Slow Magic makes music that always sounds like it’s being played in a field at dusk with the last light going, and Half Alive is no exception. The masked producer has spent years in this lane, building tracks out of organic-sounding percussion and melodies that feel handmade rather than programmed, and the collaboration with artermis orion adds a vocal that floats rather than announces itself. This is the gentle end of electronic music, the stuff that works as well on a long drive as it does at the chilled-out edge of a festival. There’s a drum pattern that comes in around 1:30 that sounds like it’s played on actual objects rather than a drum machine, and that tactile quality is Slow Magic’s whole signature. I put it on expecting background music and found myself actually paying attention by the second minute, which is the highest compliment I can pay something...
-
RSS
-
July 08, 2026 at 12:31 PM 1 min read
Slow Magic & artermis orion - Half Alive
Read more . . . →Subscribe →Weekly digestOne email per week with the tracks worth your time. No spam, no Coldplay. -
July 08, 2026 at 10:52 AM
1 min read
The Tomorrowland tents where the actual dancing happens
Read more . . . →Nine days out. Not everything at Tomorrowland is fireworks and confetti cannons. The tech house tents are where the real dancing happens, no pyro required, and they’ll be rammed all weekend. Two names that’ll have people sweating through their shirts at 2am: 1. Fisher - You Little Beauty The follow-up to Losing It, and arguably the better track. That bouncing bassline is criminally simple and the vocal loop worms into your skull inside eight bars. This is the whole Fisher method: nothing clever, everything built to make a room move in unison. 2. James Hype - Ferrari The mixing-desk wizard finally landed a proper song. That rolling bassline under Miggy Dela Rosa’s vocal is relentless, and the switch-up near the two-minute mark is the kind of move Hype built his name on. If you’ve seen his transition clips online, you already know he can do it live without a net....
Subscribe →Weekly digestSundays. One email. Zero ballads from white guys in beanies. -
July 08, 2026 at 10:49 AM 1 min read
Halogenix - Sawtooth
Read more . . . →There’s a specific kind of half-empty warehouse at 2am where a track like Sawtooth makes total sense — too weird for the peak, too heavy for the comedown, perfect for the bit in between. Halogenix has spent years in that Ivy Lab world where dnb, halftime and bass all bleed into each other, and Sawtooth lives right on that seam. The lead is exactly what the title promises, a serrated synth that saws back and forth like it’s trying to cut through the low end, and the drum programming underneath swings in this loose, off-kilter way that keeps you slightly unbalanced the whole time. Around 2:15 the beat drops out entirely and leaves just that sawtooth wheezing on its own for a few bars, and the tension is genuinely uncomfortable before it slams back. He builds space into his tracks better than almost anyone working this tempo. Nothing here is...
Subscribe →Weekly digestWhat you missed this week, minus the corporate emo. -
July 08, 2026 at 6:45 AM
1 min read
He Cut 4,000 Jobs and Called Them 'Heads'
Read more . . . →Marc Benioff went on a podcast and explained, out loud, in his own voice, that he cut Salesforce’s customer support team from 9,000 people down to 5,000 “because I need less heads.” Heads. Not workers, not colleagues — heads, the word you use for cattle, applied to the people who used to pick up when your software ate itself at 2am. He replaced 4,000 of them with AI agents and mentioned, like it was a fun fact, that support costs dropped 17 percent. Four thousand livelihoods rounded down to a line item, and the man delivering the news couldn’t even be bothered to pretend it kept him up at night. Now follow the 17 percent. It didn’t come back to you as a cheaper subscription, and it sure didn’t land in the paychecks of the 5,000 who are still there covering the work of 9,000. Salesforce is sitting on a...
Get the tee →Support the blogSome shirts are statements. This one is a verdict. -
July 08, 2026 at 6:39 AM 1 min read
Ray Volpe, Kai Wachi - PAIN
Read more . . . →Two of the most reliably heavy names in American dubstep on one track, and PAIN earns its title in the first fifteen seconds. Ray Volpe brings the lurching, riddim-adjacent bounce he’s built a following on, and Kai Wachi drags it somewhere darker and more industrial. The vocal is pitched down into something menacing before the first drop even lands, and that’s the tell that these two weren’t going to phone it in. What gets me is the restraint in the buildup: they hold the tension a good eight bars longer than most producers dare, so when it finally collapses at 0:58 the relief is almost physical. I played it back three times in a row just for that moment. It’s a wall of sound that somehow still has pockets of space in it, which is the hardest trick in heavy bass music and the one most people fake. Collabs between...
Get the tee →Support the blogMade for people who left the room during Yellow. -
July 07, 2026 at 11:38 PM 1 min read
pyxis & Redemptive - Arctic Void
Read more . . . →Cold is the right word for this. Arctic Void earns its name with a wash of icy pads and a break that sounds like it was recorded in an empty cathedral. This is Liquicity in its element, the label that turned liquid drum and bass into a whole aesthetic, and pyxis and Redemptive fit the house style perfectly. The vocal is distant and reverb-drenched, more texture than message, floating over a rolling break that stays gentle even when the energy lifts. The drop around 1:40 isn’t really a drop at all, more a widening, the whole track opening up like a landscape coming into view. I put this on during a late-night work session and it kept me company without ever demanding attention, which is the specific magic of good liquid. It’s beautiful in a slightly melancholy way, the sound of driving home alone at 4am feeling something you can’t...
Get the tee →Support the blogIf you wear this and someone hugs you, that's a real friend. -
July 07, 2026 at 8:21 PM 1 min read
Etherwood - Roam (ft. Lottie Jones)
Etherwood and Lottie Jones's Roam sounds like the montage where the character finally gets their life together. Sincere liquid dnb, zero cynicism.Read more . . . →Get the tee →Support the blogLooks like Helvetica. Sounds like a closing argument. -
July 07, 2026 at 4:49 PM 1 min read
Pegboard Nerds, Teminite & VGR - Disconnected Again
Pegboard Nerds, Teminite and VGR team up for Disconnected Again, three producers who somehow agreed on the assignment for once. Stupid fun.Read more . . . →Get the tee →Support the blogThree words. One opinion. Cotton. -
July 07, 2026 at 4:41 PM 1 min read
Eats Everything & Descent - Moonblower
Eats Everything and Descent's Moonblower is proper UK tech house, all bouncing bassline and a groove built for the moment nobody's cool anymore.Read more . . . →Get the tee →Support the blogWhat if your laundry was also a personality? -
July 07, 2026 at 1:19 PM 1 min read
Domeno - Where I'm From
Read more . . . →Where I’m From has a chip on its shoulder and I’m here for it. Domeno turns in a piece of festival electronic with an actual point of view — there’s a vocal running through it about roots and not forgetting where you started that could have been corny and instead comes off defiant. The production is big-room adjacent but smarter than the average main-stage banger, the drop at 1:25 leaning on a gritty, almost industrial lead instead of the usual polished supersaw. There’s a real physicality to the low end, a kick that thuds rather than clicks, and the whole thing has a slightly grimy edge that keeps it from feeling like every other big-room release. Revealed can be a factory for interchangeable festival fodder, so it’s nice to hear one of its artists sound like they’ve actually got something to say. The second drop switches up the rhythm just...
Get the tee →Support the blogShips in 3–5 days. The outrage ships immediately.
-
