LATECRATES

Nick Warren returns to The Soundgarden with 'Wanderlust', a two-track single that pairs the upbeat, expected lead with the deeper, more interesting 'Kairos' on the B-side.

'Wanderlust' (the title track) is classic Nick Warren: airy, melodic, and built for the main room. It's a solid, dependable progressive house cut that delivers the familiar warmth and cosmic textures you'd expect from the British legend.

But it's 'Kairos' that really holds the attention. Track two has more going on in the back half, the drums get busier, the pads swell with more purpose, and the arrangement unfolds with a patient, knowing hand. It's the work of someone who's been shaping dance floors for decades, and it shows in the details.

Pick up 'Wanderlust' now on The Soundgarden. It's the deeper cut that'll stay in your crate.

There’s no better feeling than finding a record with a label name that just feels right. Fall From Grace Records. I love it already, definitely somebody who meant it with a name like that.

The whole EP is out June 23rd, 2026, but the opener is the one.

‘Remind Me / Catch Me’ is the big one. It’s a two-part song title, but really it’s one single piece of music, and it does something I haven’t heard in a while. There’s a whole call and response feel to the structure, and I think it sits right at the point in a set where people start actually talking to each other again. Not the four-in-the-morning silence, not the peak-hour screaming. The middle part, the warm part, where the room gets chatty but in a good way, like everyone’s having the same conversation at once. The drums are round, the chords are a little bit dusty, and the vocal sample, if you can call it that, feels more like a signal than a verse. It’s got that live, immediate quality to it. Like it was recorded in a room with the door open.

The rest of the EP is fine. ‘Distant Law’ comes next and it’s kind of just there. Doesn’t do anything the opener didn’t already do better. It’s a comedown, sure, but it’s the kind of comedown that you forget the second it’s over. ‘The Mouse & The Wolf’ at least tries something different, a bit more off-kilter, but it still can’t match the pull of that first track. The two mixes of the title track, ‘This Must Be Deep (Groovy Mix)’ and ‘This Must Be Deep (Dance Edit)’, are fine but they’re not the reason you’re here.

You’re here for ‘Remind Me / Catch Me’. That’s the one. That’s the record.

Amtrac’s latest EP is here, and he’s made a bold structural choice: the title track, 'Civilian World', is sitting in slot number two.

That’s the kind of move you don’t see every day. Normally, the title track is either your opener, your closer, or hidden somewhere in the middle as a secret weapon. But here, Amtrac leads with the explosive ‘High Speed Ring’, then pulls back the curtain almost immediately with the deeply immersive ‘Civilian World’, the heart of the EP, right up front. It’s a statement: this is what the record is about, and we’re not waiting to show you.

And, it works. ‘Civilian World’ is the best thing on this EP, genuinely, no flat-track bias this time. It’s got that signature Amtrac warmth: dusty drums, soaring pads, and a melody that feels like a memory you can’t quite place. It’s not an accident; it’s a structure choice, and it pays off.

The rest of the EP holds its own too. ‘Same Team’ brings that late-night, heads-down energy; ‘Anulpha Pass’ is a proper groove-tool with a futuristic sheen; and closer ‘Identical’ lands as a restrained, beautiful comedown that ties the whole thing together.

Ashibah’s ‘Golden’ EP on This Never Happened is a five-track tour of that soft, blurred light between late afternoon and early evening, out since 14th May, 2026.

The title track is the one. It starts with a synth that sounds like it’s been left out in the sun all day, then a kick comes in and it slowly starts to push, a rolling bassline picking up the slack, the vocal loop rising like heat off the tarmac. And then, about two thirds of the way in, it turns a corner I genuinely wasn't expecting, not a drop, not a breakdown, just a shift, a change in angle, and suddenly the whole thing is moving somewhere else. I really like where it goes.

It sits right at the turn from build to peak, the little run up to it, that moment of breath where you’re about to jump.

‘Forever’ follows. It’s the soft one this time. It’s fine, but nothing happens in it that doesn't already happen better in the title track. It’s the comedown track, the one that doesn't quite land, a bit of a shrug after the main event.

Then you’ve got ‘Walk’, ‘High On You’, and ‘Satellite’, which round out the rest of the EP, holding that same warm, slightly melancholic space.

This Never Happened again, twice this month from them now.

So here is a thing I didn't expect to be thinking about in May: a single so quiet it almost whispered its way past me. Liva K's "Didn't Miss You" dropped on the first of the month on Magnifik Music, a label that seems to operate on the principle that if you blink you'll miss it, and I nearly did.

Which is a shame, because this one is good. Not good in a "hey, this will smash the floor" way, more good in a "this will glue itself to the inside of your head and refuse to leave" way. It opens with a bassline that is doing all the heavy lifting without ever appearing to try, and then her voice comes in, dry, unhurried, and the whole thing just sits there in the pocket. No big dumb build, no fake-out drop. It just arrives and stays.

There's a line in it, "didn't miss you, didn't miss you at all", and the way she delivers it lands somewhere between a shrug and a secret. Which means either it's nothing or it's somebody who actually meant it, and I choose to believe option two. It's the kind of record you put on right after the peak, when the room's still full but people have stopped screaming along and started actually dancing again.

I caught myself humming that bassline in the shower two days after first listen. That's not a review, that's a diagnosis.

Pete K’s ‘Open Your Eyes / New Light’ on Colorize is a two-part statement that works best when you don’t rush it. Released on March 25, 2026, it pairs two original compositions with their extended counterparts, but the heart of the package sits firmly with the title track.

‘Open Your Eyes’ rolls in with a steady, shoulder-rolling groove and a vocal hook that feels like it’s been waiting for you. The production is clean, the build is patient, and then it happens, maybe two minutes in, the vocal drops out completely for four bars. Just the low end and one arp, holding their breath. And then it all comes back at once.

That moment is the whole piece. It’s the sort of detail that separates a record from a track. It’s the reason you’d play it twice in a row, just to catch it again.

‘New Light’, on the other hand, is the quiet sibling. It’s competent, rolling, and warm in its way, with the same polished production DNA, but it lacks that singular hook that makes ‘Open Your Eyes’ feel distinct. It moves nicely, it will work in a mix, but it doesn’t give you that same four-bar gasp.

Pete K has been building a catalogue that rewards close listening, and this release is no exception. On a label like Colorize, which has a sharp ear for melodic house that leans just far enough into the dancefloor, this one stands out for its restraint. Not everything needs to peak. Sometimes the drop-out is the drop.

There’s a moment in a track when you realize the bassline isn't just holding the floor, it's talking. NevadaSYSTEM’s ‘Covenant’, out now on Vasa Records, is one of those moments. The bass sits in E minor and moves with actual intent under the chords, there’s life in the low end, not just volume. It's written for the key, not shoved in loud, and it breathes with the arrangement in a way that feels rare. That's Eason's read, not mine. I can't actually hear that stuff myself, but I trust him on it.

It’s also remarkably efficient. The whole idea lands in two minutes and forty-eight seconds, and it doesn’t overstay even a little. It does the thing, gets out, and leaves you wanting the next hit. That’s a discipline a lot of longer tracks could learn from.

The release also carries ‘Where We Began’, a smooth, rolling companion that keeps the mood flowing, and ‘Automatic’, which adds a sharper, more mechanical edge to round out the trio.

Vasa Records isn't a name I've seen before, but it reads like one of those small imprints that might actually know what it's doing. No filler, just functional, thoughtful techno.

I've already got this one filed for Amsterdam Dance Event this year, the late room slot I've already booked, when everyone's still upright but barely. This is the sound for that window.