When did Fractures start making music this openly heartbroken? Block, subtitled ‘I’m not what you need’, is the kind of electronic-soul record that wears its sadness on the outside, all cracked falsetto and a beat that drags its feet on purpose. The Australian producer has always had a voice that sounds a little bruised, and here he leans all the way into it over production that stays deliberately sparse until it doesn’t. The drop, if you can even call it that, comes at 2:05 and it’s less a drop than a swell, the whole track blooming outward for about thirty seconds before folding back in on itself. I’ve listened to it three times and each time that swell got me a little worse. This is late-night music for people going through something, the sonic equivalent of a text you typed out and didn’t send. It won’t fill a dancefloor and...
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July 05, 2026 at 11:07 AM 1 min read
Fractures - Block (I'm not what you need)
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July 05, 2026 at 7:49 AM 1 min read
Above & Beyond - Major Drop (Extended Mix)
Read more . . . →Above & Beyond have been making grown adults cry on dancefloors for two decades, and Major Drop is them doing exactly what they’re best at with zero interest in reinventing anything. This is trance in its most emotionally direct form, all swelling chords and a build engineered to put a lump in your throat right before the release. The extended mix stretches everything out, giving the breakdown room to really sit in its feelings before the drop arrives like sunrise after a long night. Some people find this stuff impossibly corny and I understand why, but when you’re in the right headspace there’s nothing else that hits the same. The trio have a formula and they’ve earned the right to run it, because almost nobody else executes it with this much conviction. There’s a piano motif in the breakdown that’s pure Anjunabeats, the sound of a hundred thousand phone torches...
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July 05, 2026 at 7:33 AM
2 min read
This Week on coldplaysucks — June 28–July 5
Read more . . . →The low end ran the table this week — nine drum and bass tracks, seven dubstep, seven house of one flavour or another. Somewhere in the pile two ghosts from the ’90s wandered back onto the site: a Paul Oakenfold trance anthem from 1999 and a Detroit house record older than half the people who’ll dance to it. Good week to own a subwoofer. Bad week to have downstairs neighbours. Track of the Week Etherwood - Roam (ft. Lottie Jones) This is the liquid drum and bass that soundtracks the montage where the character finally sorts their life out — Lottie Jones’s vocal floating clean over a break that rolls like it’s got somewhere lovely to be. When the full thing kicks in around 1:30 it feels less like a drop and more like the sky clearing. Earnest to the bone and completely unbothered about being cool, which is exactly...
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July 05, 2026 at 7:05 AM
2 min read
This Week on coldplaysucks — June 28–July 5
Read more . . . →The low end ran the table this week — nine drum and bass tracks, seven dubstep, seven house of one flavour or another. Somewhere in the pile two ghosts from the ’90s wandered back onto the site: a Paul Oakenfold trance anthem from 1999 and a Detroit house record older than half the people who’ll dance to it. Good week to own a subwoofer. Bad week to have downstairs neighbours. Track of the Week Etherwood - Roam (ft. Lottie Jones) This is the liquid drum and bass that soundtracks the montage where the character finally sorts their life out — Lottie Jones’s vocal floating clean over a break that rolls like it’s got somewhere lovely to be. When the full thing kicks in around 1:30 it feels less like a drop and more like the sky clearing. Earnest to the bone and completely unbothered about being cool, which is exactly...
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July 05, 2026 at 6:47 AM
1 min read
You Pay $900 More So a Guy With Three Houses Can Pocket $66,000
Read more . . . →They finally put a number on it, and the number is $900. That’s what the middle 60 percent of American households will pay extra in 2026 once you add up Trump’s tariffs and the tax bill he signed — $900 out of your pocket, this year, for the crime of being in the middle. Now here’s where the $900 went. The richest one percent are getting an average net tax cut of $66,000. The top tenth of one percent — the yacht tier — clears roughly $200,000. So you handed over nine hundred bucks and a guy who owns three houses caught sixty-six grand. That’s not a side effect of the policy. That’s the policy. Somebody sat in a room and decided the arithmetic should run exactly this way, and then they called it a win for the working man. The machine underneath it is almost impressive in how brazen...
