The vocal hook on “Up” is engineered to be lodged in your skull by the second chorus, and it succeeds, for better and for worse. Andromedik and Teddy Bee work the bright, festival-facing, radio-ready end of drum and bass, clean production and big uplifting drops and a topline built for a crowd to sing back. “Up” does all of that with real efficiency: the drums roll, the bass hits punchy without ever being challenging, and the vocal soars in exactly on cue. It is the kind of dnb that pulls gateway-drug duty, the track you put on for a friend who swears they do not like drum and bass. Whether it holds up past a few weeks is a separate question. It is a touch frictionless for me, a little too eager to please, and I suspect I will have forgotten the verses by next month even while the hook...
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August 17, 2026 at 6:40 PM 1 min read
Andromedik & Teddy Bee - Up
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August 17, 2026 at 2:15 PM 1 min read
DENIAL - Nutcase (Mark Eteson Remix)
Read more . . . →Mark Eteson found the industrial skeleton hiding inside “Nutcase” and stripped the rest away. The original was already a nervy little techno cut, but this remix slows the pulse and lets the kick do the intimidating, four-on-the-floor with a physical weight you feel in your sternum on a proper system. Everything is greyer here, more concrete and rebar, the melody reduced to a single acid line that coils around the beat and refuses to resolve. About two-thirds of the way through it drops to almost nothing, just that acid and a hi-hat ticking like a countdown, before the low end folds back in and the whole room tilts. That patience is what makes it land. A lesser remix would have kept hammering from the first bar and worn you out by the halfway point. DENIAL has been sharpening this exact strain of paranoid, functional techno for a while, and handing...
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August 17, 2026 at 2:00 PM 4 min read
Future Bass, Explained (Before It Disappeared)
Future bass owned 2016 — that detuned, breathing supersaw chop. Here's what the genre actually was, who built it (Flume, Cashmere Cat), and why it vanished.Read more . . . →Subscribe →Weekly digestWhat you missed this week, minus the corporate emo. -
August 17, 2026 at 11:10 AM
1 min read
Five Records the Playlist Editors Missed
Read more . . . →How many of the 2026 releases in your library actually got finished? The full album, the whole EP, side B included. Summer buried some of the best electronic records of the year under festival playlists and seasonal mood tags, and five of them deserve better. 1. Joris Voorn - Horizon (Melatonin Version) Voorn premiered his ambient album Melatonin in a 360-degree planetarium in Amsterdam for an audience of 320. A nice stunt. The record is better than the stunt. This version of Horizon strips everything to pads and a pulse that barely qualifies as a beat — about four minutes of your nervous system deciding it can trust the room. I put it on as background and it refused to stay there. 2. Enrico Sangiuliano - Step Into The End Ten minutes long and the kick doesn’t arrive until the violin says so. The final release on Sangiuliano’s NINETOZERO label...
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August 17, 2026 at 9:32 AM 1 min read
BlackGummy - Euphoria (FRANK (UK) & SHAW Remix)
Read more . . . →How many times can a producer name a track “Euphoria” before the word just gives up? FRANK (UK) and SHAW make a decent case for one more go. Their remix of BlackGummy’s cut is trancey progressive house in the old hands-in-the-air sense, and it commits to that with zero irony anywhere in sight. The build runs long, maybe too long if you have no patience, stacking supersaw layers until the release finally lands and hits like the first cold drink after a genuinely brutal day. It is shameless, which is exactly why it works. The lead is bright to the point of blinding and the breakdown milks one held piano chord for everything it is worth. FRANK and SHAW obviously grew up on this sound and refuse to be embarrassed by any of it, and you can hear that conviction in how hard the drop swings when it arrives. The...
