2025 Year-End Review: House Tracks of the Year

Our 2025 year-end review is here, and we are very excited to share it with you our top picks for house tracks of the year. This playlist takes into consideration Beatport charts, DJs that have played the tracks, number of plays on Spotify and YouTube, and of course, our personal taste.

Assembling this list is a year-long process. We start working on it in January and refine the list again and again throughout December. We hope you enjoy what comes out of it.

Our most underrated release of the year belongs to the trio that comes from Merida, Mexico. Their collaboration on PostMan truly captivated us. Starting with just a simple drum loop and catchy vocals, it just keeps building up from there, until it culminates with a very jazzy piano solo not typically expected in a tech house track. Despite not getting nearly the amount of attention we think it deserved, we were very much in love with it throughout the year and it very well deserved its place in our list.

AYYBO has developed a certain kind of unique-to-him sound that’s very hard to ignore. On one hand, it’s somewhat of a deep tech you would expect from the likes of PAWSA. On the other, it’s filled with percussions in a way no other tech house usually is. They’re louder, they’re somewhat obnoxious, and we are loving it. His first appearance on John Summit’s Experts Only label.

There’s something about Audio Bullys that works so great in a tech house track. After being featured on Michael Bibi’s ‘Different Side’ (2023) and Anti Up’s ‘Outlaws’ (2024), this year it was their collaboration with Chris Lorenzo (AKA one half of Anti Up) and Max Styler that took the spotlight.

jWave is a relatively unfamiliar name of the scene, but he has already gained support from the likes of Chris Stussy, Rossi., and Josh Baker. Released on Rossi.’s imprint, this catchy tech house love song demonstrates why.

A match made in heaven. Rossi. and Jazzy have both established themselves at the top of UK’s house scene individually in recent years, and their collaboration on this track has just enough broad appeal to make it peak as #1 on Beatport’s dance / pop chart (#3 overall).

Mysterious UK-based producer bullet tooth was a relatively unknown figure at the beginning of the year, but by the end of it his re-works of house classics such as Inner City’s ‘Good Life’ (1991) and Xpansions’ ‘Move Your Body’ (1991) changed that. Now, you can find his tracks played frequently in sets by the likes of Arielle Free and Danny Howard.

London’s rising star Linska has been on quite a trajectory recently. Balancing between tech house and techno, her track ‘Bad Boy’ (2024) absolutely dominated Beatport’s melodic house & techno charts about a year ago, staying on the #1 spot for a whole month between mid-December and mid-January. And just when it slowly started to dip below the top 100, GENESI’s Remix made sure that doesn’t actually happen. Together, they haven’t dipped below the top 100 melodic house and techno for the entirety of the year, from the middle of December 2024 all the way to this day. That is… quite a feat.

Toronto-based Hatiras truly surprised us this year with his track Hypnotized, which… well, hypnotizes you. As you listen to it, it builds the tension higher and higher, and every time you think it reached its peak, it takes you even further. Peaked at #5 on Beatport’s tech house charts and #16 overall.

We can’t tell you much ERHA, other than the fact he’s French. However, he definitely gained our attention with this track. Featuring a female voice expressing her angst and insecurity when a boyfriend tells her he loves her for the first time and instrumental that completely captivates you in the process, making you feel that angst in her voice.

This is one of those tracks that could’ve been easily forgotten about had Spotify not decided to push it in its curated playlists, making it reach over 3 million listens and peaking at #2 on Beatport’s Minimal / Deep Tech charts over half a year after its release. Not bad for a first track.

Despite being from Chicago, Ron Trent is synonymous with early techno. His track ‘Altered States’ (1986), released while he was still in high school, became one of the early techno hits in Detroit.

Now in his 50s, he received his first Grammy nomination with his very early-deep-house-sounding remix of the 1990 track by the legendary British collective Soul II Soul.

For our #3 this year, we’ve picked a track by a Stockholm-based Tiger Stripes. While it didn’t receive a lot of mainstream appeal (peaking at #17 on Beatport’s house chart), it has certainly taken over our hearts. This track could’ve been released any year since 2010 and it would’ve sounded just as fresh and just as old-school at the same time. The best way to describe it is to call it the houseiest house track of the year.

Every time we think Chris Lake cannot surprise us any further, we were admittedly very wrong about that. Unlike most years where we hear a bunch of IDs in his mixes and yearn for their releases sometimes for years, this year Chris Lake took a different turn.

There has been no shortage of Lake’s releases this year. We saw him drop his debut solo album Chemistry, a Grammy-nominated remix of The Chemical Brothers’ ‘Galvanize’, and collaborate with the likes of Disclosure, Skrillex, and Bonobo. It was incredibly difficult to pick just one of those tracks to feature here, and we ended up going with a safe pick: Ease My Mind.

An incredibly catchy, pop-y track that’s going to instantly improve your mood. What could be better than that?

Our choice for #1 house track of the year was surprisingly easy to make this year. In fact there was no doubt in our mind for the past six months which track will come out on top. Chloé Caillet’s collaboration with Luke Alessi happened spontaneously after they met in Ibiza. After gaining some momentum as a demo, now 75-years-old disco diva Jocelyn Brown decided to get involved and re-sing the parts of her hit ‘Somebody Else’s Guy’ (1984). As Caillet described it on Instagram:

The original song was my go to record to play on almost every set when I first started djing. I’m still in shock to see her name next to ours on this record.

Fast in tempo, with a very early UK garage feel to it, and a very 90s sounding stabs that just fill the track to perfection. Truly a 10/10 track that will stand out in sets for many years to come.