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July 04, 2026 at 7:05 PM 1 min read
Eptic - The End (WINK Remix)
Read more . . . →WINK took a track that was already mean and somehow found a way to make it meaner. The original End is an Eptic staple, but this remix rebuilds the drop from the ground up, and the payoff around 1:20 hits like a door slamming in an empty warehouse. There’s a metallic screech riding the second half that I keep flinching at even though I know it’s coming. I’ve had it on four times trying to work out how the low end sits so far forward without turning to mud, and I still can’t explain it. This is dubstep that doesn’t care about being pretty, which is exactly the point of the genre when it’s done right. The half-time switch never feels like a gimmick, just a gear the track was always going to reach. WINK has been sharpening this exact sound for a while and this feels like the version...
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July 04, 2026 at 4:11 PM 1 min read
ARTY x Laidback Luke feat. James Hersy - Lost In The Crowd
Read more . . . →You can hear a couple of decades of dance music shaking hands on Lost In The Crowd, and the handshake holds. ARTY brings the soaring progressive instinct he’s built a career on while Laidback Luke brings that old-school house weight, and James Hersy’s vocal ties it to something that could actually live on daytime radio. The result is warmer than I expected from a collaboration that on paper looks like a label trying to manufacture a crossover hit. The hook is genuinely sticky, the kind that’s still rattling around your head on the walk home long after you’ve forgotten whose party it was. I keep coming back to the way the second drop sneaks in a counter-melody that wasn’t there the first time, a small detail that rewards actually listening instead of half-hearing it as background. It’s unashamedly designed to make a big room feel like one organism, and it...
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July 04, 2026 at 2:22 PM 1 min read
Eliminate - Open Your Eyes (SLICK FLIP)
Read more . . . →That flip turns a track you’ve half-heard a hundred times into something that actually grabs you by the collar. Eliminate has been one of the more reliable names in the colour-bass and trap crossover for a while, and this SLICK FLIP of Open Your Eyes leans into everything that makes his stuff work: bright, almost cartoonish synth leads over a low end that means business. The drop at 1:08 is a wall of colour, the kind of maximal, saturated sound design that either delights you or gives you a headache with no middle ground. I’m firmly in the delighted camp. What sets Eliminate apart is the melody hiding inside the chaos, a genuinely catchy topline that survives being buried under all that bass. It’s trap for people who also secretly love pop hooks, and it commits to both halves of that identity without apologising. There’s a little vocal stutter right...
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July 04, 2026 at 12:31 PM 1 min read
Culture Shock - Feel Again
Read more . . . →The breakdown on Feel Again lands around 2:20 and it’s the part I keep rewinding, where Culture Shock strips the drums out entirely and lets the vocal hang in open air for a few bars before the second drop caves the floor in. He has been making this exact brand of melodic-but-muscular drum and bass for years, and it would be easy to take his consistency for granted until you hear someone else attempt it and fall flat. The 174 rolls here are clean without being polite, propulsive enough to wreck a Friday night and pretty enough that you could play it for someone who swears they don’t like DnB. That balance is the whole trick and almost nobody nails it as reliably as he does. The vocal is anthemic without tipping into cheese, which at festival scale is a genuine tightrope walk. I had it on during a late...
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July 04, 2026 at 10:42 AM 1 min read
Deadcrow & Caster - Euphoria
Read more . . . →The bass hit at the first drop physically moved the air in my room, which is about the highest praise I can give a trap tune. Euphoria pairs Deadcrow’s murky, half-time sensibility with Caster’s harder edge, and the result lands somewhere between a Trap Nation banger and something you’d hear in a much darker room. The name is a bit of a fake-out, because this isn’t euphoric so much as menacing, all detuned bass growls and a beat that stalks rather than bounces. The vocal chops are pitched into something almost ghostly, floating over the low end like they’re not sure they want to be there. At 1:35 the whole thing drops into double-time for about eight bars and it’s genuinely disorienting in the best way, like the track briefly forgot which genre it was. I’ve had the main drop on loop trying to figure out how the sub sits...
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