A defining moment for Jayda G came in 2017, with her Boiler Room set during Amsterdam’s Dekmantel Festival. She gave a sweaty, euphoric performance that...
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Results for: DJ Hype
Features
DJing around the world, working on your debut album for Ninja Tune, and completing a Masters degree would be hard work for most people —...
On the history of dubstep and 'Fabriclive 61'...
Pinch, aka Rob Ellis, boss of the trail-blazing Tectonic Records, is one of a few heads in a unique position to dissect the...
Features
Artificial intelligence is at the heart of a fundamental shift in music’s role in our lives, and for electronic music, the transition will be seismic...
Features
The Tidy Boys and their label Tidy Trax epitomised the early ‘00s hard house scene, at one point selling a million records a year. As...
Apollonia are the gods of groovy, stripped-back underground house music. The French trio — consisting of Dan Ghenacia, Shonky and Dyed Soundorom — have been...
It’s late May 2017 in Ibiza, and the end of a long week of opening parties on the island. Shortly after Apollonia close the terrace...
Features
Continuing the legacy of his Lovefingers blog, Andrew Hogge’s ESP Institute is a truly anything-goes imprint, unbound by genre or style. Alongside a mix from its catalogue, he tells Anna Wall about how how his DIY attitude and digger’s mentality has helped him unearth countless new musical gems
Tech
The mini AIRA emulates some iconic Roland drum machines in a small package. But is it a worthy addition to a working studio, or a good first venture into outboard gear? DJ Mag's digital tech editor Declan McGlynn finds out
Features
NYC/Berlin-based DJ, producer and vocalist Perel records a mix of wavy nu disco, thumping house and Italo for the On Cue series, and speaks to Katherine Rodgers about regaining her confidence after a debilitating label experience, and her bold and irreverent new album, ‘Jesus Was An Alien’
Features
In-demand DJ and radio host, producer of sound system shakers for labels like Timedance and Ilian Tape, promoter and label co-founder at re:lax, Lauren Bush, aka re:ni, has become a seemingly unstoppable force in UK club music through a combination of hard work and self-belief. Alongside a pulse-quickening Recognise mix, she speaks to Jasmine Kent-Smith about formative club experiences, the importance of role models, and the pursuit of authenticity
The beckoning stars of 2016
From soot-soaked techno to day-glo grime — jackin' house grooves to colourful drum & bass jams — the future is looking bright for dance music...
Features
Drum & bass futurists Blocks & Escher promised an album four years ago through Goldie’s Metalheadz label. Now it’s finally arrived, but what caused the...
Bust ups. Car park fist fights. Prison sentences. Vicious acrimonious splits resulting in major High Court settlements. Six-day self-finding mushroom binges in the Highlands. Tabloid...
Features
Souped Up has been a driving force behind the new jump-up sound that’s taken drum & bass by storm. With an emphasis on fun, energetic...
He’s spent the last seven years honing an undeniable sound. Now Tchami will unveil his first full-length album, ‘Year Zero’
Features
For many, The Cause will be remembered as one of this generation's most treasured London clubs. It pioneered a model of working with a local...
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