remixes, utilising Avicii’s significant release radar on Spotify for each remix. This new strategy from Pophouse Entertainment and Universal Music, the entities now managing his catalogue, prioritises quantity for playlists over quality for posterity. It’s clear they’re aiming for as many streams as possible, not positioning the tracks in the most respectful way.
Beyond the release strategy, not one remix has a true connection to Avicii. The remixes were not friends of Tim. In fact, Tyler ICU had not even released a song when Avicii passed. Speaking of him, the remix arrived today and is simply not good. While music is largely subjective, this remix is lackluster and is without spirit, it is the opposite of Avicii’s musical goal and not something that should have ever gotten past an A&R. Outside of Dimitri Vangelis & Wyman’s take, the remixes are not anything special. Dimitri Vangelis & Wyman have always honoured Avicii and he was a significant inspiration for them, you can feel the emotion in their production. Outside of this remix, it does not feel like any of the artists should have even gotten the opportunity to touch his stems.
It’s hard to fault Pophouse, they own 75% of Avicii’s masters and publishing and are a for-profit company. Their job is to make money from Avicii, but at what cost? In selling the masters, Avicii’s family (largely his parents, Klas and Anki) could take a step back and focus on the Tim Bergling Foundation. But when does Klas come back into the picture to have this stopped?
This handling is a direct contradiction of Avicii’s own creative philosophy. This isn’t just speculation; it’s a sentiment echoed by those who knew him best. Close friend and frequent collaborator Sandro Cavazza has publicly expressed his disappointment, stating, “He is the only one who knew when his songs were finished”. Cavazza reminded fans that Tim was someone who always put art before commerce, a fact that makes the new commercial-first approach from Pophouse and Universal all the more jarring. Cavazza continues: “I therefore wish that Pinguettes recordings [a group made up of Avicii’s family, Pophouse and his former label manager] Per Sundin and Tim’s family will respect that decision as well and that they think twice about what the most respectful way to treat Tim’s memory is ‘cause I don’t think this is it.”
It doesn’t have to be this way. We have seen Avicii’s legacy handled with grace. The posthumous album TIM was a collaborative effort by those who knew his process. We’ve even seen remixes from TIM from the likes of Laidback Luke and David Guetta, people who were very close to Tim and had a hand in his career. These examples prove that it is possible to celebrate his catalogue without cheapening it.
The mishandling of ‘Let’s Ride Away’ felt very disingenuous. To take a track fans held dear for nearly a decade and immediately dilute its legacy is a profound misstep. Now, with the remix of six largely average and forgettable remixes by people with no link to Avicii, it feels like the final straw. Avicii’s legacy is not a resource to be mined by Pophouse and Universal with endless, uninspired releases. It is a legacy of quality, emotion, and painstaking artistry. The most powerful way to honour his memory is to champion the originals, celebrate what was handled with care, and refuse to engage with the low-effort remixes that betray his name.
The sentiment is echoed throughout the internet, most notably through the comment section on Avicii”s recent posts. When will his legacy be respected and not milked by Pophouse for another $0.004?