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 threaded through the back half that I didn’t notice until my third listen, tucked way down in the mix like a secret. This is the softer, more emotional end of dance music, the kind of thing that works at a festival at golden hour and equally well through earbuds on...
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July 20, 2026 at 9:25 PM 1 min read
Nohr & AMRAC - About You
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July 20, 2026 at 6:40 PM 1 min read
Alie, HIKING - FLIRT (if i don't mean it)
Read more . . . →This one sounds like a text you shouldn’t have sent. “FLIRT (if i don’t mean it)” pairs Alie’s breathy, conversational vocal with HIKING’s clean electronic-pop production, and the whole thing has the jittery energy of overthinking a situationship at 1am. The beat is light and skittering — plucky synths, a bassline that stays out of the way — and it leaves a lot of room for the lyric, which is doing that modern thing where the casualness is the whole vulnerability. The hook lands at 1:08 and it’s sticky in the way good pop should be; I caught myself humming “if i don’t mean it” hours later without meaning to. NCS branching into this cleaner, more song-focused lane is a smart move, and this is one of the better examples of it. It’s not reinventing bedroom pop, but the vocal performance sells the ambivalence better than the genre usually manages...
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July 20, 2026 at 3:39 PM 1 min read
Nordfold - Collide
Read more . . . →The bassline on “Collide” walks. It’s got that rolling, slightly rubbery deep-house pulse that Anjunadeep has basically trademarked, and the whole track locks into it within the first thirty seconds and never lets go. Nordfold keeps everything patient here: a vocal snippet floating in the distance, a pad that swells and recedes, and percussion that clicks and shuffles just enough to keep your head moving. It’s late-night music, the 2am-in-a-dark-room kind, built for the deep-house lane where the point isn’t the drop but the groove holding steady while small details drift in and out. Around 3:00 a filtered synth line rises up, and it’s the closest thing to a climax the track allows itself, which is exactly right for the mood. This is the sort of thing Anjunadeep does better than almost anyone: emotional without being showy, hypnotic without being boring. I put it on to focus and looked up...
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July 20, 2026 at 2:15 PM 1 min read
AFROJACK & Gil Glaze - Allein
Read more . . . →Does the world need another big-room AFROJACK record in 2026? Probably not, and yet “Allein” made me turn it up anyway. AFROJACK has been doing this long enough that the mechanics are second nature — the tension-building filter, the vocal chop teased before the drop, the inevitable four-on-the-floor payoff at 1:05 — and Gil Glaze sands off just enough of the bombast to make it feel current rather than throwback. The German vocal (“allein” means alone) gives it a hooky, slightly melancholy edge that most big-room tracks skip entirely, and it’s the best decision here. The drop itself is more restrained than peak-era AFROJACK — less screeching lead, more bouncy plucked synth — and it’s better for it. This isn’t going to change anyone’s mind about mainstage dance music, and it doesn’t need to; it’s built to work at a festival at sunset with twenty thousand people who don’t care...
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July 20, 2026 at 2:00 PM 4 min read
Deep House vs Tech House, Explained
Deep house vs tech house, explained: listen to the bass. Hummable and looping is tech house, warm and chord-driven is deep house. The rest follows.Read more . . . →Get the tee →Support the blogMade for people who left the room during Yellow. -
July 20, 2026 at 11:14 AM 1 min read
oncor - Seasons Change
Read more . . . →“Seasons Change” is a slow-burn: no huge drop, no fireworks, just a warm chord progression and a vocal that sits somewhere between hopeful and resigned. oncor builds the whole thing on restraint. The production detail is where it wins, with little granular flecks of sound scattered through the mix, a bassline that pulses rather than pounds, and a build around 2:15 that swells and then, instead of exploding, just gently opens up. It’s the musical equivalent of the exact moment summer starts tipping into autumn, which I assume is the point. The vocal never pushes; it stays almost conversational, like someone talking themselves into being okay with a change they didn’t ask for. I put it on twice in a row and the second pass landed harder than the first, which almost never happens with something this understated. This is headphones music, late-evening music, the stuff you put on when...
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July 20, 2026 at 10:49 AM
1 min read
Weekend two is the one that actually matters
Read more . . . →Weekend one wrapped yesterday and your feed is already unbearable, full of drone shots and people crying at the mainstage like they invented feelings. Fine. But everyone who actually knows Tomorrowland knows the second weekend is the better one. The DJs have shaken off the rust, the crowd skews more heads and fewer influencers doing a bit for the camera, and the set that flopped on Friday the 17th gets quietly fixed by Friday the 24th. Boom, Belgium goes again this Friday, and here are the five tracks I want the mainstage to earn. 1. Hardwell - Spaceman Hardwell headlines the mainstage on the Friday of weekend two, which means Spaceman is coming whether you like it or not, and the truth is you’ll like it. Those first synth stabs still detonate a field of 60,000 people on contact, and the man has been dining out on that hook since...
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July 20, 2026 at 9:32 AM 1 min read
AC Slater x Lock 'N' Load - Blow Ya Mind
Read more . . . →That “blow ya mind” vocal is a rave relic, and AC Slater dragging it into 2026 is exactly the kind of chaos I’m here for. This flips Lock ‘N’ Load’s old anthem into a bass-house weapon — all rubbery low-end and a beat that swings harder than the original ever did. The drop at 1:14 is filthy in the best way, a growling bassline that struts rather than stomps, and the nostalgia of that vocal hook against the modern production is a genuinely fun collision. AC Slater’s whole Night Bass thing has always been about this: house music with the attitude of garage and the weight of dubstep, and “Blow Ya Mind” is a textbook example. It doesn’t overthink itself. The vocal is the hook, the bassline is the point, and everything else gets out of the way. I had a stupid grin on my face by the second drop....
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July 20, 2026 at 7:04 AM
1 min read
Poilievre Blew a 20-Point Lead, Then Called His Best People Liberals
Read more . . . →At the Calgary Stampede this month, Pierre Poilievre stood up and celebrated a BC Conservative leadership win over what he called “Liberal lobbyists from out East.” The men he was sneering at weren’t Liberals. Kory Teneycke ran Doug Ford’s campaigns and worked for Stephen Harper. Nick Kouvalis and Anthony Koch have spent years electing Conservatives. Their actual crime was telling Poilievre the truth last spring: that Trump’s trade war, not Justin Trudeau, was the thing that would decide the 2025 election. He didn’t want to hear it. He blew a lead of more than twenty points, finished with 144 seats, and handed Mark Carney the keys. So naturally, a year later, he’s on a stage at a rodeo calling the people who were right about him traitors. What followed was exactly what you’d expect. Days of his own former staffers turning on him in public. Caroline Elliott — a candidate...
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July 19, 2026 at 8:15 PM 1 min read
P Money & Whiney - New Life
Read more . . . →Putting a grime MC over drum and bass shouldn’t be this seamless, but P Money and Whiney make “New Life” sound inevitable. P Money’s delivery is all sharp consonants and forward momentum, and Whiney gives him a rolling Hospital-style beat with a bassline that’s deep and clean rather than aggressive, so the bars have room to breathe. The energy is relentless. P Money doesn’t so much ride the beat as chase it, and there’s a moment around 1:40 where the drums drop out under a bar and then slam back in exactly on his punchline. It’s celebratory without being soft; the whole thing has this chin-up, keep-moving spirit that the title promises. Grime and DnB have always been cousins, and this is a reminder of how well they share a room. Whiney’s production stays out of the way when it needs to and takes over when it can, which is...
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