It’s Sunday afternoon, 16th March 2008, and the dancefloor of Turnmills is packed with dancers in varying states of undress. Watching over them, grinning maniacally...
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Features
Our newly relaunched monthly label showcase, The Sound Of, puts the focus on the labels we love; outlets that are championing new artists, dropping key...
Astrophonica could be referred to as a happy accident. The label, set up by drum & bass duo Fracture & Neptune in 2009, actually came...
Features
With a new EP driven by the rave and jungle sounds that first inspired her, and her Batty Bass club-night revived, Hannah Holland is having...
Rewind to the early noughties in London: Turnmills and The End were still in full swing, and Hackney still had a lawless feel with its...
Features
The fierce LGBTQ+ party Trade was the UK’s first legal after-hours club event, opening at 3am and closing at 9am. It laid the groundwork for a new on-and-on party culture, while its sexual and gender diversity was a forerunner for today’s queer club scene. As it celebrates its 30th anniversary, and prepares for its 24-hour birthday party at Egg London, Joe Roberts speaks to some of its regular DJs, designers and founder Laurence Malice about Trade's boundary-breaking legacy
Features
With sizzling electro, crunching breakbreats, frenzied footwork and much more in between, Nikki Nair records a jaw dropping productions mix for the Recognise series, and...
2019 was a year in which deeply personal and boldly political music ruled the long-player format. Below, you'll find the 50 albums that defined the...
Features
The latest and greatest DJs and producers rising to the top this month. From psychedelic techno and frosty EBM to glimmering experimental pop and club...
Features
On her new album, ‘infina ad nausea’, Brooklyn's QRTR blends multi-layered melodies with club-ready beats, from house and techno to UKG and jungle. Ahead of her set at DJ Mag's Miami Pool Party this week, she chats to Ben Murphy about her distinctively trippy sound, her famous feline friend, ambientkitty, and the busy festival season ahead of her
<p>MAD Festival brought relief to Serbia last month...</p>
The inaugural MAD in Belgrade — brought to us by the founders of the renowned EXIT Festival — kicks off its life in a sombre...
Features
Influenced by hip-hop and halftime drum & bass, Ivy Lab and their label 20/20 LDN have a new vision for future beats. With their debut...
"I didn't really want to do it. Why on earth would I want to hook up with two kids?" laughs Gove Kidao. One half of...
News
The historic Camden theatre will be transformed into a state-of-the-art performance and production hub
London venue KOKO will reopen in spring 2022 following a huge £70million restoration and redevelopment project.
The iconic theatre — which has hosted everyone from...
Features
For many, The Cause will be remembered as one of this generation's most treasured London clubs. It pioneered a model of working with a local...
Features
It wasn’t their song and they didn’t play any instruments, but Saint Etienne’s Balearic classic ‘Only Love Can Break Your Heart’ caught the tailwind of...
Features
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
As a show of solidarity to support the artists and labels impacted through the cornavirus pandemic, we've launched a weekly roundup of the most vital...
Saul talks about his new album, collaborations and a hatred of pirates.
Anonymity’s quite the fashion these days. Hand-stamped white labels from big-name producers emerge every week, with press releases proclaiming artists free from the shackles of fame, whose metaphorical masks let them experiment with sounds bereft of preconception. Which is all well and good when you’re knocking out short-run 12”s of faceless techno.