Whethan returned with WAREHOUSE.WAVS2, the second installment of his viral remix series, released exclusively on SoundCloud before his EDC Las Vegas set at bassPOD on Sunday, May 17 from 2:30 AM to 3:30 AM. The project pulls from the records currently appearing in his live sets, with edits of A$AP Rocky’s Distorted Records, Breathe Carolina’s Blackout, Kaskade’s Move For Me, Turnstile’s BIRDS, The Pack’s Vans, and several early 2000s and 2010s rap staples. Following his return to bass and dubstep in 2025, WAREHOUSE.WAVS2 brings his current SoundCloud era into focus through live-tested flips, heavier production, internet-era references, and the underground pop-up culture now surrounding his shows.

Whethan Packs WAREHOUSE.WAVS2 With Rap Throwbacks, Dance Classics, And Heavier Edits

WAREHOUSE.WAVS2 brings together records Whethan has been playing in his recent live sets, with the tracklist moving across rap nostalgia, festival-era electronic music, hardcore influence, and heavier bass edits. A$AP Rocky’s Distorted Records, reworked with Dennett, gives the project one of its darker rap entries, while Breathe Carolina’s Blackout brings back a 2011 emo-electronic crossover record from the early EDM boom. Kaskade’s Move For Me adds a progressive house reference point, and Turnstile’s BIRDS pushes the tape toward the heavier crossover between hardcore and bass music. These choices make the project feel close to Whethan’s current live direction, where familiar records are being rebuilt for louder drops, SoundCloud circulation, and late-night sets.

The rap side gives WAREHOUSE.WAVS2 one of its strongest threads, especially through Huey’s Pop, Lock & Drop It, Rich Boy’s Throw Some D’s, Yung Joc’s It’s Goin Down, and Lloyd Banks and Juelz Santana’s Beamer, Benz Or Bentley. These records come from different points in 2000s and early 2010s club and street rap culture, which makes their placement next to Mike WiLL Made-It, Miley Cyrus, and Juicy J’s 23 feel tied to a specific era of party records, mixtape circulation, and internet discovery. The Pack’s Vans adds another blog-era reference, bringing in the late-2000s skate and internet wave that fits the tape’s SoundCloud-first format. Across the full tracklist, Whethan treats these records as source material for the bass and dubstep direction he returned to in 2025, turning recognizable hooks and cultural references into edits made for live sets, online clips, warehouse pop-ups, and his current heavier run.

Whethan’s Bass Return Is Turning Live Edits Into Real Demand

Whethan’s return to bass and dubstep has not stayed limited to SoundCloud clips or one-off set moments. Since moving back into heavier production in 2025, his remix videos and live edits have helped push a visible surge across Instagram, TikTok, and SoundCloud, with nearly 90,000 fans signed up through Laylo for shows, releases, and pop-ups. That kind of response gives WAREHOUSE.WAVS2 more context than a standard remix-series drop, because these tracks are connected to a run that has already moved from online attention into packed rooms, late-night edits, and faster demand around his shows.

That demand has also shown up offline, with sold-out headline dates across Los Angeles, Chicago, New York, and Denver, plus underground warehouse pop-ups around the country reaching capacity within minutes. His current festival run has expanded the same heavier direction onto larger stages, including appearances tied to Coachella’s Do LaB, EDC Las Vegas, Electric Forest, and Lollapalooza. With support from names including Subtronics, John Summit, GriZ, and DJ DIESEL, Whethan’s bass era is now moving across several parts of the scene at once: festival crowds, underground pop-ups, internet remix culture, and the SoundCloud-first audience that made WAREHOUSE.WAVS2 the right format for this chapter.

WAREHOUSE.WAVS2 Keeps Whethan’s Remix Series Close To The Fans

WAREHOUSE.WAVS2 keeps the remix series connected to the audience already following Whethan’s edits online and hearing them at shows. The project stays close to the way this run has been moving in real time, with flips appearing in sets, clips spreading online, and listeners going to SoundCloud to find the versions they have been hearing in those moments. That format fits the second installment because it keeps the series direct, fast, and connected to the culture around his heavier production.

For Whethan, the release also shows how his current bass and dubstep direction is being carried by more than official singles alone. WAREHOUSE.WAVS2 gives fans access to the edits that have been part of this recent run, while keeping the rawer remix format intact. It is a SoundCloud-first project built around immediacy, crowd response, and the kind of live-tested records that have become central to his return to heavier music. WAREHOUSE.WAVS2 is available now exclusively on SoundCloud.

The UK Garage Swing And House Drums Behind Something Something

On Something Something, Syncia and CASH ONLY bring their bass and Garage-inspired House project into sharper focus through shuffling drums, a rolling low end, and a rhythm that nods directly to classic UK Garage. The record still keeps a modern House structure, but the Garage influence is not treated like a small percussion detail. It gives the track its bounce, keeps the low end active, and makes this third release feel more specific to the duo’s current project. Eljé’s vocal adds a calmer contrast over that rhythm, giving the single a more melodic point of connection without pulling it away from the dancefloor.

That final balance also matters because CASH ONLY explains that the track changed musically from its earliest writing stage after he and Syncia launched the project this year. In his own words, the single reflects what they are about musically right now: a House record shaped by Garage-inspired drums and basslines, with Eljé’s relaxed but emotive vocal giving it a hook that listeners can connect with while still being able to dance to. That makes the collaboration feel more complete than a track focused only on drums, bass, or vocal presence alone. For a release on Love & Other, Something Something keeps its UK underground reference clear while giving the single enough vocal identity to carry beyond the production.

Echo Silence Marks The Next Step In Against All Ødds’ ZeroThree Chapter

With Echo Silence, Against All Ødds gives the release enough detail to work beyond a simple melodic record. The track has a slower pace, a vocal that stays easy to follow, and a layered production style that keeps the emotion of the single connected to its club structure. That balance is important because the record is not relying on one element alone. The vocal gives it its most direct point of connection, while the production keeps the track aligned with the melodic and progressive sound that has made his ZeroThree releases part of his current direction.

The single also gives Against All Ødds a strong point to move from as ZeroThree prepares more music around him across 2026. Instead of closing this chapter with only one release, Echo Silence points toward a longer run of singles and collaborations already planned between the artist and the label. For listeners following his recent catalogue, it adds another side to his sound without stepping away from the emotional and melodic lane he has been developing. Stream Echo Silence now.