The UK drum & bass and jungle scene lacks queer visibility. While issues like gender diversity and whitewashing have, in recent years, become the focus...
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Unorthodox Events and Queer Rave are two club-nights that are creating new spaces for LGBTQ+ people in the drum & bass/jungle scene. Jack Ramage speaks...
Last weekend, AVA festival returned to Belfast. Despite venue closures and ongoing restrictions across Northern Ireland, the event went ahead outdoors in a brand new...
In this regular feature, Selections, we invite DJs, producers and label heads to dig into their digital crates and share the contents of their Bandcamp...
One of the most exciting new digital projects to emerge this year, Black Band Camp (blackbandcamp.info) is a volunteer-run, community-driven database for showcasing and directly...
An unanticipated accident turned one figure skater’s dreams upside down, and opened the door to a bass-fueled future the artist now known as Whipped Cream never...
Overcoming Pakistan's conservative mindset and sometimes-dangerous political tensions, a small group of artists are building a future for electronic music in Karachi
On her new album for Modern Love, Mexican-American producer, DJ and audio engineer Delia Beatriz, aka Debit, combines ancient Mayan wind instruments with machine learning. Ahead of its release, she records a “pre-hispanic to post/transhispanic ambient mix” for the Recognise series, and speaks to Eoin Murray about DJing for Azaelia Banks, her desire to contribute to the canon of electronic music, and making ambient music that goes beyond “beautiful”
She’s the Paris-based New Yorker who’s overcome the struggle of addiction and dance music industry tokenism to forge her own path. Louisa Pillott, aka LOUISAHHH...
"Oh, I’ve done a lot of very different stuff,” LOUISAHHH!!! grins at DJ Mag across a backstage corridor. “I’m a certified cycling instructor, for example,”...
The Paris-based, NYC-born DJ/producer fronts this month's issue...
"Oh, I’ve done a lot of very different stuff,” LOUISAHHH!!! grins at DJ Mag across a backstage corridor. “I’m a certified cycling instructor, for example,”...
Hunee is the fearless DJ with super-eclectic taste. As happy dropping disco, African rarities, vintage Italo, boogie or up-to-the-minute electro, he’s refused to compromise on...
It’s mid-summer 2016 and Jeremy Underground is spinning on the main stage at Farr Festival in Bygrave Woods. High above the packed crowd in front...
Arriving in Miami means a lot to our cover star Eric Prydz – for more than one reason. The man who effortlessly makes underground house...
Going to Miami is a very big deal for Eric Prydz. Two years ago, the last time he was there, his massive track 'Pjanoo' became...
The centre of the clubbing universe, for such a little minx Ibiza certainly packs a lot of entertainment into its 571 square kilometers. Clubs, cave...
1. You can't leave Ibiza without losing your marbles at least once in Space and there's no better time or place than with We Love...
The flamboyant electronic sound of San Francisco’s dancefloors soundtracked gay liberation in the '70s and '80s, even as its community faced decimation as a result...
1st May 1994 was the first big London protest against the looming Criminal Justice Bill, the piece of legislation that first proscribed a genre of music — rave music, “wholly or predominantly categorised by the emission of a succession of repetitive beats” — in law. Despite widespread demonstrations at what was seen as draconian power-grabs by the UK authorities, the Bill became law later in 1994. Here, Harold Heath looks back at the reaction from the dance music community at the time, and the Act’s lasting impact on the rave scene today
On Cue is our newly relaunched flagship mix series, celebrating the pivotal DJs and producers whose influence has shaped the world of electronic music, both...
Mr. Mitch is enjoying making people dance.
A move away from the delicate aesthetics of his last EP, October 2018’s ‘Primary Progressive’, Mr. Mitch’s latest...