The best Electronic Music of 2025: EPs and Singles

My top 30 EPs and singles of 2025, in no particular order

Following the list of my favourite 2025 albums from yesterday, here are my 30 favourite electronic EPs and singles of the year, listed in no particular order. I hope you enjoy digging through, and I’ll be back soon in 2026! — Vincent

You can find my album list here:

The best Electronic Music of 2025: Albums

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Verraco - Basic Maneuvers [XL]

Few contemporary producers know how to channel musical discordance like Verraco does. Take “sobe sobe (feat. MC Yallah)” on his new EP for XL. It starts out normal enough — okay, here’s the first few seconds, sounds like it’s building up to some kind of noisy dubstep drop? Wait, no, I guess that was just a bluff and it’s actually all about those comically melancholic gated trance pads … that actually just serve as the backdrop to a high-energy reggaeton MC performance? … alright, so we’re halfway through now … and now here’s that noisy drop hinted at in the beginning bursting in anyways, as if that trance/reggaeton combo wasn’t already weird enough, and what the track really needed was SpongeBob bouncing around all over on top of everything?! Quite a ride, and make no mistake, in the hands of most producers, this all would probably sound exceedingly gimmicky. But Verraco isn’t like most producers and so, somehow, all that discordance ends up coming together perfectly in one beautiful whiplash of a track.

Marcal - Enchant & Deceive [Enemy]

I already wrote about Brazilian producer Marcal’s excellent EP on Spazio Disponibile earlier this year, but I think this one’s even better — maybe the best tool techno 12” of the year? As with most great DJ tool records, it is not so much about creating the biggest possible impact as it is about subtly honing in on highly specific moods and rhythms; creating colours and palettes from which a DJ can draw from.

So while technically, not much is happening in a track like “Two Become One”, there is a certain rhythmic agility and subtle sense of mystic energy that I find very rewarding, even outside the context of a DJ set. “Spellbind” is a bit more energetic, centering around a fun pseudo-vocoded vocal and thick galloping claps, while “Perpetuity Wing” is all dark and sultry with its tunnelling bassline, papery hats and reverberating granulated vocals. At a time when a lot of dance music is going for maximum speed and energy, this is the kind of EP that serves as a great reminder that less can indeed be more.

Carré - Body Shell [Tempa]

While Body Shell is in many ways a pretty traditionalist dubstep record, there’s a certain techno sensibility in the programming and arrangements here that subtly moves away from the traditional garage skip paradigm. Or, to put it another way, it is simply impossible to listen to any early 2004-2006 era dubstep without being constantly reminded on every snare that those Brits all grew up listening to garage. But twenty years on, the passage of time is now affording younger producers like Carré to take a strategic distance to that London thing, resulting in a new-found freedom that Carré is really making the most of here with her agile and gorgeously produced take on the classic halfstep formula.

Cola Ren - Mekong Ballad [Human Pitch]

What a gorgeous little ambient EP this is. Taking inspiration from those classic Eno/Budd records and the golden era of Japanese ambient, Guangzhou-based producer Cola Ren conjures gentle glassy FM tones and subtly jazzy acoustic backdrops that then serve as appropriately lush backdrops for her gorgeously haunting vocals. River ambient.

Pangea & Leonce - Dusted [Fabric]

“Dusted” is a UK garage club track that borrows liberally from K-pop (just listen to that stabby staccato vocal chorus), which was itself heavily influenced by UK garage via the likes of Disclosure. Full circle fun.

T. Jacques - Fingertrips [Limousine Dream]

This new Limousine Dream’s got some deadly, deadly, y2k London tech house bump on offer. Honestly, every track on here is a certified party rocker, but I’ve been particularly fond of “House Control”, it’s got those really lush and addictive stabs — I’ve always called them “Mojito stabs” because to me they just sound like a vibing upscale cocktail bar on a Friday night — swept with a filter resonance so smooth and buttery that it almost sounds like it’s all about to melt into a creamy puddle. As good as house music gets.

Conna Haraway - Shifted [Short Span]

The Short Span label has just been absolutely killing it this year (there are three of their releases on my 2025 list), serving up some irresistible candy for dub fiends like me. Case in point, the eleven-minute vocoder chord orgy “Redirect” (feat. Xenia Reaper) may be one of the finest pieces of post Chain Reaction hiss-haze bliss narcotics I’ve heard since that 2018 Uon LP on West Mineral. While the other two tracks are slightly less opulent, they are also excellent and change things up a bit by throwing some kicks into the mix, bringing out the more DJ friendly side of Connna Haraway’s cyborg dubs.

