Counterpointing the homage/tribite remix is the parodic remix, where the new song/melody aims to ironize an existing piece of music – for instance Abba’s Take a Chance On Me performed by the British synthpop duo Erasure (1992) or Weird Al’ Yankovic and his parodying of songs by contemporary musical acts, including Dire Straits, Frank Zappa, Madonna, Nirvana, Nine Inch Nails etc. Parodic remixes, however, function more effectively on the new and higher level of artistic expression achieved by in the blend of two arts, music and film – the popular “music video” format. The above cited example of parodic remix, Erasure’s interpretation of Abba, will probably not be fully understood as ironizing unless also seen, not just listened to. In the Take a Chance on Me music video the two band members appear dressed and made up to resemble (as closely as possible for two men) all four of Abba’s members – both the male and female ones. Weird Al’ Yankovic’s work is also better comprehended as parody when in the music video format. Among others who have adopted a similar approach to the original they are remixing are Elton John and RuPaul, in the 1994 remix of Don’t Go Breaking My Heart, originally performed in 1976 by Elton John and Kiki Dee, or Marilyn Manson’s 2001 Tainted Love (Gloria Jones, 1964) and 1995 Sweet Dreams (Eurhythmics, 1983).

A neat example of parodic remix is the music videos produced by Bulgarian comedy show Palna Ludnitsa (Complete Madhouse), which make a highly ironic representation of very popular performances from both Europe and the US, and Bulgaria. Follow this link to watch their take on Bee Gees' Stayin' Alive.