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The last few years have seen seismic shifts in dance music culture. Large swathes of the scene seem to have abandoned their heady underground ideals...

“We choose to go. We choose to stay. We stick together. We vote. We can stand, we can fight, or we can go.” A speech...

The secret to a successful career in music-making, says Naples-born, London-based producer Riva Starr, must have something to do with having the ability to “surprise...

Noisia’s hometown of Groningen in The Netherlands has a population of fewer than 200,000. This number is half of the Insomniac-reported total attendees over the...

Rene Kristensen aka Noir has a reputation for being incredibly chilled out, and he's not entirely sure why. But it could have something to do...

Little Dragon married young, you might say. It was at high school, still in their teens, that the Gothenburg four-piece met, a good decade before...

Amen, hallelujah and you’re absolutely goddamned right: Damon G. Riddick AKA DAM FUNK is spot on in both his diagnosis and proposed curative to...

It's impossible to overstate The Hague's impact on dance music. In the early '90s, this small city in northern Holland crafted a bastardised version of the sounds bubbling out of Detroit, a ravey mash of jacking house and techno that, at the time, sounded almost impossibly futuristic.

Maintaining the perfect blend of old skool rave and the finest contemporary leftfield sounds, as well as attracting one of dance music’s most passionate crowds, this year sees Bang Face celebrate its 10th anniversary.

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.

“We would have just looked at it as a free trip to someplace cool,” Nancy Whang says on a steamy summer afternoon in New York...

“When you’re drum & bass, you really are — you get it, and there’s nothing else like it. You can’t get assimilated into 4/4...