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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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...
As dance music culture recovers from the pandemic, artists like Klein, Clark and Afrodeutsche are opening up new frontiers for themselves
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...
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
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...
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
After the tragic events of Astroworld Festival last year, Will Pritchard examines the science, politics and history of crowd crushes at mass gatherings, and asks experts how organisers can make future large music events safer
The funding of independent radio stations is always precarious, but the current cost-of-living and energy crises threaten their survival. Following the shuttering of Worldwide FM and Bristol’s SWU FM, we look at the challenges facing these beloved cultural lifelines
Black-owned music organisations, radio stations and record labels are helping to create vital platforms for Black producers and DJs who’ve been held back by systemic...
Award-winning radio presenter and proponent of the diversity-focused Radio Silence movement, Kay-Lee Golding, explores the lack of Black representation in mainstream UK radio
The UK capital is making major strides...
Pretty much the whole of clubland was appalled when Fabric had its license revoked a few months back — after all, if Fabric could be...