Los Angeles’ ESP Institute has delivered over 120 releases since its inception 14 years ago – an impressive feat for a label that remains fiercely...
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A guide to dance music's pre-rave past...
We've drafted in Greg Wilson, the former electro-funk pioneer, nowadays a leading figure in the global disco/re-edits movement and respected commentator on dance music and...
The Italian titan of the decks Mauro Picotto returns...
Mauro Picotto is like his native Italy’s finest desert, tiramisu. His nature is sweet and easy to indulge in. You...
On the eve of the label's 100th release, we talk to Romboy about turning his back on the mainstream and returning to his roots, his...
Marc Romboy is one of the most prolific and diverse DJ/producers around. From his early '90s house beginnings through a spell in pop music and...
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
Features
‘Come With Us’ was the birth point of The Chemical Brothers 2.0, and it came at a vital time, with the dance music slump of the early '00s leaving many big electronic groups looking vulnerable. Here, on the 20th anniversary of the release of the album, Ben Cardew looks back at how 'Come With Us' reinvigorated their career
Features
With tracks like ‘That’s The Way Love Is’ and ‘Right Back To You,’ Ten City’s 1989 debut album, ‘Foundation,’ set the standard for what vocal...
Features
In life’s messier moments, it’s only natural to seek out a place of comfort. On her new ‘Home Music’ EP, the violinist and producer known as Bad Snacks tells the story of how she regained a sense of belonging through soaring instrumentals and a soothing spin on upbeat house
Features
Cakes Da Killa’s sound is always evolving — and his new LP, the jazz-kissed ‘Black Sheep’, is the latest step in the NYC-based rapper’s musical maturation. Produced alongside his longtime collaborator Sam Katz, it might be his best yet. Bruce Tantum learns more
Features
Rotterdam's IMANU crafts tracks and DJ sets that do away with genre, choosing instead to surf through styles, tempos and textures with a focus on emotional impact. Alongside a hair-raising Recognise mix, he speaks to Ben Hindle about changing up his production process, taking creative risks, and visualising his sound
Features
A violinist, beat maker and vocalist with a talent for humorous yet heartfelt lyricism, Sudan Archives new album ‘Natural Brown Prom Queen’ is out now on Stones Throw. She speaks to Christine Ochefu about her open-book writing style and her determination to follow her own path
Features
Chicago's Hieroglyphic Being records one hour of fuzzy-and-jazzy live techno for the On Cue mix series, and speaks to Lauren Martin about surviving as an...
Features
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...
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
Using data from voting in this year’s global Top 100 DJs poll with a genre filter based on insights and data from Beatport, we present...
Tech
As subscription models have begun to make their way into our DAWs, we look at the three different models for using plugins — outright ownership, continual rent, and rent-to-own. Here, Declan McGlynn asks: are subscription models better for producers? And are we heading towards an even heavier onslaught of abundance over efficiency?