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Part-German and part-Italian, techno DJ/producer and Aras label owner Andre Galluzzi did try living in London a couple of years ago, but many of his...

“Six nominations, no Brits for CD,” sang Craig David at the 2001 Brit Awards. It's a moment that sums up the rollercoaster ride of...

The music industry machine will never swallow up certain acts. Josh Gabriel and Dave Dresden have maintained an underground appeal over their 10-year+ partnership as...

Nicky Romero is like a machine. Like some sort of super-human replicant, he's motored his way super-fast into the upper echelons of the EDM scene...

Since starting their infamous blog, Feel My Bicep, Andy Ferguson and Matt McBriar, aka Bicep, have become dancefloor heavyweights known for their impressive record collections...

Will the new V2 upgrades to Allen & Heath's DB4 and DB2 mixers warm up the fingers of our guest reviewer, or will they leave him with a severe case of frostbite?

Ministry Of Sound, one of the best known clubs in the world, faces closure if a property development is approved by London's Mayor — Boris...

In the mid-‘90s, drum & bass was the most futuristic, kick-ass, innovative UK-derived music around. After a gestation period in the underground, breakbeat science exploded into the mainstream, although that led to assorted TV ads and theme tunes and suchlike co-opting a d&b element to them. But because the scene itself was controlled by the DJs — Bryan Gee, Fab & Groove, Goldie, Hype etc — it was able to be steered back underground, so that by the end of the 20th century d&b was largely associated with the dark tech-step sound of No U-Turn et al.

There are few things on the UK clubbing circuit bigger than The Warehouse Project. A pumping season of diverse electronics covering the last three...

In Amsterdam to pick up some industry insight from those that have been there, done that and are still pushing it forward? Looking to beef...