Mattik - Bubble [INSTINCT]

Some massive y2k-style garage/grime hybrids on this EP that are equally rough and sultry in the best way possible — just listen to that bassline and skip on “Systematik”, I’m pretty sure that would have gone to the UK charts in 2000. Meanwhile, “Active” is a killer classic grime number, and “Megatone Saxon” manages to pack an almost comical amount of sub bass into one track. Say what you will about the general trajectory of Starmer’s Britain, but if nothing else, it is cranking out some prime tunes at the moment.

Iri.gram - False 04 [False Aralia]

I have no idea who “Iri.gram” is, but these are great tracks that remind me of the enigmatic Topdown Dialectic project in their mixture of lush dub abstraction, quirky rhythms, and sampler weirdness … actually, funnily enough, on closer inspection it appears that this is a new sub-label of Peak Oil — which has previously released multiple Topdown Dialectic LPs — so maybe this is all just another alias sock puppet game. Either way, this is a lovely sound that is really only coming out of this specific West Coast orbit, so I’m just happy to have more of it.

Also recommend: False 01, False 02, False 03, False 05, False 06 (this project has really had a bit of year, hasn’t it).

OCB - Samples, Simulations & 909 [Casa Voyager]

After having had the honor of a 12” on none other than Detroit’s ur-label Metroplex in 2023, Casablanca‘s OCB aka Driss Bennis is now back on his homebase Casa Voyager with another EP of quality Motor City material. While pretty much all of the tracks here are great, I think my favourites are the funky breakbeat dubber “Never Been 2 Detroit”, the filtersweep+909 exercise “Newspeak (Version)”, and the romantic 303 electro number “Acid”. Bennis might have never been to Detroit physically, but he certainly has been musically.

Roseen - Conditioning Chamber [a.r.t.less]

On Conditioning Chamber, Berlin techno purist Roseen pays homage to that early ca. 92-93 H&M chord memory sound, looking towards a period in early techno’s development that, despite its historical importance, remains quite rarely referenced in contemporary techno. It’s also just a sound I’ve always adored on a sonic level — just listen to those pumping metallic Alpha Juno chords liquefying into a bright melted sizzle on the title track “Conditioning Chamber”. Beautiful.

Luna Ludmila - Sitges [Kann]

Acid-dub-tech-house is one of those many little sub-sub styles of dance music that have never really received wider attention outside of DJ circles but have been reliably delivering quality tracks — just go through the catalogue of Berg Audio or Yoyaku’s Joule Imprint and you’ll find no shortage of great material. And as far as I’m considered, Luna Ludmila’s “Sitges” is about good as an example as you’re going to get when it comes to this particular fusion of sounds, with its punchy swinging drums, big low end, 303 chirps, floaty pads and sizzling stabs. Meanwhile, “Barrie” on the b-side takes on that same formula, but goes for a breaksy rhythm rather than the expected 4/4; a real floater of a track that will instantly serve as that “strap in, we’re getting serious now” moment in any afterhours set.

Uwalmassa - EP3 [Sundial]

Occasionally, wafting through the new release section on Boomkat does pay off, and you find some strange and lovely things you would have never come across otherwise. This little EP from the Indonesian collective Uwalmassa is one of them. I don’t know a lot about gamelan, but I guess this qualifies based on the instrumentation and harmonic language. That said, what Uwalmassa are doing here is hardly traditionalist — these are strange and rapid electro-acoustic blends where I can barely even tell what is acoustic and what is electric, often frantic to the point of almost tumbling over themselves. With the right crowd, the rolling and burping bounce of “Untitled 14” in particular would probably go crazy in the club. I know I would!

Christopher Ledger - Inspection Report [Adam’s Bite]

In my recent trance retrospective with Jack Moss, I talked about my love for “McProg” — a mid 2000s style of progressive trance centered on the combination of dark reese basslines and twinkly arpeggios. As such, I was bound to love this new Christopher Ledger EP, which is pretty much straight up 2005 progressive trance, albeit with more of a house vibe in the rhythm department. It’s a good twist on the formula, since the drums were always the weak spot of that stuff — a track like “Inspection” with its subtle UK garage skip is far more rhythmically engaging than anything you would on a mid-2000s prog record. Luckily, despite having house-ified the drums, Ledger does not skimp on the trance melodrama when it comes to the synths, delivering an EP full of rich melodic basslines, sweeping pads and sparkly arps. The best of all possible worlds — as long as you like trance, that is.

