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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...

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...

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...

John Digweed was DJing long before the acronym “EDM” existed, let alone went mainstream and became the musical backdrop of Generation Now. In fact, back...

As police sirens ring in the distance and a pink sunset spreading its vapors over the Los Angeles skyline, Fei-Fei embodies urban royalty and creativity...

“There is no other music in the world where an MC stands on the stage for an hour and continuously sprays lyrics with such clarity and power over so many frequencies,” Eksman, one of the d&b scene's foremost MCs, tells DJ Mag. “The life and evolution of the drum & bass MC has grown from strength to strength over the years, and I have no doubt that down the line many more great things are in store for the future generation of MCs in our music.” 
Undoubtedly so. The role of the drum and bass MC has steadily progressed simultaneously with the scene it resides in, although in the early days MCs experienced negativity from some DJs. But the MC has fought for its corner, and now overwhelmingly basks in the same golden glory as the DJ.

The last 18 months have seen Bristol’s Eats Everything seemingly come from nowhere to land international success as a DJ and release a string of well-received productions on top labels such as Dirtybird and Pets Recordings. As he prepares to play at one of DJ Mag’s renowned Miami parties at WMC, he talks candidly about Transatlantic crowd-pleasing, his upcoming raft of collaborations and how his success has, in truth, been anything but overnight...

Always that most steadfastly independent genre, today drum & bass is splintered into a panoply of micro camps. In one corner, the giant, fizzy-pop electro chords and high fructose rushes of labels like Hospital; in another, the clipped, dark minimalism and sub bass caverns of its most underground soldiers, the Critical crew.

Across Paris, London and New York, the sound of ballroom is again infiltrating every area of dance music, from Vaggio's 'Don't You Want Some More'...