News / dance
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1 min read
Nohr & AMRAC - About You
Read more . . . →How many ways are there left to write a song about missing someone? Nohr and AMRAC found a fresh one on “About You,” or at least a fresh enough arrangement to make the old feeling land again. It’s built on a chopped vocal that repeats the title until it stops being words and starts being texture, riding over a bassline that’s deep and rounded rather than aggressive. The drop at 1:25 is more of a lift than a slam, and the whole track kind of levitates instead of hitting the floor. That lightness is the appeal. There’s a piano line...
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AFROJACK & Gil Glaze - Allein
Another big-room AFROJACK record in 2026? Yes, and 'Allein' earns it with a hooky German vocal and a sunset-festival payoff.Read more . . . →Subscribe →Weekly digestSundays. One email. Zero ballads from white guys in beanies. -
1 min read
Zenar - Te conocí
Read more . . . →“Te conocí” is unashamedly built for a beach at 6pm with a drink in your hand. Zenar wraps a Spanish-language vocal around a bouncy, sunlit dance beat and lets the hook do all the work. And what a hook: the kind of melody you’ll be humming after one listen whether you speak the language or not, with a drop at 1:10 that keeps the vocal front and centre instead of burying it under a synth stab. There’s a plucky little riff that answers the vocal line back and forth like a conversation. None of it is deep, and it doesn’t...
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Marc Kiss x Yasmin Hutchins - I Love You Always Forever
Read more . . . →Covering Donna Lewis’s “I Love You Always Forever” as a trance record is either a war crime or a stroke of genius, and I’ve decided it’s the second one. That 1996 chorus is pure sugar and it turns out it was secretly engineered all along for a big euphoric build — Yasmin Hutchins sells the vocal with total sincerity and never once plays it as a nostalgia gag. Marc Kiss keeps the arrangement patient, holding the drop back until you’re genuinely aching for it, then falling into a clean supersaw wash that would light up any main stage on earth....
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Joel Corry - Whisper
Read more . . . →Joel Corry is a producer I want to dislike on principle, and “Whisper” keeps ruining that plan. The man makes chart-house engineered in a lab for maximum radio penetration, and yet the hook here burrows in within one listen and refuses to leave. It’s built around a breathy vocal sample that gives the track its name, looped over a piano-house bounce that would sound at home in 1994 and on daytime radio tomorrow morning. There’s zero risk in it and I weirdly respect the sheer efficiency; every element is there to make you move, nothing is there by accident. The...
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Vicetone - Nevada (Drum & Bass Mix)
Read more . . . →Nevada soundtracked roughly ten thousand gaming montages back in 2016, so a drum and bass remix of it could easily have been a lazy nostalgia cash-in. This lands on the smart side instead. Speeding the vocal up and dropping it onto a rolling break gives that impossibly catchy chorus somewhere new to go, and it turns out the melody was always built for more tempo than the original ever gave it. The drop at 1:30 hits harder than the four-on-the-floor version did, because the breakbeat lends it a forward motion the older arrangement never had. It’s cheesy, obviously; Nevada was...
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The Second Voice - DON'T LEAVE
Read more . . . →DON’T LEAVE wears its heart on its sleeve and then screams it through a festival PA. The Second Voice make the kind of emotional dance-pop that Spinnin has basically built a business model on — a pleading vocal, a huge melodic drop, feelings dialled to eleven. The melodrama is turned all the way up, and the topline earns it: the singer sounds like they mean every syllable of that title. The drop at 1:22 trades the expected big vocal-chop lead for something a little more restrained, letting the emotion carry weight the synths don’t have to. There’s a key change...
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TESS - Shooting Stars
Read more . . . →Shooting Stars has a hook that feels borrowed from a song you already love, which is either great writing or slightly suspicious, and I’ve stopped caring which. TESS turns in a piece of polished mainstage dance for Spinnin that knows exactly what it is: a hands-in-the-air festival moment, and proud of it. The vocal is bright and a little melancholy at the same time, riding over a plucky lead that builds to a drop at 1:15 that’s basically a fireworks display in audio form. It’s not subtle, and it isn’t pretending to be — but there’s real craft in making...
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Justė - Just A Little (feat. Sam Harper)
Read more . . . →Somewhere between a pop song and a dancefloor filler there’s a lane that acts like it barely exists, and Just A Little parks right in it. Justė turns in a confident, radio-shaped piece of dance-pop with Sam Harper’s vocal doing a lot of the lifting. The production keeps things clean and uncluttered — a bouncy plucked riff, a bassline that walks rather than pounds, a drop at 1:30 that’s more about groove than impact. It’s the kind of track that would slot into a summer playlist without anyone thinking too hard about it, which sounds like a backhanded compliment and...
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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...
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