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London-based cover band, Introducing Live, laugh in the face of the impossible — the group perform the albums that others won’t, they play the unplayable...

Not that he went away, especially — it's not like he's ever stopped DJing and, like any other year, he played loads during 2014 (although...

“I think we should be a British institution. Everyone goes on about all of these other people from the '90s like Blur and Oasis, but...

By the mid-'90s, Norman Cook had been involved in three UK No.1 records. First there was the acapella 'Caravan of Love' in 1986 with Hull-based...

2013 marks a special year for the London drum & bass and dubstep duo Chase & Status. Celebrating their 10th anniversary, the production couple of Saul Milton (Chase) and Will Kennard (Status) have delivered a sound that dips into breaks, hip-hop, dubstep, d&b and jungle since their first release ‘Like This’ on Vehicle Records in 2003.

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...

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...

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.

As you’ve doubtless heard, dubstep is dead in the water. Cursed with a lethal mix of commercial success, mass popularity, a huge internet presence, countless sold out raves, the scene is, as any fool can tell, totally knackered. Somebody needs to pause and tell Skream this quick, because from where he’s standing, the world has never looked better. Currently on a short solo tour of the States, the man who describes himself as having “dubstep as my blood group” has been gleefully pushing the boundaries of the sound, chopping up half speed snare smashes and bully boy basslines with taut explosions of house, disco and techno, knowing full well that rather than destroying the scene he loves, he’s blowing it wide open.

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.