Chrome Daydream
Chrome stars, jelly hearts and holographic colour. A nod to the glossy, optimistic graphics of the early web.
The notebook changes its cover every month. Each one takes its cues from a different corner of music, paper and internet culture. Explore the collection below.
Haunted Notebook is here through November 1. Coffee Shop Confessional takes over November 2.
Chrome stars, jelly hearts and holographic colour. A nod to the glossy, optimistic graphics of the early web.
Cassette ribbons, red-pen hearts and pink paper. For anyone who ever put too much thought into a mixtape.
Vines wind around the speakers and flowers take over the margins. Spring gets the volume knob.
Pixel ghosts, cherries and electric blue meet the notebook doodles. A little arcade cabinet in the margins.
The pink splashes, coffee ring and black doodles that started it, with the volume turned up. The notebook's home colours.
Peel-and-stick chaos: skulls, butterflies, hearts and neon lightning. Think of the back of your favourite battered laptop.
Torn tickets, halftone fragments and bright scraps. A cover that borrows the rough edges of a wall full of gig flyers.
Black ink, torn paper and acid-yellow sparks. A love letter to photocopied zines and the flyers you kept after the show.
Stars, speakers, tape and every loud colour at once. Back-to-school stationery with absolutely no restraint.
Moths, little ghosts and crimson ink creep through the black flourishes. The notebook has a late-night alter ego.
Coffee rings, headphones and warm paper. A cover for the long walk home and the track you play again when you get there.
Moons, moths and constellations spill across midnight-blue ink. The margins drift into space; the music keeps going.
1 min read
Why does the nastiest bass house so often come out of the least serious labels? Voltage lands on Dim Mak, Steve Aoki’s shop, and MNK with MasN Kutcher keep it stripped to the essentials, one mean little riff and a kick that flat refuses to quit. The track lives in that sweet overlap where house swing meets dubstep attitude, enough groove to actually dance to and enough snarl to feel slightly dangerous doing it. The lead is the hook, a distorted stab that worms its way in and sets up shop, the kind of riff you catch yourself imitating under...
1 min read
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...
1 min read
1 min read
Back Once Again does exactly what a Dim Mak record promises and no more, which this time I am completely fine with. SMACK deals in hard, festival-weight electro and bass house, and this one is a blunt instrument, a looping vocal yelling the title and a drop built to make a crowd jump in unison. There is no emotional subplot and no melodic ambition past a two-note stab, just a mean bouncy bassline and a kick that lands like a door slamming. The vocal sample runs on pure rave nostalgia, that 90s shout-along energy dragged onto a 2026 mainstage. It...
1 min read
Get past the frankly juvenile title and Kevin D’Angello has made a genuinely nasty little bass-house weapon. Dirty Bitch is all attitude, a growling distorted bassline and a vocal snippet chopped into pure percussion, the sort of thing built to drop the moment a tech-house set needs to turn mean. D’Angello works the harder, more aggressive end of the house spectrum, and this leans fully in, no melodic softening anywhere on it. The bass patch is the star, a dirty talkbox-ish growl that bites down on the off-beat and will not let up for the runtime. It rides a relentless,...
1 min read
Had this on in the car at a red light and bounced hard enough that the guy in the next lane looked over. GRiZ taking a John Summit record is a genuinely odd pairing on paper, the tech-house hit machine handing his track to a man best known for strapping a saxophone to funk-bass, and the remix leans all the way into that strangeness. Summit’s original is a clean, driving club tool with a nagging vocal hook. GRiZ keeps the vocal and then detonates everything underneath it, swapping the tidy four-on-the-floor for a swung, greasy bassline that struts where the...
1 min read
1 min read
1 min read
1 min read
Weekly. We hate Coldplay, not your inbox.
Done. Check your email to confirm.
One email a week. Unsubscribe whenever. No spam, no tracking pixels in the content.