Tape Pack - Light Years [Loom Recordings]

Light Years is some of the absolute smoothest atmospheric jungle you’ll hear all year, and while the Good Looking era ROMpler tropes have definitely been laid on pretty thick here, I frankly don’t really care when tracks sound as sweet as „Antares“. A cosmic journey straight to planet lushland.

Beatrice M. - Eurotrash [Tempa]

Fun and punchy post-dubstep influenced tracks on this little three tracker for Tempa. “Dresscode” swings nimbly with plenty of sub pressure, while “Eurotrash” marries sultry wobbles with slinky stabs, and “Wish” goes deep and dubby in a way that reminds me of fellow French dubstep producer F’s work from the late 00s.

Lost Trax - The Watcher [Frustrated Funk]

For twenty years now, the anonymous artist (or artists?) known as Lost Trax has been putting out pure Motor City techno soul at a steady, but relaxed pace. Their latest EP for Frustrated Funk is no different, honing in on that classic E.R.P. style electro; widely sweeping, fragile, and heartfelt. Timeless tracks for true souls.

Jon Sable - Imperfect Circuit [In Dust We Trust]

Jon Sable is a producer from New Zealand that co-runs the killer In Dust We Trust, possibly the best deep house label of the past decade. After a bit of a break following his last EP, he’s now back on his own label with more flawless deep house grooves. “Imperfect Circuit” puts lush liquid stab figures over a classically grooving house bass, while “Heads Up” is a bit more percussive and funked-up with its dry rolling groove. Both great tracks, albeit my favourite here is definitely “People Person”, a perfectly calibrated bouncer that brings together warm textured chord motifs, a sultry delayed vocal, and an almost impossibly fat bassline that will bring life to any dancefloor in no time. Classic NY-style deep house really doesn’t get much better than this.

Intrusion - Staticwaves [Echospace]

These two twenty-minute “rethought and remastered” versions of a track from 2009 are prime classic Steven Hitchell material; processed to the point where all that is left is a great field of steaming vapour, basking majestically in its own gaseous life.

Ribé & Roll Dann - Klockworks 40 [Klockworks]

Two years after Ribé & Roll Dann’s last Klockworks release, the Spanish pair is now back with another EP of slinky and booming techno grooves. The opener “Interludio” wastes no time and comes in with a swinging clap pattern over a frantically bubbling lead and skittish noise. “Tregua” is a bit straighter, tunneling forwards with a pumping bassline and a faint dusky lead, while “El Nexo” is an acrobatic number with blooming reverb-drenched figures and relaxed hats. Occasionally, a frozen spectral seascape floods the mix, upping the tension for just a moment, until things drop back right in, and the groove goes on.

Emer - Fog [Short Span]

Some tracks really just know how to sound romantic without even trying — a few seconds into the opener “Below Altitude”, and those wistful filtered LFO chords have already found their way into my heart. Meanwhile, “Open” and “Nobody Speaks” go a bit jazzier with rhodes-esque chords and pitched vocals, whereas “Degrowth” and “Room Five” go for zero-G downtempo, and “The Evergreen Fog” and “Calling” sound like a soft misty morning with their airy pads and floaty melodic fragments. Not quite sure what genre this is supposed to be (ambient? downtempo? IDM? “Electronica”?), but it is lovely.

Mike Parker - Envenomations [Samurai Music]

Painter-producer Mike Parker leans further into his recent experiments with broken beats on his new EP for drum & bass label Samurai. For an artist that’s been somewhat notorious for sticking with a highly specific sonic palette across his thirty-year career, I find it quite striking how different this material sounds in comparison to Parker’s more minimalist 2010s period. Whereas back then, his tracks were often exercises in stark reduction consisting of nothing more than a kick and a single sequence, here, there’s almost a kind of excess; a bristling and busy instrumentarium that ranges from synthesised cosmic cries to ring-modulated insects, brushing snare figures, mutant 808 hits, and funked-up halftime breaks dancing the robot.

