Record stores and clubs around the world are shut, and opportunities to find new music out in the wild have been ripped from under our...
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Features
In our new regular feature, Selections, we invite DJs, producers and label heads to dig into their digital crates and share recent additions to their...
Features
From more inclusive dancefloors to world-confronting techno festivals, DJ Mag’s Anna Cafolla speaks to the collectives, crews, and scene stalwarts pushing Poland as a radical clubber’s...
Nick Douwma presents his vision with new album ‘Torus’
Although he may take his sweet time to churn out a full length, Nick Douwma - more commonly known as Sub Focus – certainly knows...
Poker Flat boss Steve Bug answers your questions...
“If I wasn’t making music and DJing I’d probably have ended up being a personal trainer,” admits Stefan Bruegeseh, more commonly known in dance music...
Features
Irish artist Lighght records an immersive mix of ambient electronics, field recordings, traditional folk and R&B edits, and speaks to Eoin Murray about his organic...
Tech
In the latest edition of our new series exploring the basics of music production, E.M.M.A. explains how to use compression to beef up your drums...
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
Features
Manufacturing delays and rising costs are straining small, independent vinyl labels. Paired with environmental concerns and a reassessment of what physical releases can entail, the...
DJ Mag investigates the cynical money-making practice of digital music piracy...
Music piracy used to be a bit of home-taping of the Top 40 chart off the radio, or some guys selling illegal live bootleg tapes...
Features
New York’s Baltra left behind a career in the stock market to pursue his real love of music. With his debut album ‘Ted’ showing his...
Features
Major cities have long been the central hubs for dance music, in part thanks to their appeal to travelling DJs and fans. With coronavirus massively...
Features
With a carefully curated line-up of adventurous electronic music, Semibreve Festival’s 12th edition delights in the interplay between hyper-detailed electronics and dancefloor-focused beats
On the eve of a special performance, the trio join DJ Mag USA to discuss creation, serendipity and a little something called Group Therapy...
The artist’s green room in London’s Royal Albert Hall doesn’t quite match the scale of grandeur its main arena boasts. But for the talent...
Above & Beyond’s latest delivery is an acoustic gem fit for a queen
The artist’s green room in London’s Royal Albert Hall doesn’t quite match the scale of grandeur its main arena boasts. But for the talent fortunate...
Cover Features
Soaring ascents, the kind that can take an artist from obscurity to stardom in what seems to be the blink of an eye, don’t occur often, in dance music or elsewhere – those who are lucky enough to have that experience often disappear just as quickly. But there’s little chance of a quick fade for South Africa’s Palesa Desiree Shilabje, the DJ and producer known to the world as DESIREE, who in just a few short years has proved to be one of the international festival circuit’s most exciting new stars. Here, Bruce Tantum hears her story, and about how her evolution through music has been as organic as they come