This one knocked me sideways on a grey afternoon and I did not see it coming from the title. Ricochet showed up on MrSuicideSheep, still the most reliable channel on the platform for catching producers right before anyone else does, and JNATHYN clearly belongs in that company. The track works a melodic-bass seam where a fragile intro gets ambushed by a drop with real teeth, except the restraint is the trick: the heavy part never overstays, ducking out again before you can get used to it. There is a plucked lead running through the back half that sounds like it keeps bouncing off hard surfaces, which makes the name feel earned rather than slapped on. It moves with a nervous energy, always threatening to spill over, and that tension is the whole appeal for me. Plenty of producers can build a pretty intro or a nasty drop. Getting them to...
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October 19, 2026 at 9:25 PM 1 min read
JNATHYN - Ricochet
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October 19, 2026 at 6:40 PM 1 min read
BOABOA - SAVIOUR
Read more . . . →Spinnin found another big-room drop and bolted a festival to it. SAVIOUR is the kind of mainstage dance record that exists because a formula exists, a euphoric vocal build over a tension riser you have heard ten thousand times, feeding a drop assembled to make forty thousand people put their hands up on cue. BOABOA executes it cleanly. That is the nicest thing I can say about the track. The vocal is pretty and anonymous, the sort of topline that could be swapped for any other without a single person noticing, and the drop goes exactly where the blueprint says it will, with a lead sound pulled straight off the shelf. There is nothing wrong with it and nothing really in it either. It will do numbers, it will soundtrack a drone show over some harbour, and it will be forgotten by the next festival season. I kept waiting for...
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October 19, 2026 at 4:43 PM 1 min read
Sources Say
Read more . . . →Sources say everything is fine. Source: him. A news anchor in a dark suit, perfect hair, teeth that cost a semester of college, tossing lit matches into the air like coins. Behind him the entire studio is on fire. Monitors melting, camera rigs glowing, and the man has the grin of someone who just got renewed for another season. This is the whole news cycle in one frame: the person reporting the disaster is the person feeding it. The fire is content. He needs it hot enough to lead at eleven and cool enough to blame on someone else by morning. The audience at home sees smoke and reaches for the remote. He brought the matches.
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October 19, 2026 at 3:39 PM 1 min read
Kings Of The Rollers & Grace Barton - Should've Known Better
Read more . . . →This is Kings of the Rollers doing the thing they are frighteningly good at and refusing to apologise for it. Four blokes who built their name on jump-up, the most gleefully unserious corner of drum and bass, teaming up with Grace Barton for something that actually wants you to feel a little. Her vocal is the surprise here, warm and full where the genre usually settles for a chopped diva sample, and it drags the track somewhere more human than their usual dancefloor demolition. The bassline still bounces like a dropped superball, that unmistakable spring in it, but there is an ache under the hook that keeps it off the novelty shelf. Should’ve Known Better is regret you can rave to. I have been wary of jump-up getting cutesy, and this threads the needle: big enough for the room, soft enough to mean something. Four listens in and I still...
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October 19, 2026 at 2:15 PM 1 min read
Simon Gregory - Feedback
Read more . . . →Trance is supposed to be embarrassing and this track knows it. Feedback showed up on the Anjunabeats channel, which is the label that spent twenty years making grown adults cry at 138bpm and refuses to say sorry for any of it, and Simon Gregory sounds completely at home there. The build is long and shameless, a slow climb of layered synths that keeps adding voices until the breakdown strips it down to a single held chord and a kick you can feel in your teeth. Then it lifts. There is no clever trick to why this works, just patience and a melody that earns the payoff instead of buying it on credit. What I like is that it never gets precious about itself. A lot of modern trance tries to borrow prog-house restraint and ends up sounding apologetic, scared of its own emotion. This one commits. The lead that comes...
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October 19, 2026 at 2:10 PM
4 min read
UKF: How a YouTube Channel Ran Bass Music
UKF never made a dubstep or DnB track. It just owned the upload everyone searched for, and that's how a YouTube channel ended up running bass music.Read more . . . →Get the tee →Support the blogIf you wear this and someone hugs you, that's a real friend. -
October 19, 2026 at 11:14 AM 1 min read
Nadia Ali & Alesso - Pressure (RemK Remix)
Read more . . . →If you were anywhere near a dancefloor in 2011, you have a physical reaction to the first four bars of Pressure, and RemK is betting on exactly that muscle memory. The original Alesso and Nadia Ali track is one of the great progressive-house anthems of its era, the kind of song that defined a festival summer and then got played into the ground until nobody could hear it fresh anymore. Flipping it to trap is a genuinely risky move, because that vocal is sacred to a lot of people, and a lazy remix would read as desecration. This one gets away with it. RemK keeps Nadia Ali’s vocal largely intact, lets the melody do the emotional lifting, then drops the floor out from under it and rebuilds the low end with rolling 808s and that triplet-hat skitter the Trap Nation sound ran on. The genius of the original was always...
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October 19, 2026 at 9:32 AM 1 min read
Lateral - Le Rock
Read more . . . →When did drum and bass get this comfortable being funny? Le Rock arrived on Viper with its tongue halfway through its cheek, a rolling dancefloor cut built on a vocal snippet that sounds lifted off a scratched disco record and a bassline that struts instead of stomping. Lateral clearly grew up on the Hospital end of the spectrum, where the drums swing and the point is to make a room move rather than flinch. The drop does not try to behead you. It locks into a groove and dares you to stand still, which I could not manage. There is a filtered guitar lick that comes in on the second half and turns the whole thing into something you could play at a barbecue and a rave with equal success. Most DnB that reaches for fun ends up sounding like a cartoon of itself. This keeps the wink without becoming...
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October 19, 2026 at 6:16 AM
1 min read
Six Million Barrels and a Favor
Read more . . . →Trump signed the Graham Act on September 18th. The law told him to sanction countries buying Russian energy. Thirty days later, instead of enforcing it, he waived it. Then he bought the diesel himself. Three hundred thousand tons from Putin, with another million and a half tons promised through November. CNN did the math: the first shipment covers about a day and a half of American demand. That’s the trade. Ukraine’s leverage for a day and a half of fuel. The timing is not subtle. Midterms are sixteen days out, gas prices are a problem, and the president needed a number to point at. So he called the guy running a war in Europe and asked for a discount. Zelenskyy called it “a weak decision by strong partners.” Blumenthal, who co-sponsored the law, said it makes the U.S. complicit. Trump called it “a very good decision” and moved on. He...
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October 18, 2026 at 8:15 PM 1 min read
Recheta, Kikko Palumbo feat. Nadia Dolce - Heaven
Read more . . . →Heaven is a reminder that the Italians have been making euphoric dance music with a completely straight face longer than almost anyone, and show no sign of embarrassment about it. Recheta and Kikko Palumbo build this around Nadia Dolce’s vocal, which goes for the rafters without a hint of self-awareness, the kind of big diva delivery a lot of producers are far too cool to attempt now. The track underneath is sturdy and propulsive, a little old-fashioned in the best way, a four-four thump with a piano-adjacent stab driving the hook. The melody plants itself on the first listen, the sort of line built to be sung back by a few thousand people with their eyes shut and their drinks spilling. It is unashamed feel-good music, built for the specific moment when the sun comes up and nobody wants the night to end. Three plays deep and the chorus is...
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