Browsing Tag

DnB

faesymphony builds a neon galaxy for the emotionally overloaded on ‘ineedabreak’

Posted on 1 October 2026

The hyper intensity of ineedabreak by faesymphony is enough to blast you into another dimension. The New York City-based singer-songwriter, recording artist, actor and performer took elements of hyper-pop and threw them into head-spinning overdrive, joined by storming intersections of happy hardcore, DnB, EDM and pop-rap adrenaline.

If you stood at the pinnacle of escapist music, you would be rubbing shoulders with faesymphony and his turbulently adrenalised strokes of neon synaesthesia. The track moves with larger-than-life force, propulsed by the painfully recognisable exhaustion of being young, empathetic and awake in a climate where the bad news never stops refreshing. Rather than sinking into that darkness, ineedabreak builds a sanctuary from it, a new galaxy where you can shake off the weight long enough to believe in the good again.

The production has the sugar-rush extremity that will hit for fans of Charli XCX’s blown-out club-pop moments and the maximalist mischief of 100 gecs, but faesymphony’s trained vocal presence gives the track its own performance-born electricity. His voice rides the manic acceleration with proper live-stage confidence, keeping the song human beneath all the digital combustion.

ineedabreak is a step forward in faesymphony’s sound and identity: immersive, business-minded, artistically wired and ready for clubs, festivals, game soundtracks and anyone who needs an energetic reset. Sometimes you hold on too tight; faesymphony reminds you to let go and fly.

ineedabreak is now available on all major streaming platforms, including Spotify.

Review by Amelia Vandergast

Sink into the hypersonic synergy of Subbwell and Flowdan’s Grimey DnB track, Welcome to London

Posted on 16 October 2024

For his latest release, Subbwell, the indomitable Estonian drum and bass producer, teamed up with London’s own grime juggernaut, Flowdan, to drop their massive sonic attack, ‘Welcome to London’.

The hit is a deep dive into the city’s gritty vibe, delivered with a raw edge and polished with a high-quality production to juxtapose the dark, grimey bars that snarl over a backdrop of hypersonic drum and bass. The beats are savage—slamming, distorting, and warping under the weight of Flowdan’s delivery. He weaves through the track with a melodic flow that hits hard, perfectly synched with the wild, adrenalising energy of the builds and drops.

As for the video, think London’s streets through a Grand Theft Auto lens. It’s a cinematic piece that flips the script on how we see the city, as the camera tears through the streets, the good, the bad, and the ugly filter into the vignette that will resonate with the realities of many Londoners.

With ‘Welcome to London’, Subbwell and Flowdan throw us into the middle of London’s pulse through an unapologetic, in-your-face celebration of all things raw and real about London’s underground scene.

Stream the official music video for Welcome to London on YouTube now.

Review by Amelia Vandergast

Sound Lobotomy – The Elephant & The Rider ft. Meraki

Posted on 3 January 2020

Electronica artists frequently drop mind-altering mixes. But Sound Lobotomy has gone one step further and ensured that your perceptions shift thanks to the bass-driven beats in their latest mix and the inspiration behind their monstrous track.

For their latest single “The Elephant & The Rider” they teamed up Meraki to hold up a much-needed mirror to our contemporary societal struggles. The mix addresses our enlightened consciousness and urges the listener to adopt the fundamental ancient Greek concept of Noesis – the exercise of reason. Through our increased awareness of the world, it’s easy to want to slip into an existential black hole. The Elephant & The Rider is an aural olive branch with the ability to pull you out of the void and back to what it truly means to be human.

You can check out the latest mix from Sound Lobotomy for yourselves by heading over to SoundCloud now.

Review by Amelia Vandergast