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We’re still in 2010 album : Revisiting Classic EDM with Eus.K

The year is 2025, but producer Eus.K insists on one bold statement: We’re still in 2010. His latest album of the same name immerses listeners in the nostalgia of early 2010s EDM—when dubstep drops shook the globe and festival stages were dominated by massive drops and euphoric chords.

In this retrospective, Eus.K humorously calls himself a “30-something old guy still hooked on EDM,” reminding us how dance music once shaped an entire generation. But behind that self-deprecating humor lies expert craftsmanship and a deep dive into his Eus.K track production approach.


Album cover of Eus.K’s *We’re still in 2010*, featuring a retro-futuristic EDM aesthetic that blends 2010s dance music nostalgia with modern production.
Eus.K’s *We’re still in 2010* – A nostalgic tribute to early 2010s EDM, reimagined in 2025.


The Album’s Hidden Message

What makes We’re still in 2010 stand out is its tracklist, which forms a tongue-in-cheek storyline when read from top to bottom:

  1. We’re still in 2010.

  2. EDM was everywhere.

  3. It thrived once.

  4. This is nostalgic music.

  5. That time has passed.

  6. EDM is already dead.

  7. Who still listens to EDM?

  8. This year is 2025, though.

By the final track, it’s clear that Eus.K is well aware of how many claim “EDM is already dead.” Yet, as someone who lived (and still lives) through the decade of drops, he’s here to show us there’s something magical about re-exploring those sounds—especially in 2025.

Track-by-Track Breakdown

Eus.K offers eight unique tracks, each referencing a different facet of early 2010s EDM. Below, we’ve embedded a YouTube link for each song (placeholder links). Press play and dive into a comedic yet affectionate tribute to the era of neon rave gear and unstoppable drops.

1. We’re still in 2010.

This track channels the Skrillex-inspired dubstep (Brostep) sound, complete with massive bass wobbles, metallic screeches, and in-your-face drops.




2. EDM was everywhere.

Here’s where Pendulum-esque drum and bass makes its appearance—fast-paced percussion, a rock-inspired energy, and a cheeky jab at the EDM “death” narrative.





3. It thrived once.

Switching up the vibe with atmospheric leads and subdued drums, this track captures the feeling of looking back on a party that ended too soon.





4. This is nostalgic music.

A melodic reflection featuring emotive chord progressions reminiscent of Knife Party, proving how timeless their big-room house formula can be.




5. That time has passed.

Nodding to Armin van Buuren’s trance-techno fusion, this piece uses lush pads and rolling basslines, a nod to the golden era of global trance events.




6. EDM is already dead.

A high-energy intro that sets the tone for the whole album, blending euphoric synths with throwback festival vibes.




7. Who still listens to EDM?

An ironic slow-burn track with stripped-down synths and vocal samples asking the titular question. Eus.K’s self-awareness shines through here.




8. This year is 2025, though.

The finale marries modern production elements with a retro rave feel—merging crisp hi-hats and polished mixing. The question is, have we really moved on from 2010?



Eus.K Track Production Approach

At first glance, the Eus.K We’re still in 2010 album might seem like a novelty, but there’s real depth to how these tracks are made. Eus.K’s track production approach focuses on replicating early 2010s soundscapes using today’s technology.:

  1. Mixing Old-School Rave Samples with Modern VSTs

    • He layers 2010-era sample packs under state-of-the-art synth plug-ins, crafting a retro-futuristic aesthetic.

  2. Attention to Arrangement

    • Each track follows a classic EDM build-drop-breakdown structure, enhanced by today’s crisp mixing techniques.

Eus.K Sound Design Tips from We’re still in 2010 album

For aspiring producers curious about Eus.K sound design tips, here are a few gleaned from the album:

  1. Harnessing Nostalgia

    • Start with an iconic 2010s patch—like a dubstep growl or a big-room supersaw—then add modern EQ or saturation for clarity.

  2. Balanced Layering

    • Combine multiple leads or bass lines, but apply frequency-specific sidechaining to avoid muddy low ends.

  3. Subtle Retro Effects

    • A touch of tape hiss or vinyl crackle can evoke early festival tracks, blending memory with high-res production.

A Japanese House Music Production Example

The track “This is nostalgic music” embodies a Japanese house music production example. While the Swedes shaped big-room house worldwide, Eus.K infuses his own Japanese melodic sensibilities:

  • Minor-key inflections commonly heard in J-pop

  • Precision mixing that Japanese producers are known for

  • Euphoric but controlled drops bridging global house trends with a local twist

This blend showcases how Japanese artists can both embrace and transform established genres.

Conclusion: The Joke’s on EDM—Or Is It?

Eus.K's album "We’re still in 2010" pokes fun at the idea that “EDM died” after its commercial peak in the 2010s. Yet, as long as there are fans—like Eus.K—who never stopped loving it, the spirit of that era lives on. For those interested in the Eus.K track production approach, Eus.K sound design tips, or a Japanese house music production example, this album serves as both a technical showcase and a playful time capsule.

So, the next time someone asks, “Who still listens to EDM?”, direct them to this nostalgic ride. It’s proof that a decade-old sound can still resonate—and maybe even inspire the future of electronic music in ways we never expected.

Ready to dive in? Hit play on the embedded YouTube links above, and follow Eus.K on social media for behind-the-scenes insights into his production process. Because, hey—if we can’t make fun of ourselves for still loving those 2010 wubs and drops, who can?

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