Feed Me. Jon Gooch has been making that grinning, cartoon-menace bass sound for over a decade and “Bad Taste” is him leaning all the way into it. The lead synth on the first drop sounds like a dial-up modem being tortured, and I mean that as the highest compliment. There’s a swing to the drums that most modern dubstep forgets about — it bounces instead of just stomping, which is the whole difference between something you headbang to and something you actually move to. About ninety seconds in the whole thing drops to almost nothing before the second half comes back nastier. I had it going while doing dishes and nearly dropped a plate at the switch-up. Gooch has never really chased trends; he just keeps refining this one deranged voice until it’s airtight. It doesn’t overstay either, in and out, no filler stretched to hit a runtime. This is...
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July 29, 2026 at 3:32 PM 1 min read
Feed Me - Bad Taste
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July 29, 2026 at 2:00 PM 5 min read
Four Tet: The Shapeshifter Who Never Misses
Where to start with Four Tet: Rounds, There Is Love in You, the Skrillex/Fred again.. MSG rave, and why Kieran Hebden's taste is the real product.Read more . . . →Subscribe →Weekly digestSundays. One email. Zero ballads from white guys in beanies. -
July 29, 2026 at 12:31 PM 1 min read
QZB & SOLAH - Into The Dark
Read more . . . →There’s a specific kind of drum and bass that only makes sense at 2am when the lights have gone properly blue, and Into The Dark is engineered for exactly that hour. QZB build the intro slow, all held breath and a SOLAH vocal that keeps threatening to resolve and won’t, and then the drop arrives as a rolling, mid-heavy thing that’s more menace than aggression. It’s not the surgical neurofunk QZB usually deal in. It’s cleaner, more designed for a big room than a basement. The bassline has a slight detune on it that makes the whole track feel like it’s leaning forward. I clocked the switch-up at 2:50 where the drums drop to half-time for four bars and then snap back, and that little breath is the best moment on here. Vocals in dnb are a gamble that pays off maybe a third of the time, and SOLAH’s is...
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July 29, 2026 at 11:07 AM 1 min read
Eelke Kleijn x Budakid feat. Nathan Nicholson - Another Life
Read more . . . →That opening synth arpeggio hooked me before the vocal even arrived. “Another Life” is progressive-trance-leaning melodic house from a genuinely top-tier pairing — Eelke Kleijn’s cinematic sensibility meeting Budakid’s deeper touch, with Nathan Nicholson’s vocal floating over the whole thing. It’s the kind of track that builds for a full four minutes and makes every second of that build feel earned rather than padded. The breakdown strips back to just voice and pads before the main melodic line comes surging back around 4:00, and that return is honest goosebump territory if you’re on the right system in the right mood. Kleijn has been operating at this level for years and never once seems to phone it in. This sits in the emotional, hands-in-the-air-but-eyes-closed lane, festival music for people who also cry a bit at festivals. The melody does the heavy lifting and it’s more than strong enough to carry everything...
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July 29, 2026 at 10:50 AM
2 min read
This Week on coldplaysucks — July 22–29
Read more . . . →Thirty-seven tracks landed across two drops this week, and house walked off with the belt: eleven of them, more than any other genre by a comfortable margin. Dubstep came in swinging right behind it, and drum and bass turned up smaller in number but bigger in impact — the two loudest records of the week both came out of that camp. If you skipped a day you missed a lot, so here’s the part worth catching up on. Track of the Week Camo & Krooked & Mefjus - Redemption Three of the most technical people in drum and bass got in one room and, against every instinct, left air in the track. Camo & Krooked bring the widescreen melody and Joe Killington’s ache-y vocal; Mefjus brings the metallic, engineering-degree bass that shows up in the drop and rearranges the room. They take turns instead of fighting, and the restraint is...
