Threw this on while cooking and nearly let dinner burn, standing dead still in the middle of the kitchen. Moscow Drive is the melodic, rolling end of drum and bass, the stuff that moves fast and somehow still feels wide open rather than frantic. Dawn Wall have a real knack for this, writing DnB that keeps the genre’s forward energy while leaving actual room to breathe, pads and a proper chord progression sitting under drums that never stop rolling. It has that specific quality of good driving music even though the title already hands you the game, the sensation of covering a lot of ground with the window down and nothing urgent waiting at the far end. There is a warmth in the low end that keeps the whole thing from going cold the way a lot of technical DnB eventually does. By the second pass I had stopped cooking...
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October 24, 2026 at 7:05 PM 1 min read
Dawn Wall - Moscow Drive
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October 24, 2026 at 4:11 PM 1 min read
Simon Gregory - Luminosity
Read more . . . →Driving home at midnight with nothing on the road, this came up on shuffle and the empty highway suddenly had a score. Luminosity is the prettier, less aggressive side of what Simon Gregory does, more float than punch, built around a piano figure that keeps circling back like it forgot where it parked. The drop is restrained for trance, trading the usual supersaw wall for something closer to a lullaby with a pulse. There is a vocal chop buried in the second half, wordless and high, that I keep mishearing as somebody calling a name. It stays close to the ground the whole way through and never once lunges for the rafters, which is rarer than it should be in this genre. Some nights you want a melody that sounds like the end credits of a film you half remember, and this is pitched exactly at that feeling. I have...
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October 24, 2026 at 3:26 PM 1 min read
Locked Out
Read more . . . →You used to just have a key. Soaked through, standing on his own front porch, staring at a door that used to let him in. Where the doorknob should be there’s a massive blue SUBSCRIBE button. The porch light is on. His stuff is in there. His couch, his bed, his dry clothes. All behind a paywall that wasn’t there yesterday morning. The subscription model has eaten software, music, newspapers, fitness, and now, apparently, shelter. He can’t even be mad at the right person because there is no person, just a button and a terms of service update he didn’t read. Somewhere a product manager is calling this “frictionless onboarding.” The rain is getting worse and the button does not care.
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October 24, 2026 at 2:22 PM 1 min read
Blooom & Duskee - LOCKDOWN
Read more . . . →If you have followed UK drum and bass for any length of time you already know Duskee’s voice, that unmistakable bark that has been cutting through tracks for years, and LOCKDOWN is a reminder of why producers keep calling him back. Blooom handles the production and keeps it tight and modern, drums snapping hard underneath a bassline that stays mean without ever tipping into cartoon jump-up. Duskee is the reason the whole thing lands though. His delivery carries the urgency the title promises, half warning and half invitation, dragging the track up a level it would not reach on the instrumental alone. Most vocal DnB buries the voice somewhere under the drop and hopes nobody notices. This one builds the drop around the voice and lets him run the room. It is short and it hits exactly as hard as it intends to, then clears out before you have any...
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October 24, 2026 at 12:31 PM 1 min read
Lateral - On Fire
Read more . . . →The breakdown at 1:48 is the best thing here: everything drops to a single reverbed vocal and a sub that hums like a fridge in an empty flat, and for about eight bars On Fire is genuinely tense. Then the drop lands and it is fine. That is the honest verdict. Lateral can obviously build a moment, but this one spends its good idea early and coasts the back half on a bassline I have heard a hundred times on Viper this year. It is competent dancefloor DnB that will do real damage in a set and then evaporate by the taxi home. The vocal is the problem and the appeal at once, a soulful one-liner looped until it stops meaning anything at all. I kept waiting for the track to do something as interesting as its own intro and it never circled back. If you only hear one Lateral...
