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If hard techno is energetic work, then Sara Landry is a divine healer. Driven by an innate desire to connect with and unite the crowd, the California-born DJ is often credited as the high priestess of the breakneck sound, but behind her signature cloak of organised chaos lies an unshakable force for good. We catch up with the international star to learn more about her spellbinding sets, and why the masses are craving a fierce new edge

Timedance label boss, innovative producer and a boundary-pushing DJ, Batu was on an upward trajectory — but the pandemic made him question his motivations and examine his history. With his debut album ‘Opal’ marking a bold new chapter in his sound, he talks to Chal Ravens about burnout, reinvention, heritage and contributing to the Bristol scene that nurtured him

Spanish DJ, producer and ARTCORE label founder Indira Paganotto’s irresistible hybrid of techno and psytrance has made her a huge star on festival stages and in superclubs, but her rise to the top has been beset with challenges. Niamh O’Connor speaks with her about sticking to her principles, her love of psytrance, the importance of the underground, and the balancing influence of family

Vintage Culture has come a long way from a small town in Brazil to playing stadiums, topping dance charts and partying with football royalty. After suffering near-burnout from constant touring, he’s recharged and full of vitality, with a deeper sound he loves with all his heart, hundreds of tunes ready to go, Ibiza and Las Vegas residencies scheduled, and a set lined up at DJ Mag's Miami Pool Party

Aluna Francis’s life has been one of discovery — of uncovering truths about herself, about society, and about the fundamental ways in which the dance music industry fails people. The Wales-born, LA-based music maker, formerly of AlunaGeorge and now working as a solo artist, tells Bruce Tantum how she’s putting the knowledge she’s gained into practice via the new Noir Fever festival

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