Put this on at the gym and ended up doing an extra set I hadn’t scheduled. Believe In is unapologetic uplifting trance, the genre everyone insists died in 2008 and that keeps selling out arenas anyway. Caroline Roxy delivers exactly the soaring, slightly corny vocal this music demands, and the moment the supersaw lead kicks in you either surrender or you were never the right audience for it. There’s a breakdown that strips right back to piano and voice for a long stretch, long enough that you start to miss the kick, and then it returns like a wave you watched building from a mile off. Anyone going by Trancemaster Krause has clearly decided exactly what he is in this life, and I respect the total commitment. It’s euphoric in a slightly embarrassing, completely effective way, roughly the musical equivalent of a hug from someone much taller than you. I...
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September 24, 2026 at 3:39 PM 1 min read
LAWTON, Trancemaster Krause & Caroline Roxy - Believe In
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September 24, 2026 at 2:09 PM 1 min read
Equal Footing
Read more . . . →The guy on the left isn’t faster. His lane is. Same track, same distance. One runner is standing on a conveyor belt doing the work for him. The other is ankle-deep in sand and losing ground with every stride. Nobody built the sand lane by accident.
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September 24, 2026 at 1:41 PM 1 min read
Zeds Dead - The Return
Read more . . . →I had this on in the car and missed my exit, which is the most honest review I can give The Return. Zeds Dead pitched this one darker and more purposeful than a lot of what floats out of the bass scene right now, all forward momentum and a bassline that stalks the low end. The title fits the mood: it sounds like a track built for a comeback, the lights-down moment in a set when the crowd has been softened up and it’s time to remind them why they came. The drums hit with real intent, no clutter, every element earning its slot. There’s a rising synth line under the second drop that keeps climbing past where you expect it to resolve, and that refusal to land tightens the whole thing like a held breath. It’s less playful than the other stuff they’ve been putting out and better for...
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September 24, 2026 at 11:14 AM 1 min read
Koven - juST to breAThE
Read more . . . →If you gave up on melodic dnb because it all started sounding like trailer music, Koven are the reason to come back. juST to breAThE has Katie Boyle doing the thing almost nobody in this lane manages, singing an actual song with a melody you could hum, over drums that still hit like drums. The production is glossy in a way that would sink a weaker song and instead just makes this one gleam. There’s a half-time section in the middle where everything falls away to the vocal and a single sub note, and the hold before the last drop stretches long enough to make you genuinely nervous. Boyle and Rowat have been at this for years, and the songwriting has gotten sharper while everyone else was busy watching the drops. The stylised capital letters in the title are annoying, and I will allow it, because the track earns a...
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September 24, 2026 at 7:49 AM 1 min read
Amelie Lens - the energy is us
Read more . . . →This is exactly what techno should do to a room. Amelie Lens became one of the biggest names in techno by keeping things relentless and physical, and the energy is us is peak Lens: a driving four-to-the-floor pulse, a hypnotic vocal loop, and a build that keeps tightening until something has to give. Her whole appeal is that she doesn’t overthink it, she locks a groove and rides it, trusting repetition and pressure to do what a hundred fussy edits can’t. That sounds simple and it absolutely isn’t, because holding a room on almost nothing for six minutes is the hardest thing this music asks, and most reach for a melodic crutch long before she does. The vocal, chanting the title, works like a mantra, the sort of phrase that stops meaning anything and starts meaning everything around the fortieth loop at 4am. The kick is enormous and unfussy, the...
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September 24, 2026 at 7:14 AM
1 min read
My Universe Turns Five. BTS Deserved Better.
Read more . . . →Five years ago today, Coldplay released “My Universe” with BTS. It still sucks. Coldplay looked at their declining chart position, looked at the biggest pop act on the planet, and decided to hitch a ride. The result hit number one on the Hot 100 and not one person could hum the chorus a week later. “You are my universe.” That’s the hook. The entire hook. Eleven men across two continents on a Zoom call decided that was the lyric worth building a single around. A fridge magnet poetry kit does better work with the vowels removed. BTS carried this so hard they should bill Coldplay for physiotherapy. The Korean verses are the only interesting thirty seconds on the whole track, and Chris Martin didn’t write them, which tells you everything. Martin singing phonetic Korean was the most effort he’d put into a performance since Viva la Vida, and it still...
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September 23, 2026 at 8:15 PM 1 min read
jonty - fired up
Read more . . . →You already know the exact function of an NCS track, and jonty knows it too, which is why fired up doesn’t waste a second pretending to be anything else. It’s built for a hard workout, a rage clip, a 3am coding sprint, and it commits to that job with admirable tunnel vision. The drop is a blast of distorted bass under a lead that sounds like a car alarm having the time of its life. There’s a vocal shout buried in the build that basically just yells the title at you, and somewhere in the second half a filter cracks open and the whole thing gets even more obnoxious in the best possible way. NCS gets written off as background music for Minecraft videos, and the production floor over there has climbed anyway. fired up is tighter and meaner than the label’s reputation would ever lead you to expect. This...
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September 23, 2026 at 4:11 PM 1 min read
Boxplot & Kintsuku - From The Start
Read more . . . →Three minutes in I’d already texted this to someone, which is the fastest a track has cleared that bar in a while. From The Start is drum and bass with its heart fully exposed, a Boxplot and Kintsuku collaboration that goes straight for the melodic jugular. The vocal hook lodges instantly, simple enough to sing back on first listen, and the pair build the whole track around getting you there fast. The drums are crisp and forward, the bass melodic without turning to mush, and a bright synth lead in the second half tips the thing into full hands-in-the-air euphoria. This is festival-field drum and bass, unashamed and grinning, the kind of tune designed to make a crowd of thousands do the same dumb happy thing at once. The collaboration reads like two producers egging each other toward something bigger than either would try solo, each one raising the other’s...
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September 23, 2026 at 3:32 PM 1 min read
![[IVY] - Lose It All (feat. Kaya Vitalis)](//coldplaysucks.com/cdn/shop/articles/maxresdefault_df5dfb7b-2f11-4b95-bf5d-41bfce8f539f.jpg?v=1789881852&width=700)
[IVY] - Lose It All (feat. Kaya Vitalis)
Read more . . . →First proper earworm I’ve caught off Monstercat in a minute. Lose It All runs a big pop-leaning topline from Kaya Vitalis straight into a drum and bass drop that’s heavier than the vocal ever lets on, and that collision is the entire appeal. Vitalis has one of those voices that can go from fragile to belting inside a single line, and [IVY] wisely just steps aside and lets her carry the front half. Then the drop lands and the whole mood flips from bedroom to warehouse without losing the melody on the way. It’s the Monstercat house style done well: clean, bright, engineered within an inch of its life, but with a real song holding it together instead of a placeholder hook. There’s a little vocal chop in the second drop that pitches Vitalis up into something almost cartoonish, and it has no business working as well as it does....
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September 23, 2026 at 2:47 PM 1 min read
Content Warning
Read more . . . →The librarian is losing. She’s been losing since 2016. He’s in a full inflatable dinosaur suit, screaming at a phone on a tripod between the shelves. Her badge says LIBRARIAN but her face says she has thought about this man every night for a week. Public space stopped being public the moment somebody realized it had good lighting.
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![[IVY] - Lose It All (feat. Kaya Vitalis)](http://coldplaysucks.com/cdn/shop/articles/maxresdefault_df5dfb7b-2f11-4b95-bf5d-41bfce8f539f.jpg?v=1789881852&width=700)