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October 24, 2026 at 10:42 AM 1 min read
Benny L - Revenge
Read more . . . →Benny L does not make subtle records and Revenge is not where he suddenly started trying. This is roller DnB with the gain shoved deep into the red, the kind of tune built to detonate a sweaty room at 2am instead of soundtracking anyone’s commute. He has been one of the most dependable names in heavy drum and bass for years now, the producer you book when you need a floor to lose its mind on cue, and this is him doing precisely that with zero apology attached. The bassline is ignorant in the best British sense of that word, all attitude and no manners, snapping back on the beat like it has the exact grudge the title promised. Nothing clever is hiding in here and it would be insulted if you went looking. It is a weapon and it knows which end to point at the crowd. Load it...
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October 24, 2026 at 6:39 AM 1 min read
Wouter S, No Boundariez - Stutter (VIP)
Read more . . . →This one made me grin like an idiot on the first bar, which almost never happens before coffee. Stutter in its VIP form is bass house with the safety off, a Heldeep collaboration between Wouter S and No Boundariez that takes a simple vocal stab and mangles it into a rhythmic gremlin. The whole hook is the title made literal: the voice stutters, catches and trips over itself until the drop turns the glitch into the groove. It is loud and a bit stupid and completely sure of itself, which is a combination I will defend to anyone. The VIP tag usually means a producer polishing an old idea into something safer, but here it reads more like they finally let the track off the leash. There is a sub wobble under the second drop that I felt in the floorboards through cheap laptop speakers, which is its own kind...
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October 24, 2026 at 6:14 AM
1 min read
15 Years of Mylo Xyloto: Still Sucks
Read more . . . →15 years ago today, Coldplay released Mylo Xyloto. It still sucks. The title sounds like what happens when you pass out on your keyboard, which is appropriate because that’s exactly what the music does to people. This was the record where Chris Martin decided stadium pop needed a Rihanna feature and a concept album about a dystopian love story. Nobody asked for either, and everyone got both. They turned “Paradise” into a ringtone that colonized every shopping mall on earth for two straight years. The whole thing reads like George Orwell filtered through a Hallmark card and set to the tempo of a pharmaceutical commercial. Every critic at the time praised its “ambition,” a word that here means “expensive and loud.” Fifteen years on, it remains the most expensive-sounding album that says absolutely nothing. Here’s what you should listen to instead: SBTRKT ft. Little Dragon - Wildfire - Everything the...
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October 23, 2026 at 11:38 PM 1 min read
Wingz - Encounter
Read more . . . →There is a moment at 1:12 where the whole track inhales, every element cutting out except a single rising tone, and when it slams back in Encounter stops being a track and becomes a physical event. Wingz has been one of the more interesting names in UK dubstep for a while, the sort who treats sound design like a sculpture rather than a weapon rack, and this is him flexing properly. The bass does not just wobble, it articulates, bending into shapes that almost sound like speech if speech were made of tar. The arrangement is patient and deliberate, a slow walk toward the cliff before it pushes you off. What I respect most is that it never gets cheap. There are no dropped-in meme samples, no screaming for your attention, just a producer trusting that heavy and strange is enough on its own. By the third listen I was...
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October 23, 2026 at 6:40 PM 1 min read
ATLiens & GG Magree - Black Sheep (Usaybflow Remix)
Read more . . . →A good remix picks one thing in the original and decides that thing is the entire point, and Usaybflow heard the aggression in Black Sheep and threw the rest overboard. The original ATLiens and GG Magree cut already had plenty of weight, that ancient-aliens dubstep sound the duo have built a whole mythology around, but this version strips the mysticism back and goes straight for the throat. GG Magree’s vocal is the anchor, pitched and chopped into something colder than the take she first sang, a taunt with the warmth scrubbed out. Usaybflow builds the drop around sheer pressure, the sort of bass that feels less like a sound and more like a shift in the weather of the room. I have a soft spot for the ATLiens universe, all pyramids and third eyes and extremely serious lore, so it is genuinely fun to hear someone haul a track out...
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