“L.O.I.S.” comes screaming out of the gate at a tempo that dares you to keep up, all revving synth stabs and a kick that could pace a marathon. This is trance in its rowdiest, least tasteful mode, closer to the sweaty back corner of a festival tent than any candlelit Anjuna moment, and it’s better for that. The 909 Racing Team name is honest branding: the whole thing feels like a lap counter ticking down, tension winding tighter and tighter until the breakdown finally lets go around the two-minute mark. When it does, it’s pure serotonin, a supersaw lead so bright it borders on cheesy, saved entirely by how hard the drums are hammering behind it. I don’t reach for uplifting trance often but the sheer commitment on display here wore me down fast. There’s no irony in it, no wink, just full-throttle Eurotrance played completely straight. Ridiculous in exactly...
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July 13, 2026 at 2:15 PM 1 min read
909 RACING TEAM x DJ Melvin - L.O.I.S.
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July 13, 2026 at 2:00 PM 3 min read
Aphex Twin for Beginners (Yes, Start Here)
Where to start with Aphex Twin? Skip the dare-you records. Begin with Selected Ambient Works 85-92, then Richard D. James Album. Start pretty, the terror waits.Read more . . . →Subscribe →Weekly digestSundays. One email. Zero ballads from white guys in beanies. -
July 13, 2026 at 9:32 AM 1 min read
2frers - FLIRT LIGHTS
Read more . . . →“FLIRT LIGHTS” sounds like a strip of neon bar signage came to life and started flirting with you, which is roughly the energy 2frers are going for. It’s a bouncy, cocky bit of bass house, the kind of track engineered for that exact 1am club moment when everyone’s suddenly a little braver than they were an hour earlier. The lead synth has this pitchy, talky quality that almost forms words without ever committing to one, and it worms into your skull fast. Around the 1:30 mark the whole thing strips back to just a sub and a clap and lets the groove breathe for a bar before piling back in. It’s daft fun with actual craft under the hood, which is a rarer combination than the streaming-farm sound usually suggests. I don’t know a single thing about these two and the track told me everything I needed to anyway. Not...
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July 13, 2026 at 8:56 AM
2 min read
This Week on coldplaysucks — July 5–12
Read more . . . →Sixty-odd tracks went up over the last week and the house crowd quietly ran the table, though drum and bass and dubstep were right behind it swinging. The recurring theme was old songs getting dragged somewhere they didn’t ask to go: a 1997 trance anthem turned into a trap crime scene, a 1972 afrobeat staple rebuilt as a peak-time house workout, and Vicetone’s “Nevada” flipped twice by two different people in the same seven days. If you like a producer robbing the past and getting away with it, this was your week. Track of the Week Da Hool - Meet Her at the Loveparade (Hex Cougar Remix) “Meet Her at the Loveparade” is older than a chunk of the people who’ll hear this, and Hex Cougar leaves that famous riff almost untouched — dun, dun-dun-dun — right up until 1:22, when the drop opens underneath it like a garbage truck...
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July 13, 2026 at 7:06 AM
2 min read
Microsoft Fired the People Who Make Your Games. On a Three-Minute Call.
Read more . . . →Microsoft just deleted roughly 3,200 jobs out of Xbox — about a fifth of the whole division — closed or spun off a handful of studios, and in Montreal it fired a dozen unionized developers at Bethesda over a three-minute video call where they weren’t allowed to ask a single question. Sit with that for a second. Not the 3,200. The three. The people who built the worlds a lot of us disappeared into for a thousand hours — Doom, Fallout, the games that got some of us through a couple of bad winters — got less time to absorb losing their careers than it takes to sit through a loading screen. The union that represents them, CWA Canada, put it plainly: used, abused, and discarded. The workers there have their own name for it now — the stressful annual routine — because this happens every summer, like weather. Now...
