Tech house does not need extra decoration when the groove is already doing the talking. Huxley’s Hear That Sound is that kind of record: stripped-back drums, a deep rolling bassline, and old-school piano stabs that keep the whole thing in motion. It is raw, hypnotic, and clearly made for a room that wants to move.
The track lands on R-Trybe Records, the platform Huxley co-founded with Ramin Rezaie and BAKKIS as a home for contemporary house across its deeper, techier and more melodic sides. Hear That Sound is Huxley stepping forward on his own imprint with a cut that stays rooted in club energy. Beatport lists the extended mix at 128 BPM in F minor, which sits right in the current tech house lane that has been leading the store’s charts again in 2026.
What works here is how little Huxley piles on. The drums stay lean. The bass keeps rolling. Those piano stabs flash just enough house nostalgia without turning the arrangement into a throwback costume. The foundation is deep and a little techy, but the track never sits still. That restless quality is the point. You can hear why DJs reach for records like this when they need something that locks a floor without crowding the mix.
US house act Gettoblaster take the remix and push it into heavier territory. Their version adds chunkier drums and a more muscular low end while keeping the original’s hypnotic pull. On Beatport that remix sits in jackin house at 126 BPM, which makes sense: same hypnotic core, extra swagger and weight. If the original is the late-night roller, the remix is the one that leans into the room’s shoulders.
Huxley is Michael Dodman, a UK producer and DJ from Tring who has been moving through house for well over a decade. He came up with a love of garage’s grimy bass and a higher end that can still feel soulful. Early work with Ethyl on labels like Cécille Numbers and Tsuba led into solo records on Tsuba, then Aus Music, including the 2014 album Blurred. Breakthrough club cuts such as Let It Go on Hypercolour and Box Clever on 20:20 Vision put him on dancefloors worldwide. He has also released on Rekids, Toolroom, Moon Harbour and others, run Dumb Safari, and kept switching lanes instead of parking in one niche. Collaborations with names like Sam Russo, Ethyl and Steve Bug sit alongside that solo catalog. The “About” note that came with this submission still holds: he unites styles with ease and is as much fun as he is well informed.
R-Trybe started as a community first, then became a label. That context matters. Hear That Sound is not a random one-off; it is Huxley putting his own name on the kind of contemporary house the platform was built to carry. Tech house right now rewards records that stay functional: rolling bass, tight drums, a hook that does not overexplain itself. Piano stabs are having another moment across house and tech house sets for the same reason they always work. They give the ear something familiar without slowing the groove.
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Hear That Sound is Huxley doing what he does best: keeping the arrangement lean, the bass moving, and the club in the middle of the picture. What do you think of this one? Drop it in the comments.
