Get past the frankly juvenile title and Kevin D’Angello has made a genuinely nasty little bass-house weapon. Dirty Bitch is all attitude, a growling distorted bassline and a vocal snippet chopped into pure percussion, the sort of thing built to drop the moment a tech-house set needs to turn mean. D’Angello works the harder, more aggressive end of the house spectrum, and this leans fully in, no melodic softening anywhere on it. The bass patch is the star, a dirty talkbox-ish growl that bites down on the off-beat and will not let up for the runtime. It rides a relentless, stripped-back groove that trusts the low end to carry the whole thing, which it does. There is a breakdown teasing a scrap of melody before slamming back into the bass, and the restraint of that tease is the smartest move on the record. It is lean, loud and mean, which...
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October 15, 2026 at 3:39 PM 1 min read
Kevin D'Angello - Dirty Bitch
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October 15, 2026 at 3:30 PM
6 min read
Every Type of Trance, Explained
The seven types of trance that matter: uplifting, psy, progressive, tech, vocal, hard and Goa. Tempos, the feel, and the one name to know for each.Read more . . . →Subscribe →Weekly digestSundays. One email. Zero ballads from white guys in beanies. -
October 15, 2026 at 2:09 PM 1 min read
More Nachos
Read more . . . →Somewhere in there a saxophone is trying. Three musicians in suits playing sax, upright bass, and drums in a candlelit club. Right in front of them, occupying the entire foreground like a noise complaint given human form, a man in a green sweater is yelling with his whole chest. One hand cupped, other hand up. In front of him sits the most loaded plate of nachos ever committed to oil paint, sour cream peak and all. He is louder than the band and he has always been louder than the band. The drummer’s face says everything you already knew. Every room this man walks into becomes his room, whether anyone invited him or not.
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October 15, 2026 at 1:41 PM 1 min read
Raphi - Who Told You?
Read more . . . →Who told Raphi she was allowed to keep making tracks this immediate? Because the hits keep coming, and Who Told You? is another one that you will be humming before it is even halfway done. She is Spinnin’ Records’ current pet project, fresh off a single with Armand Van Helden of all people, and she has figured out something a lot of producers twice her age still have not: how to write a hook that refuses to leave. This one rides a vocal that flips between sweet and taunting, the title turned into a sing-along dare over a punchy, bass-forward dance beat. It is radio-ready in the best sense, big and bright and built for a crowd to shout back, with just enough low-end bite to keep it from floating off into pure pop. Dance-pop this shameless is easy to wave away and genuinely hard to get unstuck once it...
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October 15, 2026 at 11:14 AM 1 min read
Jasper Tygner - 28 eyes
Read more . . . →How do you make glitchy, broken electronic music that still feels warm? 28 eyes has an answer. This is a MrSuicideSheep upload, which usually promises something pretty and emotional, but Jasper Tygner roughs the formula up, running a fragile vocal through stutters and cuts until it sounds like it is buffering on purpose. The beat underneath is skittery and off-grid, closer to early Mount Kimbie than the channel’s usual glassy future-bass. It should feel cold and it does not, because the melody keeps tugging it back toward something human. The restraint is the smart part: Tygner never lets the processing swallow the song whole, so the glitches feel like texture you want to sit inside. There is a moment near the end where everything drops out except the raw voice, and that bit of air is what makes the rest land. I caught the hook looping in my head hours...
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October 15, 2026 at 7:49 AM 1 min read
AK & Liam Thomas - Soft Touch
Read more . . . →Soft Touch is a feature track dressed up as a duo, AK handling the production and Liam Thomas the vocal, and it is pleasant in a way I kept wanting to push harder. This is melodic, future-bass-adjacent electronic music of the sort MrSuicideSheep uploads constantly, all glassy synths and a yearning topline, engineered to soundtrack someone’s emotional moment on a screen somewhere. Liam Thomas has a genuinely lovely voice, breathy and controlled, and he is the best thing here by a distance. The problem is the production plays it safe at every turn. The drop, when it finally comes, swaps the vocal for the expected pitched-up chop and a wall of supersaws, and I have heard that exact move a thousand times this year. There is craft in it, the mix is spotless, but spotless is not the same as memorable. It is the musical equivalent of a scented candle:...
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October 15, 2026 at 7:14 AM
1 min read
Five Years of Music of the Spheres and It Still Sucks
Read more . . . →Five years ago today, Coldplay released Music of the Spheres. It still sucks. They literally named tracks with emoji. Not ironically. Someone in a boardroom approved this. “Higher Power” sounds like it was focus-grouped in an airport lounge, and “My Universe,” the BTS collab, was the most transparent grab for a younger audience since a Fortune 500 company hired a meme intern. Chris Martin sang “you are my universe” over a Max Martin beat and the entire internet pretended this was a cultural event. Salon called the album “an unholy mess.” They were being kind. The whole record is a band desperately cosplaying as interesting. Twelve tracks, emojis for titles, a space theme that runs out of steam by track two, and at the center of it all: the same four chords they’ve been recycling since 2005 with slightly more expensive production. Five years later, nobody is revisiting this album....
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October 14, 2026 at 8:15 PM 1 min read
Jack Garratt - Higher
Read more . . . →If you lost track of Jack Garratt after the 2016 hype cycle chewed him up, Higher is a good reason to check back in. He was briefly anointed the future of British music, won the BRITs Critics’ Choice, and then mostly stepped away to deal with the weight of all that, which is its own long story. This track is him doing the thing he was always best at, a huge gospel-sized vocal welded to electronic production that lurches between delicate and enormous with no warning. The drop is less a drop than a full-body swell, organ-ish synths and a beat that stomps in late and hard. His voice is the instrument here, cracking at the top of the range in a way that reads as effort rather than a plugin. There is a rawness to it the glossy MrSuicideSheep catalogue does not usually carry. It feels like a man...
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October 14, 2026 at 4:11 PM 1 min read
Dyro & DJ Tora - Rocket Ship
Read more . . . →Dyro turning up on Revealed again hits a specific nostalgia button for anyone who was paying attention to big-room around 2013. He was one of the first artists Hardwell ever signed to the label, a kid with a gift for filthy electro-house leads back when that sound owned the main stages, and then he mostly faded out of the spotlight. Rocket Ship, with DJ Tora, is him back in that lane, and it is a pleasant surprise how little he has lost. The lead synth has that signature Dyro snarl, a growling, detuned electro stab that sounds genuinely nasty in a way most modern big-room has sanded away in favour of politeness. The track is unapologetically throwback, four-four stomp and a drop that goes straight for the jugular, no future-rave gloss or tech-house restraint anywhere near it. It is dated, no question, but dated in a way I actively missed....
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October 14, 2026 at 3:32 PM 1 min read
Hel:sløwed & Nina de Koning - Give It To Me
Read more . . . →When did hardstyle vocals get this good? Give It To Me puts Hel:sløwed with Nina de Koning, and her performance is the thing dragging the track clear of the genre’s usual cheese. This is hard dance on the classic template, a euphoric vocal intro, a screaming reverse-bass kick, and a drop designed to make a field of people in bucket hats lose their minds. What de Koning brings is actual longing in the topline, selling the emotional build so that when the kick finally punches through it feels like release instead of just volume. The reverse bass is enormous and clean, that signature hardstyle growl that sounds like a dragon clearing its throat. Hardstyle usually loses me in the sugar rush, but the vocal keeps this one tethered to something real. There is a melodic lead in the second drop that genuinely got me. Hard dance that remembers the human...
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