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July 12, 2026 at 9:33 AM 1 min read
Five days to Tomorrowland: the anthems doing laps in your head
Read more . . . →Five days out. This is the part of the run-up where the packing lists appear and the Mainstage anthems start doing laps in your head at 3am. Two records built for the exact moment the fireworks go off over the castle: 1. Hardwell - Spaceman The 2012 anthem that basically invented the modern Tomorrowland mainstage drop. That siren lead is pure adrenaline and the build is engineered to launch an entire field off the ground on the same beat. Hardwell is back on the bill this year stepping in for Guetta on the second Friday, and this is the one the crowd will demand. 2. Martin Garrix & Bebe Rexha - In the Name of Love Garrix’s pivot from festival firework to actual songwriting, and the moment his sets stopped being only about drops. That chorus is enormous and slightly sad, which is exactly why it works at the end...
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July 12, 2026 at 7:31 AM
2 min read
This Week on coldplaysucks — July 5–12
Read more . . . →Sixty-odd tracks went up over the last week and the house crowd quietly ran the table, though drum and bass and dubstep were right behind it swinging. The recurring theme was old songs getting dragged somewhere they didn’t ask to go: a 1997 trance anthem turned into a trap crime scene, a 1972 afrobeat staple rebuilt as a peak-time house workout, and Vicetone’s “Nevada” flipped twice by two different people in the same seven days. If you like a producer robbing the past and getting away with it, this was your week. Track of the Week Da Hool - Meet Her at the Loveparade (Hex Cougar Remix) “Meet Her at the Loveparade” is older than a chunk of the people who’ll hear this, and Hex Cougar leaves that famous riff almost untouched — dun, dun-dun-dun — right up until 1:22, when the drop opens underneath it like a garbage truck...
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July 12, 2026 at 7:27 AM
1 min read
They're Boiling You Slowly So You Don't Notice
Read more . . . →The New York Fed just described, in polite economist language, a scam being run on you in real time. Companies are done eating Trump’s tariffs. They’re passing the cost to you — but not all at once, because a sudden jump would make you angry and paying attention. Instead they’re doing it a few cents at a time, month after month, a strategy the Fed’s own people call “trickle up.” Corporate America has a friendlier name for it internally: boil the frog. Turn the heat up so gradually the frog never jumps out of the pot. You’re the frog. The pot is your grocery bill. Here’s the part that should end the argument. Nearly 90% of the tariff cost last year landed on American companies and shoppers, not the foreign countries Trump swore would pay. And the burden isn’t even split evenly — the poorest fifth of households got hit...
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July 11, 2026 at 8:47 PM 1 min read
XIRA - Feel (J Ribbon Remix)
Read more . . . →That voice, XIRA’s, all breath and ache, is the kind of thing Anjunabeats built an empire on, and J Ribbon’s remix knows it, keeping her front and center while rebuilding everything underneath. Feel gets pulled toward the proggier, driving end of trance here: a rolling bassline under a breakdown that goes properly euphoric around 2:15 before the beat crashes back in and resets your pulse. Anjuna remixes can tip into formula, the same emotional-build-to-big-drop template stamped over and over until you can predict every move, but this one has a bassline with enough character to carry the between-sections stretches that usually sag. XIRA’s voice does the heavy lifting and the production has the good sense to trust it rather than pile synths on top. It’s music for one specific feeling, that overwhelmed, slightly teary moment when a set peaks and you briefly forget you have a body. It hits that...
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July 11, 2026 at 5:20 PM 1 min read
Vluarr - Steppin'
Read more . . . →The vocal chop in Steppin’ hits like a hiccup on the offbeat and immediately makes the track impossible to sit still through. Vluarr works the bass-house end of things, and this is a lean, mean little groove: no wasted sounds, just a bouncing bassline, that stuttered vocal, and a drop at 1:00 that arrives fast and gets straight to business. House this functional can feel anonymous, faceless festival filler you forget by the next track, but Steppin’ has enough personality in that one hook to actually stand out on a big system. It’s built for a specific job, making a room move at midnight, and it does that job without a wasted second or a breakdown nobody asked for. I appreciate a producer who knows exactly what a track is for and refuses to pad it out chasing some emotional moment the song was never about. Three minutes of pure...
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