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    • 1 min read

      Uber Spent Its AI Budget on Robots, Then Fired the People

      Uber burned through its entire 2026 AI coding budget in four months. Engineers ran the tab up on Cursor and the rest until the CTO admitted he was back to the drawing board, because the money he thought would last a year was already gone by April. So the company capped each engineer at $1,500 a month for robot coders — and then, days later, cut 23% of its HR department. Recruiters, facilities, the people who answer your benefits questions when something goes wrong.

      A spokesperson swears the layoffs had nothing to do with AI. Of course they don’t. Burn the budget on machines that already write seventy percent of your code, run dry before spring, and the very next week the humans get walked out — total coincidence, no notes. When the bill finally came due, it wasn’t the expensive new habit that got cut. It was the people...

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    • WHOiSEE - Ego Check
      1 min read

      WHOiSEE - Ego Check

      Monstercat keeps quietly putting out dubstep heavier than their flagship playlists would lead you to believe, and WHOiSEE just made the case in about four minutes. “Ego Check” is a fitting name, because the drop will in fact check your ego right out of the room and into the hallway. This is the gnarly, metallic, felt-in-your-sternum kind of dubstep I assumed had gone out of fashion. Apparently not, and thank god. The sound design is filthy in the best way, all bent metal and growling sub, with just enough melody up top to keep it from collapsing into pure noise. WHOiSEE wasn’t a name I knew before this morning and now I’ve gone three videos deep on the channel, which is exactly the point of a blog like this one. Stick around past the first drop because the back half gets meaner and I refuse to spoil how. Lovely, ugly,...

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    • Eptic - OCTANE
      1 min read

      Eptic - OCTANE

      Eptic makes dubstep that sounds engineered specifically to break cheap earbuds, and “OCTANE” is no exception. The Belgian has spent a decade perfecting this exact brand of cartoonishly heavy, gleefully obnoxious bass music, and he keeps finding new ways to make a drop feel violent. This one revs up like the title promises, all combustion-engine snarl and rising pressure before it detonates into a section that genuinely made me laugh out loud the first time. That’s the thing people miss about good dubstep, the best of it is funny, almost slapstick in how absurdly hard it goes. The sound design here is filthy in the best way, every wobble sculpted to within an inch of its life. I have no idea how he keeps the energy this high without it becoming exhausting, but he does. If you’ve got a subwoofer, this is the track you use to find out whether...

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    • Viridity - Up To Fate
      1 min read

      Viridity - Up To Fate

      Shogun Audio has been a quiet powerhouse in DnB for years, the label that puts out the stuff serious heads geek out over while the mainstream looks elsewhere. Viridity’s “Up To Fate” is squarely in that lineage: technical, deep, and built with obvious care rather than chasing a trend. This sits in the darker, more cerebral end of the genre, where the focus is on detailed drum programming and a low end that hums with quiet menace instead of screaming for attention. It’s headphone music in the best sense, full of small details that only reveal themselves on the third or fourth listen. The bassline has a hypnotic quality that pulls you deeper the longer you stay with it. Viridity clearly cares about craft, and the restraint on display is the kind that takes years to develop. This won’t go viral and it doesn’t want to. It just wants the...

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    • Eelke Kleijn - Feel It, See It
      1 min read

      Eelke Kleijn - Feel It, See It

      Eelke Kleijn operates in this beautiful space between melodic house and progressive that few people do as well, and “Feel It, See It” is a masterclass in patient, emotional dance music. The Dutch producer builds tracks like an architect, every element placed with intent, the tension accumulating slowly until the release feels genuinely earned. There’s a cinematic depth to his work that goes way beyond standard club fare, the kind of music that scores a moment rather than just filling a dancefloor. The melody here is gorgeous and slightly melancholy, the sort of thing that hits different at 3am with the lights low. His basslines have this hypnotic, rolling quality that pulls you deeper without you noticing. I’ve followed Eelke for years and he almost never disappoints, which is a rare thing in a scene this fast-moving. This is grown-up, emotionally literate electronic music. Give it your full attention and...

