The 15 Best Tech House Tracks of April 2026

This month’s chart feels a bit rougher around the edges in a good way. Beltran finally releasing his long-awaited rework of The Flirts’ “Passion” sets the tone early, while Jamie Jones stretches Max Dean and Luke Dean’s “Gets Like That” into something even more hypnotic.

Elsewhere, Tony Romera, HASKELL and Joey London Style all bring tracks that feel slightly unpredictable in different ways, whether through strange pacing, rougher textures or vocals that completely take over the room. There’s also a welcome sense of humour running through parts of this month’s selections too, especially on records like Lulu Jones’ “House Is Not A Trend.”

These are the 15 Best Tech House Tracks of April 2026

The Flirts, Beltran (BR) – Passion (R U Satisfied)

Beltran finally drops one of the most requested IDs from his recent sets with “Passion (R U Satisfied),” a rework of The Flirts’ 1982 original that’s been floating around online and turning up in clips for the past couple of years. There’s a reason people have been waiting on it. The record taps into that slightly sleazy electro-pop energy of the source material without overloading it with nostalgia, keeping things lean, rolling and functional while the vocal does most of the heavy lifting. It has already become a staple in Beltran’s sets and you can hear why almost immediately.

Max Dean, Luke Dean – Gets Like That (Jamie Jones Remix)

Jamie Jones steps in on “Gets Like That” and turns Max Dean and Luke Dean’s breakout club weapon into something even more stretched-out and hypnotic. The original already had serious momentum behind it through the UK circuit, popping up constantly online and becoming one of those records that seemed to follow every big summer set around. Jones keeps the core vocal hook intact but leans harder into repetition and tension, letting the track simmer for longer before opening things up.

Tony Romera – Waste My Time

Tony Romera returns to Toolroom with “Waste My Time,” a record that had already started picking up traction online through set clips and crowd-reaction videos before the full release properly landed. Romera has become a consistent presence within the label’s recent output and this feels like a natural extension of that relationship, balancing a tougher club-focused framework with one of his more vocal-led productions in a while.

HASKELL – Rasa

HASKELL returns to The Myth of NYX with “Rasa,” a heavier, more experimental follow-up to “Love Dealer,” the track that helped push his profile wider through repeated BBC Radio 1 support and a growing run of club shows over the past year. “Rasa” feels rougher around the edges in a deliberate way. The vocal chops are restless and slightly disorientating, constantly shifting against a low-end that carries real weight without becoming overblown.

RSquared – Aeroplane

RSquared continue their steady rise through the deeper end of the club circuit with “Aeroplane Mode,” a slick Deeperfect release that had already started circulating through DJ clips and online support before landing properly. The UK duo have been building solid momentum over the last year through a run of tight, minimal-leaning productions, and this feels like one of their strongest yet. It carries that stripped, late-night Deeperfect energy without sounding overly clean or clinical. DJs have clearly locked onto it early, and you can hear why. The whole thing feels designed for those moments when a room starts tipping into slightly stranger territory.

Late Replies – Give It To Me

Late Replies have built a reputation for club records that feel rough around the edges in the right way, and “Give It To Me” carries that same loose, high-energy character that has pushed the duo further into bigger sets over the last year. The track had already been floating around online through clips and unofficial rips before release, with people repeatedly asking for an ID on socials and SoundCloud comments filling up with variations of “finally.” Built around a flipped Timbaland vocal, it leans into pure tension-and-release without sounding overly polished or predictable.

Deeper Purpose, Jack Orley, Michael Ekow – Stunner

Deeper Purpose keeps leaning further into bigger, tougher club records with “Stunner,” a collaboration with Jack Orley and vocalist Michael Ekow that lands on his steadily growing IN 2 DEEP imprint. There’s a clear confidence to the production from the outset. The low-end hits hard, the drums stay tight and aggressive, and Michael Ekow’s vocal gives the track a personality that a lot of heavier house records currently lack.

FIRZA – Fever

FIRZA has been steadily building momentum through a string of darker, more percussive club records, and “Fever” feels like one of the clearest statements of that sound so far. There’s a rawness to the track that immediately separates it from the cleaner, overly compressed end of current tech house. The drums feel slightly blown-out in places, the vocal sits in that sweet spot between seductive and confrontational, and the whole thing carries a kind of wired late-night tension from start to finish.

Beyond Limits – Act Up

Beyond Limits’ “Act Up” sounds like it’s permanently about ten seconds away from boiling over. The vocal has that slightly confrontational quality a lot of producers chase but rarely land properly, sitting somewhere between a chant and a warning shot as the track keeps tightening the screws underneath it. What makes this one stick isn’t brute force so much as the weird elasticity running through the middle of it. The bassline keeps buckling and snapping back into place, while the drums feel just loose enough to create a sense that things could genuinely derail at any point.

Teedee – Passion

Teedee’s “Passion” sits in that slightly strange sweet spot where a record feels warm and heavy at the same time. The bassline has real weight to it, but there’s a looseness in the swing and arrangement that stops the track becoming too locked-in or functional. Teedee keeps pulling little details in and out of focus instead of hammering one obvious hook into the ground, which gives the whole thing a more lived-in feel than a lot of current club records chasing instant impact. There’s a touch of early 2000s tribal house buried in parts of the percussion, while the vocal fragments drift through the track more like passing thoughts than centrepieces.

Austin Ashtin – Caramel

Austin Ashtin lands on Catch & Release with “Caramel,” a track that’s been hovering around DJ clips and ID requests for a while before finally getting a proper release. You can hear why people locked onto it early. The whole record feels slightly warped, especially in the way the bassline drags against the percussion instead of sitting neatly inside it.

Joey London Style – Va Va Voom

Joey London Style makes his Hot Creations debut with “Va Va Voom,” a track that feels completely aligned with the label’s current direction without disappearing into the wider pile of Jamie Jones-adjacent releases. Joey has been steadily moving upward through labels like Hottrax, Cuttin’ Headz and Metamorfosi, but this feels like the release where his sound fully clicks into focus. The record is ridiculously physical.

Lulu Jones – House Is Not A Trend

Lulu Jones doesn’t exactly leave much room for ambiguity with “House Is Not A Trend.” Built around a vocal that feels half manifesto, half winding-up exercise, the track taps directly into the current discourse around house music’s latest commercial boom without becoming overly po-faced about it. There’s humour in the delivery, and that self-awareness stops the record collapsing under the weight of its own messaging. Musically, it sits somewhere between chunky UK club energy and dirtier electro-house textures, with distorted stabs and rough-edged drums giving everything a slightly blown-out feel.

OFFU – Dame Ese Coco

OFFU’s “Dame Ese Coco” feels built around pure physical reaction. The vocal lands immediately, repetitive enough to become hypnotic within a few bars, while the percussion keeps tightening around it in waves. There’s a strong Latin club influence running through the track, but OFFU avoids turning it into something overly polished or crossover-friendly.

CASSIMM – Anything And Everything

CASSIMM has become one of the more recognisable names in the current Toolroom orbit, and “Anything And Everything” feels engineered for exactly the kind of big, vocal-led house sets that have pushed his profile wider over the last couple of years. The vocal sits right at the centre of the record, delivered with the sort of full-bodied, slightly theatrical energy that immediately pulls focus, while the production underneath stays tight and direct.