Some tech house tracks try to win the room with a big lift. Move Some does the opposite. WTSY and Makswa keep the floor moving with a rolling low end, tight drums, and a vocal hook that lands on the drop and stays there. No piano wash. No long breakdown for the sake of it. Just groove that holds and builds through repetition.
That is the brief they sent with the track, and it matches what you hear. The bassline is not sitting under the mix. It is carrying the record. Drums stay dry and close. The top end is kept lean so the low frequencies can do the work. When the vocal hook hits, it is simple and sticky: move something. Peak-time and late-night both make sense. This belongs in the deeper, more functional end of a house set, where DJs want a tool that keeps bodies locked without resetting the energy every eight bars.
WTSY has been in the London house circuit since 2014, when those first sets started landing in the city’s club scene. The project has grown from local booths into signed-label work and a wider presence as a DJ and producer rooted in house. Performances are framed as immersive journeys: infectious energy, a sharp sense of flow, and a sound that tries to keep the floor in from the first drop to the last. He also runs WAVEFORM, a show that leans into the deeper side of house and has been tied to Bloop London and W1 Radio. That underground-to-radio path is part of why Move Some feels like a club record first and a streaming single second.
Makswa is the other half of the pairing, and the fit is obvious once you know the bio. An emerging DJ and producer from Italy now based in London, he grew up in a household full of funk and soul. That swing still sits in the music. His sound is bass-driven and groove-first, with an alternative take on tech house and minimal deep tech. Support has already come from names including Late Replies, Manda Moor, Miguel Bastida, Paco Osuna, Draxx (ITA) and Ilario Alicante. Momentum started with a viral free rework of Space Jam, then records like Kinda Sexy in 2024, and later attention around Manda Moor and Mood Child, including play at Paradise during ADE 2025. London sharpened the studio work. The result is club-ready and built for dancefloors rather than playlists that need a big chorus.
Together they stay in lane. Move Some is not trying to be festival tech house with huge stabs and a cinematic breakdown. It is the current underground preference for records that hypnotize instead of shout. Rolling bass, dry percussion, a vocal that repeats until the room is with it. If you have been following that deeper London and European tech house wave, this is the kind of cut selectors look for when the peak of the night is already in motion.
What do you think of this one? Does the vocal hook lock in for you, or is it the bassline that does the damage? Drop it in the comments.
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