There is a vocal hook here, pitched and chopped into a single hiccuping phrase, that lodges itself in about four bars and refuses to leave for the rest of the day. 4Get The Girl is a Route 94 track handed to GUDFELLA and Jackie Hollander for a remix, and they have done the smart thing of keeping the bones and swapping the muscle. If the name Route 94 only rings a bell because of My Love, the Jess Glynne monster that sat at number one for weeks back in 2014, that is fair, but he has always been a deep-house producer first and a chart accident second. The remix drags the track toward the grimier, bass-forward end of the Defected catalogue. The low end is the whole event, a rubbery bassline with real heft that does not so much play notes as shove them. The kick has a strut to...
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October 16, 2026 at 4:49 PM 1 min read
Route 94 - 4Get The Girl (GUDFELLA & Jackie Hollander Remix)
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October 16, 2026 at 4:40 PM
4 min read
Fred again.. and the voice-note sound that changed dance music
Fred again.. turned voicemails and internet clips into the biggest dance records of the decade. How the voice-note trick made house music confessional.Read more . . . →Subscribe →Weekly digestSundays. One email. Zero ballads from white guys in beanies. -
October 16, 2026 at 3:19 PM 1 min read
One Lever
Read more . . . →He showed up early to avoid the line. There was no line. One booth, one lever, bold text: MORE OF THE SAME. The man in the baseball cap and navy fleece is standing at it like someone who takes this seriously, which somehow makes it worse. The lever is a heavy industrial switch, the kind that implies something consequential happens when you pull it. Nothing consequential happens when you pull it. Democracy as a carnival game where every ring lands on the same bottle. He’ll pull it anyway. Everyone always does.
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October 16, 2026 at 2:15 PM 1 min read
zero point & Nyrus - Never
Read more . . . →How did a track this heavy end up with a title this resigned? Never reads like a breakup text and hits like a demolition order, and that gap is what keeps pulling me back to it. This is zero point and Nyrus on Monstercat, two names newer than the label’s old guard, working the melodic dubstep lane where a big weepy vocal build gets paid off with a drop that tries to flatten the building. On paper that formula is exhausted, run into the ground by a decade of festival dubstep chasing the same catharsis. What saves this one is the sound design on the drop, a growl that keeps mutating instead of repeating, folding into a new ugly shape every couple of bars so your ear never gets comfortable. zero point has talked about starting out trying to copy Skrillex, and you can hear that lineage, the same glee...
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October 16, 2026 at 12:24 PM 1 min read
Pirapus - Dance Disruptor
Read more . . . →This goes absolutely feral and I mean that with affection. Dance Disruptor is a Monstercat release that lives all the way up to its all-caps title, a bass track that spends its first minute pretending to be restrained and then detonates around the 1:10 mark into a drop with teeth. Pirapus runs in the Monstercat orbit, a label that has always prized sound design over star power, and this track leans all the way into that. The lead sounds like a modem having a breakdown, snapping between notes with a nasty digital bite. There is a half-time switch in the back half that drops the whole thing into slow motion before winding it back up to full speed. It is maximal in the way the label’s bass output tends to be, every frequency fighting for room, and it mostly wins that fight. A couple of the transitions feel a touch...
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October 16, 2026 at 9:32 AM 1 min read
ATLiens & GG Magree - Black Sheep (Blankface Remix)
Read more . . . →There is a detune on the main bass that makes the whole thing sound slightly seasick, and it is the best decision on the record. This is the Blankface take on ATLiens and GG Magree’s Black Sheep, the second remix of the tune to land on Monstercat in a week, and it goes the scrappier way: more swing, more grime under the fingernails, a drop that lurches and drags rather than marching cleanly. GG Magree’s vocal gets chopped harder here, syllables flicked around like percussion until the hook is nearly an instrument of its own. Blankface built a name on exactly this swung, head-nod style of dubstep, and the original’s emotional core survives the rough handling better than I expected. Hearing the same song pulled two different ways inside seven days is a decent argument for the remix as an art form all its own. This is the one I...
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October 16, 2026 at 7:15 AM
1 min read
The Crowd Cheered
Read more . . . →The President of the United States stood in Bullhead City, Arizona, on Wednesday and told a rally that people who leak information to the press should be shot. His exact words: “In my opinion, leakers should be shot.” The crowd cheered. He called them “the scum of the earth” for good measure. This was a campaign rally. On camera. Into a microphone. The man running a midterm blitz to protect his Congressional majority said the appropriate punishment for talking to a reporter is death, and said it out loud to applause. This is the same week his Defense Secretary floated livestreaming a firing squad execution. “Shoot the people who embarrass me” at a campaign rally three weeks before an election is a new floor. The message is for the press: this is what you deserve for printing things I don’t like. And ten thousand people in Arizona clapped.
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October 15, 2026 at 9:25 PM 1 min read
Moyo - Catch Me
Read more . . . →You have heard a hundred tracks shaped like Catch Me, and Moyo clearly knows it, so the whole game is in the details. This is melodic NCS electronic music with a vocal-led build and a drop that reaches straight for the heart, familiar bones dressed with real care. The vocal sits high and a little fragile, the kind of topline built to soundtrack someone staring meaningfully out a train window. Where it earns its keep is the drop, which swaps the expected supersaw scream for a chunkier future-bass synth with actual low-end muscle. There is a rhythmic stutter on the lead in the second half that hands the back end a wrinkle the first drop lacks. Moyo is paying attention to the small stuff, the transitions clean, the mix roomy, nothing shoved where it does not fit. It goes down easy without insulting you, three minutes of well-built melodic electronic...
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October 15, 2026 at 3:39 PM 1 min read
Kevin D'Angello - Dirty Bitch
Read more . . . →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 3:30 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 . . . →Get the tee →Support the blogShips in 3–5 days. The outrage ships immediately.
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