Following a relatively busy 2011, UK producer George FitzGerald is having a comparatively quiet 2012, at least on the release front. Prior to this week, he’d only offered up a single record this year, the four-song Child EP, which found him marrying his penchant for melodics with more robust, dancefloor-oriented sonics. That said, it could be argued that Child has had the greatest impact of the ManMake Music boss’ young career, as both the title track and “Lights Out” have been getting plenty of club play in recent months. And now that the talents of Gerd and Gerry Read have been enlisted for the freshly issued Child Remixes EP—which is streaming in full here—the songs’ run is sure to be extended a little longer.

Dutch producer Gerd has been making records for nearly two decades, but it’s hard to ignore that the appreciation for his skills is quite possibly at an all-time high. He actually appears twice on Child Remixes, tackling the title cut with both his Geeeman and NY Stomp monikers. The former effort kicks off the EP, channeling Chicago house with its slightly blown-out kicks, frenetic hi-hats, darting snares, and bouncing bassline. The track’s high-energy rhythm is more than sufficient to get folks moving, but then it takes things even higher by introducing a big, ravey synth melody nearly three minutes into the proceedings. At that point, the tune ceases to be merely functional and flirts with peak-time status. As NY Stomp, Gerd hews much closer to the source material, largely keeping the garage-indebted feel of the original “Child.” His remix does beef up the drums and adds a little more swing to the song’s rhythmic skeleton, but he also keeps the original’s soulful vocal refrain and upbeat organ melody front and center.

A more dramatic transformation can be found on Gerry Read‘s rework of “Lights Out.” FitzGerald’s original was a moody house cut, one propelled by deep, lingering bass tones, polite piano stabs, and techy synth melodies. In Read’s hands, the song is many things, but none of them can be described as polite. The low end been cranked in the mix, the track’s drum patterns bolstered with loping, clacking percussive elements. Bringing in an assortment of new vocal snippets, it’s as though Read sought to foster a sonically dense, confusion-inducing production. Nonetheless, it’s all quite compelling; even when Read introduces some jazzy chords, his take on “Lights Out” brings to mind the sweaty respiration of an industrial factory at work. It may not inspire much in the way of dancefloor euphoria, but it’s also quite good, as is the entire Child Remixes EP.