When his bespectacled face pops up in a Zoom call, Carl Cox is sitting within a well-appointed studio space, in front of all manner of...
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Cover Features
After more than three decades of DJing all over the world, Carl Cox remains one of dance music’s most beloved figures. With a new album on the way, and a fresh emphasis on live performance, Bruce Tantum speaks with the king about his incredible journey so far, and his determination to keep challenging himself
Features
Caught between the demands of being an internationally-renowned performer and his desire for a quiet life, Australian producer Flume found balance upon returning to his homeland. Amongst nature, and with a restored sense of wellbeing, he completed his most ambitious album to date, 'Palaces'. Megan Venzin learns its story
Features
Techno would not exist as it does today without Kevin Saunderson. Some of the Detroit techno architect’s most revolutionary work has been released under the...
Features
One of the Internet’s most talked-about acronyms — which stands for non-fungible token — is redefining digital ownership. But could NFTs really revolutionise the music...
Features
Marcia Carr is into her fourth decade behind the decks and has seen many trends come and go in that time. Throughout, she’s stuck with what truly moves her: an assortment of Black music from jazz, funk and boogie to gospel house, broken beat and beyond. She’s thought about giving up DJing on more than one occasion, but — driven by passion and faith — is now enjoying a well-deserved moment in the sun. Alongside an uplifting On Cue mix, she tells Ria Hylton her story
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?
Features
Sticky Tapes, eott and Don’t Keep Hush tell Jack Ramage how they’re helping to shift perceptions around wellbeing in dance music
Features
The melodic deep house of Maya Jane Coles’ ‘What They Say’ helped put her on the map, and soon went on to be sampled by...
Features
After reflecting on how we can tackle the issues within the electronic music industry as a publication, we deliver our pledge to you, presenting significant...
Features
On Cue is our flagship mix series, celebrating the pivotal DJs and producers whose influence has shaped the world of electronic music, both in their...
London-born DJ and producer Ross, better known as Rossko, had his first brush with authentic, UK rave sounds younger than most. He was 11 years...
Features
The latest and greatest DJs and producers rising to the top this month. From full-throttle club music and experimental techno to bouncy house grooves, here's...
You cannot beat a classic! Especially if played by a live orchestra...
It’s music that stirs the soul, brings a lump to the throat and a tremble to even the stiffest upper lip. For a whole generation...
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...
Features
Turntablist NikNak has a unique style, cutting and scratching field recordings and samples into ambient tracks — but her latest album finds her leaning into the dance music you might hear in one of her club sets. Ben Murphy speaks to her about Afrofuturist sci-fi, trip-hop, pop, and why she loves found sounds
Features
Over the past three years, the name RIOT CODE has become synonymous with a strain of hard, fast techno, landing on labels like Noise Manifesto, HOMAGE and NineTimesNine and hammered out at parties like Teletech. Formerly a duo, the Derry-based project is now an individual venture for Oliver Grant, who’s ready to lift the trademark mask and take things to the next level. Alongside a storming Recognise mix that capture’s RIOT CODE’s past, present and future sounds, he speaks to Olivia Stock about going solo, navigating the techno scene as a trans artist, and what the future holds