Peach - Soak Vol. 1
It's no secret that Peach has been the industry's go-to for quite a while now. Joyful and energetic personality, with superb mixing skills, stunning song selection, and love for the girlies has made a not only fun favourite but a metaphorical lighthouse for both party lovers and diversity-forward lineups. I believe the affinity for Peach lies in her ability to intertwine pink pageantry and queer culture into a serious "for the heads" art form. Peach's output has been predominantly underground house flavoured with effervescent candy floss. Jacking beats combined with neon pods in elastic basslines, I've become a calling card for the Londoner, but with the release of her new Soak Vol. 1 (2026), it seems Peach takes things in a much more introspective direction.
Soak Vol. 1 is a whole different side of Peach than what we're used to. Those radiant, shimmering Chicago-style dance tracks have been replaced by what, at first glance, seems statistically different. This time around, the tracks are slower and more considered. Throughout the EP, there's a use of a motif that is consciously hazy yet oddly floral. Each subsequent song feels as though you're listening through a wispy smog of incense surrounded by sheer curtains. Both bath time place and Batangas Beat explore a bohemian sort of sound through the intentional use of fuzz and evident inspiration from 90s electronica. The former introduces lush, sweeping tides of foaming sound that draw you right into the heart of a central European beach at sunset. In contrast, the latter dives headfirst into this new post-trip-hop sound, characterised by thick, dynamic drums and modulating effects to really instil that sense of otherworldliness.
The closing track on the record, Christian soul, sounds remarkably similar to the more ambient side of Richard D. James' Aphex Twin. Wonky drums and glitching effects create an off-kilter feeling, which is quelled by very earnest and gentle melodies. Rainy season, however, takes on a darker tone. While Peach still incorporates that hazy bohemian aesthetic, more emphasis is placed on the effects and how they can divorce the track from that feeling of earnestness. It's much more of an esoteric field, the ambience where, instead of relaxing into it, there's an undercurrent of, and he's mostly down to its unashamed and vibrant use of conflicting sound design.
The final track is probably the most functional for the dance floor, totally embodying the Craig Richards school of minimal. It's without a doubt the most infectious beat on the EP. It's deep, dark, and rolling, perfect for a long mix down the Terminus stage. Now, while it's a perfect dance floor get-down track, it does sit out of place on the record. It contrasts with the more intimate sounds that came before and after, leaving more to be desired, such as an expansion of this minimal, groovy, womp-in-the-woods sound. But aside from my own personal ones for the record and subsequent releases, Peach's debut on Mood Hut is a phenomenal bit of world-building and thoroughly increases her stock as a producer, showcasing her ability to create personal, meaningful music and an undeniable knack for what gets people moving.
Label: Mood Hut (2026)
Peach - Soak Vol. 1
