LATECRATES

Bodai's 'Brave' gets the remix treatment and the new EP is out now on Where The Shadow Ends. I'm picking out pumbum's version, because that's the one where the drop actually goes somewhere different than where it started, with a whole breakdown in the back third that flips the track inside out and lands it in a more spacious, almost fractured place. That's the real piece.

The other three on the EP? The Intro Mix is fine, the JFR Remix is the flat one, it's the weakest on the record, track two strikes again. Edu Schwartz's version is okay but doesn't leave much of an impression. So the pumbum remix is the one.

Now, about the label name: Where The Shadow Ends. Is that a real bit or is it just a name? I keep going back and forth. It sounds like it could be a movie title or a line from a poem that never got finished, but the music they put out actually lives up to the name, it's stuff that sits right on that edge between light and dark, where the kick doesn't let you forget the floor but the melody lets you drift off somewhere else. This remix sits exactly there. That's why it works.

It's the original 'Bones' that's been on repeat here. The remix might be getting the anniversary shine, but the source track is where the magic lives.

There's something about how the bassline is actually in conversation with the chords, not just sitting underneath them. I think Koletzki wrote it in the key on purpose, and that harmonic motion is what gives the record its pull. The remix flattens that out a bit; the original still has the tension, the way the low end rises and falls against the pads.

'Bones' shows Koletzki still knows how to make a groove feel alive.

John Joseph delivers a deeply personal and minimal offering with 'Arrive', a single that strips away the dancefloor in favor of something quieter and more reflective. Released on August 14, 2025, this isn't a track built for peak hours, but rather a late-night meditation that sits underneath a moment without demanding attention.

'Arrive' is sparse, patient, and deeply atmospheric. It unfolds slowly, with delicate textures and a sense of space that feels almost cinematic. There's no aggressive kick, no obvious hook, just a gentle pulse that guides the listener through a landscape of subtle harmonics and soft, evolving pads. It's the sound of arriving somewhere, perhaps at the end of a long night, perhaps at the beginning of something else.

The single is self-released on John Joseph's own label, a move that speaks to the artist's commitment to creative independence. In a world of constant sonic overload, 'Arrive' is a reminder that sometimes the most powerful music is the quietest. It's a track that rewards patience, offering a deeply personal listening experience that feels both intimate and universal.

Dmpv returns to Antima Music with the release of 'Mimosa', a two-track package that puts the spotlight on a smooth, hypnotic groove. Out now, the lead cut is available in both an extended mix and a shorter cut, catering to both the dancefloor and the casual listener.

The extended mix runs at a tasteful six minutes and change, letting the track breathe with a genuine sense of progression rather than a stretched-out idea. It's in key, I think, and 'Mimosa' moves with the chord rather than against it, though that's a read I've been wrong about before, so grain of salt.

Release: 8 August 2025, Magnifik Music.

Listen: LUCH - FFM (single) on Magnifik Music. A short, sharp Afro house cut. Builds with a straightforward loop, then around 2:00 the track guts itself, drops to almost nothing, just a couple of percussion hits hanging in the void, and holds that tension far longer than you expect. Then it decides to come back.

Ignacio Torne's 'Madeiro' gets the remix treatment on Future Avenue, and Berdu comes through with the standout version, a tighter, more driving take that gets straight to business.

Berdu's remix lands with a punchier kick and a cleaner bassline, tightening the groove while keeping the melodic core intact. The track's numbers work in its favor: the drums lock in early, and the final third pushes toward a rave-tinged peak that rewards patience.

Right so. Gumale. I wasn't sure about this one at first because the name is a bit nothing-y to me, but then I put it on and it was 2am and I was doing the dishes and the whole kitchen just went a bit wobbly in a good way. Urey Urey is seven minutes and twenty three seconds long and it doesn't rush itself once. There's this steady pulse to it, like a motor that's been running for a long time and doesn't need to prove anything, and then there are these little synth flares that go off every so often, not fireworks, more like somebody striking a match in a dark room to check if you're still there. It's house music but it's got this slightly alien cool to it, like it was made by someone who knows the rules but decided to take the scenic route instead. The flip side is 'Above the Sky' and that one's got a bit more of a glow to it, still restrained but warmer, like the sun coming up over a city that hasn't slept. Botanica put this out on the fourth of July which is a weird day for a release but whatever, the music doesn't care about the date. ok but heres the thing that actually got me. around 5 min into urey urey the whole low end just. drops. and it goes to this like broken half tempo thing for maybe 30 seconds before it snaps back. and i was standing there with a wet plate in my hand going "oh. oh okay." that's the moment. that's the whole point of the track. i don't know if that's what they meant to do but it hit me like a wall of good weather. this is a 3am thing btw, the bit where somebody's sitting on the edge of the dancefloor talking to a stranger about something that felt very important at the time. it's not for the big room. it's for the room that's mostly empty except for the people who are still there because they want to be. anyway. i'll write it, i want the dropout moment in there anyway. gumale. remember the name. or don't, but then you'll miss the bit where the floor disappears and i can't help you with that.