Techno dominates today, from Model 500's twin cuts — the taut edit of I Wanna Be There and the Moritz Mix of Starlight — through Trolley Route's four-track run and Alan Fitzpatrick's Tremor. House keeps the tempo buoyant via Modjo's Lady and Ian Pooley's Roller Skate Disco, while Deadbeat and Biodub's Swaydub supplies the deepest, dubbiest moment.
64 added to rotation
A warm, melodic deep house cut that moves with patient precision, its 109 BPM gait and A-flat minor hues building a room you won't want to leave.
Patient at 125, but the energy says otherwise — a vocal worn down to texture over F# minor, built for the hour when the room goes quiet and wide.
Disco-filtered house that keeps its cool at 128 — bright chords, a bassline with somewhere to go, and not a wasted bar.
A warm filter-disco loop and a vocal that sits just behind the beat — French house at its most unhurried.
A 136 BPM pressure system in 3B: raw, deep, and hypnotic, with the room slowly folding in on itself.
At 140 BPM and 3A, it’s a taut tech-trance runner: clipped kick, cold synth line, and a title phrase that keeps the room locked.
A 140 BPM pressure system in F minor — all tension and forward lean, built for the long stretch when the room stops thinking.
A brisk, low-lit hypnotic groover that applies pressure rather than release — built for the long middle of a set.
Warm melodic house at 125 BPM, all soft edges and forward motion — a groove that opens a room rather than fills it.
A 122 BPM roller that keeps its cool — low-slung bass, patient melody, and a room that stays open.
Deadbeat and Biodub lock into a 118 BPM dub techno groove that feels like a fogged-up basement at 4am.
A 120 BPM strut in A minor where the percussion does the talking and the synths keep slipping sideways.
A melodic deep-house roller with a moody E-minor centre and enough drive to shift a room.
A 125 BPM progressive house cut that builds its room from tight percussion and a G-major glow, more heady than ecstatic.
A 125 BPM oddball that smears ambience around clipped percussion and lets the room go blue.
At 140 BPM and energy 10, this is taut, hypnotic techno that builds its room through pressure and small shifts rather than release.
At 140 BPM, Fitzpatrick locks into a taut, muscular groove — a peak-time techno cut with a firm, unflashy hand.
A 136 BPM techno cut that coils rather than explodes — C# minor pressure for the after-hours.
A 136 BPM prayer murmured through machinery — pads that swell, recede, and leave the room colder than they found it.
A 122 BPM tech-house cut with a clipped Afro-house hook and enough tension in the minor key to keep a daytime floor curious.