Some songs slink into existence like they’ve emerged from a digital jungle, chrome vines and all. Super Massive’s latest single, “Caught In A Web,” doesn’t just step into the foliage; it practically swings from the branches. Glenn Abbott’s tight, pulsating drum rhythms instantly provide the scaffolding, while Malina Hamilton-Smith’s vocals glide, entangle, and occasionally sting like the titular web’s arachnid inhabitant. It grooves like a Saturday night roller disco but side-eyes you with a wink that says, “Don’t trust the algorithm.”

It’s a curious creation—electronic and human, shimmering with retro surf rock edges while bounding firmly into electro-pop’s insatiable beats. Upon first listen, it feels like a dance floor invitation. But lean in closer. Those invisible ties Hamilton-Smith croons about aren’t as innocent as the bassline makes them sound. They tether us to something unnervingly modern—metadata strings puppeteering identities, transforming us into digital doubles.

There’s a clever irony here. Super Massive builds a track that’s so irresistibly upbeat, it dares you to miss the warning underneath. The duality of Hamilton-Smith’s roles as singer and dancer surfaces vividly—a vocal delivery so emotive, it seems to pirouette mid-air. All of it backed by Abbott’s precision production, where every note feels curated, like binary decoded into borderless funk. Sandwiched somewhere between Studio 54 hedonism and Elon Musk-dystopia, this track asks: Are your freedoms freer now that you’ve shared them?

If “Caught In A Web” were a piece of literature, it might be Kafka spliced with a ‘70s pulp thriller—playful yet menacing, seductive yet overcast by existential unease. Its greatest trick is its accessibility; you don’t need a philosophy degree to tap your foot, but try to stop it from tapping, and you might realize you’ve already been ensnared.

The web’s there. Are you dancing, or dangling?

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