SnPLO - The Cocaines [Pin]

Over the past year or two, minimal and micro-house techniques (e.g. the use of clicks and little blippy fragment-slices in place of traditional melody) have been slowly making a resurgence across various strains of dance music. As one would expect, the ever-inventive Berlin/Montreal Acting Press crew’s minimal-influenced Pin series is one of the more interesting takes on that sort of style right now; quirky and nicely textured, with a nice sense of restraint. It’s all nice, but my favourite on this new double pack here is probably the D-side, a warm and hypnotic clicker driven by a guttural 303-ish bassline, dusky pads and funky robotic vocal slices. Killer as usual.

Annie Hall - Practical Optimism [Delsin]

Despite having kept a relatively low profile over the years, Annie Hall (aka Spanish producer Ana Artalejo Moreno) has made some of the best electro of the past fifteen years, starting with 2009’s Elephant Road. On her new EP for Delsin, the opener “Divergent Thinker” kicks things right off with classic bubbling Detroit bass, lush sweeping pads and angelic vocal swells; all the right ingredients for a classic melodic Detroit electro number. “Ability To Multitask” looks towards the UK with strong nods to the optimist melancholy of early B12 et al., while “Managing Nothing” takes things in a more upbeat and slightly frostier direction.

Lola Palmer - Step Forward [Gettraum]

Sometimes, it’s all about the bassline, and Lola Palmer certainly knows how to craft a bassline. Over almost seven minutes, “Step Forward” pushes forward, almost exclusively driven by the lurching funk of its bassline. Then, towards the breakdown, a bright melody appears, and suddenly, this simple groove finds itself in much grander, almost anthemic, territory. A big track through simple means.

Stefan Gubatz - Fliester Dubs [Primary Colours]

Coming in at about eleven minutes each, both sides on this 12” really like to take their time. But then again, why wouldn’t they, when everything has already been mapped out and calibrated; all that’s left is for the dub to take its course, tracing topographies and lighting up the territories along the way, until all that remains visible is a hazy, glowing luminescence.

Mantra - Shades Of Rave Vol. 1 [Rupture LDN]

Mantra is the co-founder of the seminal Rupture LDN party and label. As the name suggests, her debut EP is drawing from all edges of the UK hardcore continuum and throwing them all together, leading to tracks that may sound vintage on a surface level, but are actually decidedly modern in their construction.

Noah Skelton - MINDHELMET16 [Mindhelmet]

This originally came out „vinyl only“ in mid-2024, but it seems like the label has since come to its senses with a digital release, so I’m putting it on here now. Because this is some absolutely killer nu-skool UK garage — just listen to the title track „Used To Say“, it’s got that two-step skip down perfect, a gorgeous bassline, and just the right amount of drama in the vocals and keys. „Smooth Liberation“ is more lounged-out and jazzy, with a relaxed groove and sultry vocal chops, while „Gazer“ swings into 4/4 with rich bubbling chords and “Aleph Null“ veers into borderline Burial territory with a mournful reese and pitch-shifted vocal wailing. Finally, the closer „Cold Heat“ rounds things out nicely with a tripping groove and a soulful piano sample.

RAMZi - Balmini [FATi Records]

I had not heard of Ramzi (aka Phoebé Guillemot) before, but my God, these are some lush, lush tracks; all soft and misty and dewy in the best way possible. My favourites of the bunch here are probably “balmini” with its psychedelic acid-guitar cosmic disco tinge and the verdant organic dub-jungle landscape of “flufi”. Fluffy and lovely.

Fireground - Smile As One [Ilian Tape]

If we take Underground Resistance to be the nexus point from which virtually all post second wave techno has descended from, I have always found it fascinating that UR actually offered up two, almost polar opposite, visions of what techno could be. The first of course being The Punisher — the dark and rave-y side of UR that, in one way or another, has been the model for 95% of dancefloor techno released since 1995. But there was also a second vision — the optimistic melodic high tech jazz of Jupiter Jazz that arrived as a fully-formed and musically functional concept, but was never widely adopted outside a few select figures like Dave Angel and Fabrice Lig.

It is this historical context that I think makes the recent work of Fireground — the Berlin-based Italian duo of Angela Dragonetto and Daniele Paduano — so remarkable. Because they’re not a middle-aged ex-raver making bedroom tracks for their niche electro nerd label; they’re a full-time touring live-act playing playing most major European clubs and festivals, and I really can’t think of anyone else currently doing techno professionally that is putting full on nu-jazz Rhodes solos on their tracks and live performances, sounding closer to an early 00s Japanese video game than most contemporary techno. Welcome Back 2 the Galaxy.