The chart · Sat, 31 Oct 2026
What ranked that day — the Ninja's blend, archived as it stood.
top 100 of 586 ranked · today's chart
Four-to-the-floor dominates the charts, with House and its variants claiming well over half the top twenty, yet the headline story is Paul Oakenfold and Grace’s resurrected "Not Over Yet" ruling at number one. I am pleased the rooms are locked to steady kick-drums, but Snoop Dogg and HUGEL’s "H.O.U.S.E" floating at ten feels like a gimmick pushing past worthier specialists.
The chart that day
I’d let Grace’s vocal ride this lean 133-BPM techno grid; functional peak-time weight with a melancholic undercurrent.
A brisk 133 BPM house cut where a bright vocal loop and minor-key tension fill the floor without leaving much mystery.
Tight, hook-driven house at 133 BPM: the vocal threads a needle between peak-time pressure and something more refined.
A polished speed garage cut where the vocal hook rides a brisk 130 BPM shuffle, bright and functional but rarely surprising.
A 130 BPM A-minor juggernaut where a razor-wire vocal hook rides a thundering electro-house groove built for peak-time surrender.
A polished 130 BPM crossover weapon where a monster vocal hook meets peak-time house pressure.
Snoop’s vocal rides a 128 BPM grid efficiently enough, though the production never develops a vocabulary of its own.
A main-stage missile dressed in deep-house silk, cruising at 130 with enough energy to torch the floor.
Unapologetic daytime elation at 133 BPM: a vocal hook sharp enough to cut the biggest rig.
A relentless 128 BPM charge through 10A tension, marrying CircoLoco pedigree with a warehouse-sized hook that demands peak-time surrender.
A 128-BPM tech-house grid that locks the floor with dry, incremental tension and no unnecessary flourishes.
I’d call this a lean, 133-BPM UK garage cut that keeps its pressure precise without cluttering the mix.
Tight 128 BPM percussion and a 12A vocal hook that keep the floor in steady, frictionless motion.
The vocal sits crisp and unhurried over a 130 BPM chassis, trading peak-time force for a leaner, hook-driven momentum.
A rolling 128-BPM mainstage missile that weaponises Ab minor groove into accessible, high-impact daylight fuel.
Melancholy synths and a 125-bpm chassis steer this minor-key cut into the hazy zone between indie longing and club gravity.
A 128 BPM charge in E minor that trades subtlety for steady forward motion; I’d deploy it when the room already knows the score.
A breezy, high-energy vocal house cut that beams with 130 BPM optimism and zero pretension.
A high-BPM crossover that trades psychedelic depth for vocal immediacy and festival polish.
Speed garage chassis welded to a tech-house engine, cruising at 133 BPM with enough daylight polish to blur mainstream and basement.
A slick bassline stride with a vocal loop that cuts clean and keeps the floor moving without fuss.
A soaring vocal rides a relentless 133 BPM groove, turning heartbreak into peak-time fuel without losing its daytime charm.
Funk-slanted house at 128 BPM with enough juice to keep a warm floor moving without burning it out.
A 140bpm bassline roller with a vocal hook that circles back on itself, built for warm rooms rather than peak-time pressure.
A polished 128 BPM house cut with bright chords and a prominent vocal that offers a dependable, if unsurprising, mid-set lift.
A brisk 133 BPM bridge between rolling house utility and peak-time trance tension, built for accessible club momentum.
I hear a 122 BPM progressive house cut in 9B that channels high energy into warm, organic grooves with a surprisingly grounded stride.
To my ears, this 133bpm 7A cut drapes a vocal over tight tech-trance grooves, better suited to afternoon warmth than midnight tension.
A tech-trance stride at 133 that trades subtlety for floor momentum and a direct, insistent hook.
Melodic lines in Db major spiral upward at 125 BPM, building a patient bridge between warm-up tension and the floor's fuller moments.
Wu-Tang's grit meets peak-time steel at 130bpm, a collision of legacy and laser-focused club weight that demands the main room.
Vocal lines thread through a 120 BPM frame with enough melodic lift to keep the floor engaged.
A polished 125-BPM sweep of C-major melodic pressure that fills the floor without ever stealing the headline slot.
Relentless 128-bpm house with a vocal hook that digs in deep—tension dialled to nine and polished for the main room.
A 130 BPM electro barrage delivered in 4A at full ten-out-of-ten voltage, channelling unmistakably underground pedigree into pure club pressure.
Steady 122 BPM progressive grid with airy pads and a pensive 9B centre; a useful mid-set bridge that lifts without shouting.