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July 29, 2026 at 10:15 AM
2 min read
This Week on coldplaysucks — July 22–29
Read more . . . →Thirty-seven tracks landed across two drops this week, and house walked off with the belt: eleven of them, more than any other genre by a comfortable margin. Dubstep came in swinging right behind it, and drum and bass turned up smaller in number but bigger in impact — the two loudest records of the week both came out of that camp. If you skipped a day you missed a lot, so here’s the part worth catching up on. Track of the Week Camo & Krooked & Mefjus - Redemption Three of the most technical people in drum and bass got in one room and, against every instinct, left air in the track. Camo & Krooked bring the widescreen melody and Joe Killington’s ache-y vocal; Mefjus brings the metallic, engineering-degree bass that shows up in the drop and rearranges the room. They take turns instead of fighting, and the restraint is...
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July 29, 2026 at 6:56 AM
1 min read
He Dug Up a 1930 Law to Put a 50% Tax on Hockey Sticks
Read more . . . →Trump found a tariff law from 1930 lying in a drawer and decided the real threat to America was hockey sticks. On August 19 a 50% tax lands on a stack of Canadian goods — wine, cement, dairy, furniture, wigs, and yes, hockey sticks — under Section 338 of the Tariff Act of 1930. That’s the same era of trade law that helped turn a stock crash into a decade of soup lines. He didn’t write new policy. He went to the attic, found the exact legal instrument that made the Great Depression worse, blew the dust off it, and pointed it at Ontario. The stated reason is that Canada “discriminates” against American products. What it actually accomplishes is nothing you can point to. No factory reopens in Ohio because a Canadian two-by-four costs more at the register. And Canada doesn’t pay this — you do. A tariff is a...
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July 29, 2026 at 6:39 AM 1 min read
NGHTMRE, Staysick - Chemicals
Read more . . . →From the first bar you can hear the sternum-rattle Chemicals was built for. This is big and weaponised and unapologetically maximal, a drop designed to be felt from forty rows back. NGHTMRE has been quiet-ish lately by his standards, and this feels like the guy remembering he helped define festival trap in the first place. Staysick’s vocal gives it a punk-adjacent snarl that pulls the track out of generic festival-trap territory and into something with real attitude. The build does the classic NGHTMRE move of promising one drop and delivering a harder one, and the fake-out at the first breakdown got me even though I’ve heard the trick a hundred times. What keeps it from being just noise is the groove: even at full aggression there’s a swing in the hats that makes it move rather than just detonate. The “chemicals” vocal chop on the second drop is the hook...
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July 28, 2026 at 11:38 PM 1 min read
Mojjo, No One Knows, SARRIA - Cash On Cash
Read more . . . →Some tech house is content to be wallpaper for a Saturday night and some of it actually grabs you by the collar. Cash On Cash is firmly the second kind. Three names on the credit and somehow it doesn’t sound like a track built by committee. It sounds mean and focused. The groove is driving and slightly darker than the Toolroom norm, with a bassline that stabs rather than rolls, and a vocal hook that repeats the title until it stops being words and becomes rhythm. There’s a filtered, almost industrial texture running through the drop that gives it an edge most tech house sands off. I clocked the bass switch at 2:30 where it drops an octave and the whole track suddenly feels twice as heavy, a small move with an outsized payoff. It’s built for the moment in a set where the DJ wants to twist the mood...
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July 28, 2026 at 7:05 PM 1 min read
Dubdogz, Voltech, Faiolli - California Dreamin'
Read more . . . →Flipping “California Dreamin’” is a high-risk move — the Mamas & the Papas original is so lodged in the collective memory that most dance edits end up sounding like karaoke with a kick drum bolted on. This one earns it. Dubdogz and company keep the melancholy of that famous melody fully intact and build a big, open-air drop around it that somehow never tramples the source material. The vocal chop lands right on the beat at 1:15 and the bass that answers it has real punch, that bouncy Brazilian-bass warmth made for festival fields at golden hour. It won’t change your life and isn’t pretending it will; it’s a well-built crowd-pleaser that does its one job cleanly and respects the song it’s borrowing from, which is more than most of these edits ever manage. I caught myself grinning at the drop, and grinning is the entire job of a track...
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