Joshu Doherty has been putting on parties for nearly 15 years, but it’s never been this difficult. “The last five months,” he says, “have been...
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Results for: Industrial
It’s 2017 and techno is bigger than ever. It’s a statement that could, of course, be applied to dance music overall, but this year has...
Charlotte de Witte has shot into techno’s upper echelons since assuming her real name for her productions and DJ slots. Initially using the male-sounding alias...
It’s 2017 and techno is bigger than ever. It’s a statement that could, of course, be applied to dance music overall, but this year...
When is a band not a band? We aim to find out...
When is a band not a band? When it’s one or two electronic music producers recording albums that sound like bands? The dividing line between...
In a rare interview, the Music On don talks candidly to DJ Mag...
Marco Carola is an enigma. In a rare interview, the Italian techno DJ/producer and Music On promoter talks to DJ Mag about record shopping in...
The undiluted opinions of Kris Wadsworth
Raised in Detroit but currently residing in "Uranus", Kris Wadsworth has been scrapping away for some time now, hitting big with releases for the likes...
Features
Putting on parties demands optimism even at the best of times. After an unimaginable 20 months, the limits of hope continue to be tested. Will...
Features
As dance music culture recovers from the pandemic, artists like Klein, Clark and Afrodeutsche are opening up new frontiers for themselves
Features
Some high-profile DJs have been criticised for playing big, crowded legal shows — dubbed ‘Plague Raves’ — in Europe during the COVID-19 crisis. Some have...
Cover Features
The California-raised producer Channel Tres is a natural born trailblazer. As the name behind Compton House, he’s found admirers for his self-coined genre within funk, hip-hop and pop audiences. In his forthcoming album ‘Head Rush’, he’s expanding upon that diverse aesthetic by tapping into his divine intuition to tell his life story and introduce the world to new depths of his musicality
Features
Josh White and Matt Lowe, aka Hybrid Minds, have become one of the biggest acts in drum & bass by sticking to their liquid style and doing...
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German techno DJ/producer Helena Hauff is riding the crest of a wave right now. An analogue freak signed to Ninja Tune-affiliate label Werkdiscs — the...
TWO DAYS OF EPIC PARTYING
I had to pinch myself twice just to be certain it wasn’t a dream. See, if you love dance music the way I love dance...
DJ Mag charts the history of the Aus dance scene, and why the future looks bright...
Shrimps on the barbie, Crocodile Dundee, Bondi Beach, Steve Irwin, Kylie Minogue, the Sydney Opera House; Australia has always touted — for better or worse...
Baldy DJ Lee Burridge sends us his diary every month. This time he reports from Down Under, where he narrowly avoided getting eaten by a...
I had my heart set on Melbourne as one of the seven locations for 365 in the first year.
I chose it for many different...
Features
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