There is a particular kind of house track that does not need fireworks to take over a room. It just locks in, stays patient, and lets the groove do the talking. That is the lane Lewis Taylor is working on “In My House,” a new cut landing on Factory 93 Records in the space where tech house, minimal house, and old-school house still share the same floor.
Factory 93 has always been Insomniac’s underground house-and-techno home: warehouse energy, functional records, music built for long sets rather than thirty-second clips. Putting a Newcastle producer on that roster says something. The label already framed Taylor as rising UK talent after “No Matter,” a rolling 130 BPM house cut with room to breathe. “In My House” follows in the same family. The extended mix sits at 130 BPM in F minor, which is peak-time without going full peak-time meltdown. Fast enough to keep bodies moving. Slow enough that the drums can stay dry, the bass can stay mean, and the arrangement can stay disciplined.
That mix of restraint and drive is why tech house and minimal house keep coming back around. In 2026 the bigger rooms still want impact, but a lot of DJs are reaching for records that feel like the mid-90s and early-2000s club continuum: four-on-the-floor that does not beg for a drop, percussion that actually grooves, and a low end that holds the night together. Old-school house never really left those rooms. It just got filtered through tighter drums and cleaner mixes. “In My House” lives in that overlap. You can hear why the submission tags sit together instead of fighting each other. Tech house gives it the current club frame. Minimal house keeps the arrangement from getting busy. Old-school house is the attitude: serve the floor first.
Taylor’s recent run already pointed this way. Alongside Factory 93 he has been moving through UK house and garage-adjacent circles, with records that treat groove as the main event rather than a garnish. That matters for a track with a title like this. “In My House” is a phrase the culture has used for decades, from jack tracks to warehouse chants. The job is not to reinvent the slogan. The job is to make the room feel like it belongs to the DJ for six minutes. A 130 BPM F-minor extended mix on Factory 93 is built for that: headphones in the booth, then the system, then the people who came to stay.
You do not need a novel-length artist myth to hear what the record is for. It is a club tool with a name that tells you the brief. House music is still healthiest when independent producers can get those tools onto the same platforms the rest of the scene lives on.
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What do you think of this one? Does “In My House” belong in the peak or the warm-up? Drop it in the comments.
