If you’ve written off moombahton as a genre that died with the 2013 blog-house era, Habstrakt would like a word. “Poison” drags that half-time dembow bounce back out and gives it teeth, all rubbery bass stabs and a swing that gets your shoulders moving before you’ve decided to let them. Habstrakt has always had a knack for grimy low-end that stays fun instead of grim, and this is him leaning the whole way into the groove. The bass patch has a wet, almost gross squelch to it that suits the title perfectly. The breakdown teases a bigger, dubstep-sized drop and then refuses to deliver it, snapping straight back to the moombahton bounce, which is the funnier and better call every single time. I had it on twice before I noticed I’d been doing a little idiot dance at my desk. It’s been a while since a bass track made me...
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August 23, 2026 at 3:32 PM 1 min read
Habstrakt - Poison
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August 23, 2026 at 3:26 PM 1 min read
Plate Charge
Read more . . . →Five thousand a plate to end hunger. The lobster was excellent, thanks for asking.
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August 23, 2026 at 11:07 AM 1 min read
Frank Walker - All Cried Out (Flux Pavilion Remix)
Read more . . . →Did not have “Flux Pavilion turns a Frank Walker pop song into a weapon” on my list for today, yet here we are. “All Cried Out” started life as a clean, radio-shaped dance record, and Flux takes it somewhere much dirtier without losing the hook that made it work in the first place. The vocal stays front and center, big and heartbroken, and then the drop hauls it down into that thick, distorted low-end territory Flux has owned since the start. What’s clever is the restraint in the build: he lets the song be a song for a full minute before he wrecks it, so the drop reads as a release instead of a bludgeoning. The bass has grit without going fully obnoxious, and it keeps enough of the original melody that you can still hum the thing after the distortion clears. This is a remix that respects the source...
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August 23, 2026 at 8:09 AM
4 min read
This Week on coldplaysucks — Aug 17–23
Read more . . . →Thirty-two tracks across two drops this week, and the loudest theme is the past showing up uninvited. NGHTMRE got Jordin Sparks back to re-sing “No Air,” Inner City’s “Good Life” got a trance rebuild, Yomanda’s Y2K anthem came back rerecorded, and Skrillex’s “Bangarang” picked up yet another edit. DnB took the biggest share again at eight posts, but dubstep and house both brought heat. Track of the Week IMANU & A Girl Named Sue - All U Need IMANU keeps operating on a frequency nobody else in drum and bass can tune into. “All U Need” opens delicate and human, A Girl Named Sue’s vocal floating over a few processed chords, and then the bass arrives — warped, elastic, bending in directions your ear cannot predict. He leaves air everywhere, single sounds ringing out and decaying on their own clock, and the drop lands and pulls itself apart halfway through...
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August 23, 2026 at 7:16 AM
4 min read
This Week on coldplaysucks — Aug 17–23
Read more . . . →Thirty-two tracks across two drops this week, and the loudest theme is the past showing up uninvited. NGHTMRE got Jordin Sparks back to re-sing “No Air,” Inner City’s “Good Life” got a trance rebuild, Yomanda’s Y2K anthem came back rerecorded, and Skrillex’s “Bangarang” picked up yet another edit. DnB took the biggest share again at eight posts, but dubstep and house both brought heat. Track of the Week IMANU & A Girl Named Sue - All U Need IMANU keeps operating on a frequency nobody else in drum and bass can tune into. “All U Need” opens delicate and human, A Girl Named Sue’s vocal floating over a few processed chords, and then the bass arrives — warped, elastic, bending in directions your ear cannot predict. He leaves air everywhere, single sounds ringing out and decaying on their own clock, and the drop lands and pulls itself apart halfway through...
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August 23, 2026 at 6:07 AM
1 min read
Two Years of We Pray and Nobody Answered
Read more . . . →Two years ago today, Coldplay released “We Pray.” It still sucks. They crammed Little Simz, Burna Boy, Elyanna, and Tini onto one track and still managed to produce something with the emotional depth of a wellness app notification. Four artists who could each carry a stadium solo, reduced to garnish on a track focus-grouped into existence by a committee chasing the “unity” tag on Spotify. Chris Martin out here collecting features like they’re loyalty points. The single charted, obviously, because Coldplay at this point is less a band and more a purchasing habit. Then it disappeared, which is the kindest thing anyone can say about it. Here’s what you should listen to instead — five tracks from 2024 that were too busy being good to bother praying about it: Chase & Status ft. Stormzy — “BACKBONE” (watch) — Went straight to #1 in the UK by doing the one thing...
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August 22, 2026 at 7:05 PM 1 min read
EMBER, Gabriel Eli - CHEMISTRY
Read more . . . →Wasn’t expecting an NCS release to be the thing that got stuck in my head all afternoon, but “CHEMISTRY” pulled it off. It’s slick electronic-pop with a dancefloor engine, Gabriel Eli’s vocal riding a bouncy, bright production from EMBER that’s built for maximum immediate hit. The verse is restrained and a little moody, which makes the pre-chorus lift land harder when it arrives, and the drop turns the vocal hook into a plucky synth line that’s borderline impossible to shake. What raises it above the NCS baseline is the songwriting: there’s an actual song under the sound design, a real melody with a shape and a payoff, not a build-and-drop skeleton with a topline draped over it. The production is clean and radio-ready without feeling soulless, warm synths and a kick that punches without bruising. If this came out on a major label with a marketing budget you’d hear it...
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August 22, 2026 at 4:11 PM 1 min read
DENIAL - Nutcase
Read more . . . →The bassline on “Nutcase” is basically one note bullied into submission for four minutes, and it is hypnotic. DENIAL builds the original around repetition as a weapon: a tight dry kick, a rubbery low end that barely shifts, and little bursts of static that flicker across the top like a fault in the wiring. It is techno that trusts you to lock in rather than begging for attention, and about halfway through a warped vocal fragment surfaces just long enough to unsettle you before the groove swallows it again. The trick is in what DENIAL leaves out. There is no breakdown and no big obvious reset to wait for, just a slow tightening screw that never quite lets you off the hook. There is a Mark Eteson remix going around that plays bigger and colder, but this original is the leaner version, all forward motion and no fat on it....
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August 22, 2026 at 3:19 PM 1 min read
Gratuity Included
Read more . . . →20% is standard. 25% if you’d like him to close.
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August 22, 2026 at 2:22 PM 1 min read
Elderbrook - Is It Over Now? (IONITY Remix)
Read more . . . →You know that stretch of a night drive where the road empties out and a song comes on that’s suddenly too big for the car? This remix is engineered for that. IONITY takes Elderbrook’s “Is It Over Now?” and blows the wistful little house original up into something widescreen, keeping the ache of the vocal but hitting it with a drop that opens up like a horizon. Elderbrook’s voice was always the strongest thing about the original, that cracked, plaintive quality that makes even his club records feel like confessions, and IONITY is smart enough to leave it mostly alone and build a bigger room around it. The drop trades the original’s understated groove for a full melodic-bass swell, synths blooming wide while the low end finally gives the emotion somewhere to land. It’s the rare remix that improves on its source rather than just decorating it. Where the original...
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