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August 17, 2026 at 6:13 AM
1 min read
Seventeen Said It Out Loud
Read more . . . →Seventeen Conservative MPs told CTV, off the record, that they don’t think Pierre Poilievre can beat Mark Carney. Not two backbenchers griping into a pint glass. Seventeen elected members of his own caucus, speaking to a camera crew, saying out loud what the polling has been screaming since spring: the man is underwater. His favourability sits at 34 percent. His unfavourability is 52. Carney leads him on every single policy question pollsters can think to ask — cost of living, housing, trade, health care — by gaps of nine to fourteen points. The Liberals are up 43 to 34 nationally. These are not close numbers being spun by a hostile press. These are numbers that make campaign managers update their LinkedIn. Poilievre’s response was to tell his caucus they should “fight for Canadians.” Which is what every politician says when they have nothing left to say. His strongest defenders are...
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August 16, 2026 at 8:08 AM
3 min read
This Week on coldplaysucks — Aug 10–16
Read more . . . →Eighteen tracks dropped and every single one landed on Saturday. DnB brought actual names, dubstep got genuinely strange in the right direction, and two separate DENIAL cuts proved that techno built on one bullied note can be the scariest thing in any room. Quiet week on paper. Loud week on speakers. Track of the Week Andy C - Come Together (ft. Mali Koa) Andy C made a vocal drum and bass record that sounds like it was designed to detonate forty thousand people at dusk, and it does not miss. Mali Koa sings it like a real vocalist, not a topline hired by the hour, and the drop has just enough grit in the bassline to stop the whole thing from tipping into an advert. This is going to be everywhere by September, and for once the ubiquity will be completely earned. Listen → The New Drops DnB (4 posts)...
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August 16, 2026 at 7:20 AM
3 min read
This Week on coldplaysucks — Aug 10–16
Read more . . . →Eighteen tracks dropped and every single one landed on Saturday. DnB brought actual names, dubstep got genuinely strange in the right direction, and two separate DENIAL cuts proved that techno built on one bullied note can be the scariest thing in any room. Quiet week on paper. Loud week on speakers. Track of the Week Andy C - Come Together (ft. Mali Koa) Andy C made a vocal drum and bass record that sounds like it was designed to detonate forty thousand people at dusk, and it does not miss. Mali Koa sings it like a real vocalist, not a topline hired by the hour, and the drop has just enough grit in the bassline to stop the whole thing from tipping into an advert. This is going to be everywhere by September, and for once the ubiquity will be completely earned. Listen → The New Drops DnB (4 posts)...
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August 16, 2026 at 6:07 AM
1 min read
312 to 1 and Nobody Blinked
Read more . . . →The AFL-CIO dropped its annual number this week: 312. That’s how many times the average S&P 500 CEO out-earned the median American worker last year. It was 285 the year before. Average package: $22.8 million. Average worker: $73,000. One of these people sat in meetings. The other one did the work those meetings were about. CEO pay went up 21% in a single year while the people who generate the revenue got whatever their annual review felt like giving them. Then there’s Musk, who broke the spreadsheet entirely. His Tesla comp package was $158 billion — fourteen times the total pay of every other S&P 500 CEO combined. All 499 of them could pool their checks and his pile would still be fourteen of theirs. A court blocked it. He got it anyway. Tesla’s board called it alignment of incentives. The incentive, apparently, is to never stop. Nobody stocking shelves...
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August 15, 2026 at 7:10 AM 1 min read
The Second Voice - LET ME BE (Hypaton Remix)
Read more . . . →Give this one about ninety seconds before you write it off. “LET ME BE” opens like standard melodic-dance filler, pretty vocal, big supersaw chords, the sort of thing scoring a phone ad, and then the Hypaton remix earns its keep at the drop, which is meaner and more mechanical than the intro lets on. Hypaton has a knack for taking euphoric source material and bolting a harder, almost tech-leaning spine underneath it, and that’s exactly the move here. The vocal stays emotive up top while the bottom half turns into a proper stomping groove, and the tension between those halves is the reason to stick around. On its own the topline would be forgettable. The remix is what makes it a club record. The drop has a genuine snap that got my head nodding before I’d decided whether I liked it, which is the most honest endorsement I’ve got. Better...
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