Progressive house and tech house carry today's crate, from Liam Garcia and Keef Luv's "No Way Out" through Marsh and Lyves' "Sinner" to Deep Dish and Steve "Silk" Hurley's "The Chug". Techno and trance press at the edges — Radio Slave's remix of "The Flood" and the FANK speed garage flip of "Barely Here" — while Digitalism's "Pogo" supplies the lone indie-rock jolt.
21 added to rotation
A warm progressive-house roller that keeps its 122 BPM gait tight and its B-major glow subtle.
At 122 BPM in F major, a clean progressive cut with a bright melodic hook and crisp, airy percussion for the afternoon floor.
A warm vocal hook rides a clean 122 BPM tech-house pulse; daytime music with a little grit under the melody.
A trimmed 128 BPM minimal roller in B major that keeps its energy in the details rather than the drop.
A 128 BPM tech-trance roller that keeps its stabs on a short leash — bright, propulsive, and built for the wide part of the room.
A vocal hook that sits just under the skin, riding a clean 125 BPM pulse — daytime house with its shirt tucked in.
A clipped vocal hook and a low, sour chord stab keep it pressing forward without ever asking the room to explode.
A skippy 130 BPM garage frame with the low end shoved forward — made for the seam between warm-up and the real thing.
A patient 122 BPM progressive house cut where the pressure lives in the low end, not the tempo.
A steady, low-slung churn at 128 — F minor doing the brooding while the low end does the moving.
A clean, tech-tinged progressive house cut at 125 BPM: firm kick, nudging bass, and a hook that lands early without overstaying.
A clean, propulsive progressive-house glide at 125 BPM, all rolling low end and restrained melodic lift.
A warm, rolling tech-house remix that trades bluntness for swing — the kind of record that opens a room rather than flattens it.
A taut tech-trance roller that keeps its head down and its pulse up, all D minor tension and 133 BPM momentum.
A wiry, bright indie-electro cut at 136 BPM — clipped guitars, a straight kick, and a vocal that sits right up front.
A warm, dub-hazed roller at 125 — the bass does the work while the chords drift off before they land.