As anticipation builds for his upcoming performance at EDC Las Vegas, Whethan is diving deeper into his chaotic bass-driven evolution with the release of “WAREHOUSE.WAVS2,” the latest installment of his viral remix series arriving exclusively on SoundCloud. The project lands just ahead of his bassPOD set on Sunday, May 17, where he is expected to deliver one of the weekend’s most high-energy late-night performances.
Built around the records currently dominating his live sets, “WAREHOUSE.WAVS2” further expands the sound palette that has defined Whethan’s recent creative resurgence. Pulling together dubstep, trap, warehouse rave energy, hardcore influences, and internet-era nostalgia, the tape feels less like a polished commercial release and more like a direct transmission from the underground spaces currently shaping bass music culture.
Among the project’s standout moments is a distorted rework of A$AP Rocky’s “Distorted Records,” the explosive opener from TESTING, now transformed alongside Dennett into a punishing bass-heavy weapon designed for peak festival chaos. Elsewhere, Whethan revisits Breathe Carolina’s 2011 crossover anthem “Blackout,” resurrecting one of the defining singalong tracks from EDM’s early festival boom while injecting it with a much darker and heavier modern edge.
The project also leans heavily into internet culture and Southern rap nostalgia, two worlds that have become increasingly influential within modern bass music spaces. Whethan’s remix of viral rapper EsDeeKid’s “4raws” channels the hyper-online energy surrounding underground music communities, while flips of classics like Huey’s “Pop, Lock & Drop It,” Rich Boy’s “Throw Some D’s,” and Yung Joc’s “It’s Goin Down” tap directly into the club and street records that helped define Southern hip-hop throughout the early 2000s.
That nostalgic thread continues across remixes of blog-era rap staples, including “Beamer, Benz or Bentley” by Lloyd Banks and Juelz Santana, alongside a bass-heavy reimagining of “23” from Mike WiLL Made-It, Miley Cyrus, and Juicy J, a track synonymous with the chaotic party culture of the early 2010s.
One of the tape’s most unexpected highlights arrives through Whethan’s remix of “Move For Me” by Kaskade, a track widely regarded as one of progressive house’s defining crossover anthems. Rather than stripping away the emotion of the original, the remix preserves its melodic core while reshaping it for modern bass audiences. On the opposite end of the spectrum, his rework of Turnstile’s “BIRDS” dives fully into aggressive territory, reflecting the growing crossover between hardcore scenes and contemporary bass music crowds.
Adding another layer of internet-era nostalgia, the tape also features a remix of “Vans” by The Pack, a song deeply tied to late-2000s skate culture and blog-era internet music discovery. The inclusion feels intentional, reinforcing the DIY, genre-colliding spirit currently surrounding Whethan’s movement.
Since fully re-entering his bass and dubstep era in early 2025, Whethan has seen explosive momentum across major music markets, translating into sold-out shows in Los Angeles, Chicago, New York, and Denver, alongside rapidly growing demand for underground pop-ups and late-night rave sets nationwide.
With “WAREHOUSE.WAVS2,” Whethan continues embracing the raw unpredictability that fueled his rise while pushing further into the chaotic intersection of rave culture, internet nostalgia, and modern bass music. The result is a direct-to-fans collection built specifically for sweaty warehouses, festival pits, and the relentless energy of the dancefloor.
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