F minor progressive house at 125 BPM, balancing peak energy with a melody that cuts through the density.
A utilitarian peak-time cut whose blunt energy favours seamless transitions over surprises.
Rubbery low-end and skittering percussion at 130; a 12B utility cut built for the long blend.
A rolling 125-BPM dispatch from the floor's centre, where lean minimal pressure meets peak-time stamina.
Vocal chops and a 133bpm stride make this a polished, if predictable, daytime floor-filler.
Rosalia’s vocal gets fed through Gesaffelstein’s industrial grinder, emerging as a sleek, 122-bpm war machine built for peak-time pressure.
Relentless 143 BPM hypnosis from Mutual Rytm that turns the booth into a pressure chamber.
Raw Klasse Wrecks electro stripped to sparking wires and sent hurtling at a hundred-and-thirty.
A warm, earthy 122 BPM progressive cut with a recognisable motif and breathing room between the drums.
4A hypnosis at 122 BPM, pushing high-energy progressive weight through a measured chassis.
Warm, driving progressive house at 122 BPM that channels open-air euphoria without drowning in sentiment.
A dependable 130 BPM utility with high energy but little identity; useful for keeping floors moving between records with more to say.
A hypnotic 115-BPM slow-burner that trades velocity for high-voltage texture and after-hours shadow.
Tasteful sound design meets late-night momentum in a downtempo cut that glitches without losing its soul.
Vocal house at festival scale that somehow keeps its dignity, marrying big-room thrust to a surprisingly refined pulse.
I'd drop this recognisable vocal over its 128 BPM electro house chassis, turning familiarity into dancefloor currency.
A tidy 130 BPM cut that threads a vocal loop through lean percussion, built for mixing rather than centre-stage spectacle.
I’d call this a driving, melodic weapon at one-two-five that burns with peak-time urgency and an Ibiza-sized hook.
Taut vocal house at 125 BPM; the hook locks in without ever raising its voice.
A slow, seething late-night burner that trades standard urgency for a deeper, organic hypnosis.
Organic downtempo that murmurs rather than ignites, best served when the floor is thinning and the lights come up.
A 128 BPM chant rides a clean Diynamic groove, its melodic frame keeping peak energy just the right side of camp.
I’d slam this 125 BPM bruiser at peak time; ten-out-of-ten energy meets deep minimal discipline to turn the floor into a gleaming sweatbox.
A festival-ready weapon that weaponises its own cheeriness; the hook hits like serotonin in 130-BPM lockstep.
Polished breaks at 128 BPM carry SOARR’s vocals skyward, though the architecture feels comfortably familiar rather than fearless.
Sleek, vocal-led house at 130 with a topline that winds tight and a hook that lingers after last orders.
Stadium-sized progressive warmth at 120 BPM, stitching minor-key longing to a high-energy groove made for sunlit floors.
Melodic pressure at 128 BPM, threading airy synth lines through a steady, floor-facing groove.
High-gloss progressive house built for sunlit terraces, marrying organic warmth to relentless 125 BPM forward motion.
A vocal refrain rides disciplined 133-BPM drums, offering controlled energy and a minor-key ache that works the floor without showboating.
Unrelenting peak-time artillery built for mainstage sweat and strobe-lit abandon.
A polished 133 BPM mainstage missile that trades underground grit for sky-high serotonin, built for peak-time sun and outstretched hands.
That vocal hook sinks into a driving 128-BPM groove, turning any tent into a daytime communion.
A relentless 128 BPM electro charge that turns the club into a pressure cooker of raw, hooky voltage.
A lean, sinewy fusion of electro pressure and garage swing that hits the floor with intent.
A peak-time, crowd-pleasing remix that threads a familiar riff through high-pressure tech trance mechanics.
A smouldering 122-BPM ritual in 4A that trades peak-time bombast for hypnotic, after-hours alchemy.
I’d ride this bruised minor-key melody straight into peak-time, no hesitation.
A widescreen 128-BPM odyssey that weaponises 11A melancholy into peak-time progressive propulsion.
A bruising 143-BPM missile that channels raw electro torque into pure, unrelenting dancefloor engine grease.
A sun-drenched, hypnotic 120 BPM meditation where deep techno's pulse meets organic warmth, built for peak-time transcendence.
At 125, I find a sleek, melodic tension that rewards patience on the floor.
Warm Ab minor chords carry a drifting vocal across a 125 BPM grid, building an open-air groove that feels effortless.