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    • Unsenses - Far From Home
      1 min read

      Unsenses - Far From Home

      We don’t post nearly enough hardstyle around here and that’s a crime, so let’s fix it with Unsenses and “Far From Home.” Dirty Workz knows exactly what this genre is supposed to do to your nervous system, and this track delivers the full euphoric-hardstyle package without apology. The melodic build is huge and unashamedly emotional, the kind of thing that would have a festival crowd screaming the lyrics back with tears in their eyes. Then the kick drops and the whole thing turns into a beautiful controlled stampede. Hardstyle gets unfairly mocked by people who haven’t actually felt one of these kicks hit through a real system, and “Far From Home” is the perfect track to shut them up. It’s massive, it’s heartfelt, and it does not care if you think it’s too much. That’s the entire appeal. Reverse bass for the soul. Throw it on, jump around your living...

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    • 1 min read

      A Church Worth Showing Up Early For

      A Church Worth Showing Up Early For

      Lasers through the rafters, sub in the stained glass. This is the only service we’d get there on time for.

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      Looks like Helvetica. Sounds like a closing argument.
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    • Dawn Wall - You Believe
      1 min read

      Dawn Wall - You Believe

      Dawn Wall keep flying slightly under the radar and I don’t fully understand why, because tracks like “You Believe” are exactly what people claim they want from modern drum and bass. It’s got that uplifting, slightly euphoric quality the genre does better than almost any other, built around a vocal hook that lodges itself in your skull within one listen. The drums are crisp and snappy, the bass is rolling and full, and the whole thing just moves with this effortless forward pull. What gets me is how clean the arrangement is, nothing wasted, every drop earning its place. There’s an optimism baked into this that feels almost defiant given how grim everything else is right now. Sometimes you need music that just believes in something, and this delivers exactly that without going saccharine about it. I keep hitting repeat. Stick it on, let the second drop hit, and try...

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    • SUPERSTRINGS - NEON DUSK PROTOCOL (Live at EDC Las Vegas 2026)
      1 min read

      SUPERSTRINGS - NEON DUSK PROTOCOL (Live at EDC Las Vegas 2026)

      Second EDC 2026 clip in the queue and SUPERSTRINGS went a darker, more cinematic route than Ship Wreck. “NEON DUSK PROTOCOL” sounds exactly like its ridiculous name, in the best possible way, all sci-fi tension and arpeggios that feel like a synthwave movie chase scene scored for 40,000 sweaty people. The all-caps title had me bracing for cheese and instead I got genuinely menacing trance with teeth. The breakdown around the midpoint strips everything back to a single pulsing line before the whole machine roars back to life, and the crowd reaction on the clip says it landed in person. I love when a producer commits this hard to a concept and refuses to wink at the camera about it. There’s no irony here, just full-send drama, and it works because they mean it. Trance has been quietly getting weird and good again, and sets like this are the proof....

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    • DASH - Without You (Ft. Tara Carosielli)
      1 min read

      DASH - Without You (Ft. Tara Carosielli)

      Trap Nation surfaced DASH’s “Without You” featuring Tara Carosielli and it’s a reminder that melodic trap can still land an emotional gut-punch when it’s done right. Carosielli’s vocal is the heart of this one, fragile and aching over a beat that gives her plenty of room before the bass drops in. There’s a real heartbreak running through the lyrics, and the production matches it with these wide, atmospheric synths that feel genuinely lonely. When the drop finally arrives it doesn’t bulldoze the emotion, it amplifies it, the bass swelling rather than stomping. I appreciate trap that uses its weight in service of a feeling instead of just flexing for the sake of it. The contrast between the delicate vocal and the heavy low end is where the whole thing lives. It’s the kind of track for driving alone at night with too much on your mind. DASH clearly understands restraint....

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WE COULDN'T SHUT UP ABOUT THESE

Editor's picks

the one we couldn't shut up about

Raise Your Weapon

deadmau5

The transition at 4:00 is the whole point. Coldplay would never.

shoplift it from a friend

The One

Swedish House Mafia · Pharrell

Exactly as big and as dumb as it needs to be. Volume up.

quiet correction

The Grudge (live)

Chilly Gonzales

Electronic doesn't have to mean loud. Eleven minutes, all of them.

first set of four

Ritual Ottawa, Dec 2

Skrillex

Recorded off the booth feed. He played Scary Monsters before it was Scary Monsters.

paper romance

Paper Romance

Groove Armada

Genre-hopping with a new crew of vocalists. It still works.

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