In the early hours of Sunday 1st December 2019, militarised police broke up a Brazilian funk street party called Baile da DZ7 in the São...
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Baile funk is a phenomena of Black Brazilian music. But despite a huge fanbase and cultural influence, funk is often criminalised in Brazil because of...
She’s the Paris-based New Yorker who’s overcome the struggle of addiction and dance music industry tokenism to forge her own path. Louisa Pillott, aka LOUISAHHH...
"Oh, I’ve done a lot of very different stuff,” LOUISAHHH!!! grins at DJ Mag across a backstage corridor. “I’m a certified cycling instructor, for example,”...
The Paris-based, NYC-born DJ/producer fronts this month's issue...
"Oh, I’ve done a lot of very different stuff,” LOUISAHHH!!! grins at DJ Mag across a backstage corridor. “I’m a certified cycling instructor, for example,”...
It took decades and many mutations for dance music to develop into the genres we know today. Here's what happened before DJ Mag was born...
“In the beginning there was Jack... and Jack had a groove!” So the old Mr Fingers track goes, but of course music made for dancing...
The original DJ cover star, Sasha was the face of ’90s clubland success and excess. His new Refracted:LIVE show redefines his special talent, delivering a...
It’s a cold, rainy night in 2013 at a spit-and-sawdust East London venue, the exact location of which is lost in the mists of time...
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
Over the past few years, against the backdrop of the cost of living crisis and austerity, an energised crop of community-focused collectives, promoters, and venues have emerged in the UK capital. Against some tough odds, they are fighting to keep the city’s electronic music scene not only alive, but thriving. Here, Georgia Mulraine looks at how promoters and partygoers are adapting to this new landscape, adjusting their expectations of what going out looks like and, ultimately, asks: what is the future of London clubbing?
As venues begin to reopen in England, there are also a plethora of electronic music event spaces launching. Martin Guttridge-Hewitt spotlights 10 new UK clubs...
Exploring the history of cinema, Martin Guttridge-Hewitt compiles 11 landmark electronic music movie soundtracks, arranged in chronological order, each of which earned its place on sonic merit, and significance in the canon of music and movies
Progressive house champion Cristoph shows us round his Newcastle haunts, and tells us how his friends and family, and the patronage of Eric Prydz, have...
Vienna-born, Manchester-based salute’s DJ sets and productions shine at the intersection of garage, French house and ‘80s synth styles. Ahead of the release of their star-studded debut album on Ninja Tune, they tell Kamila Rymajdo about their musical upbringing, flying the flag for Black artistry, and their joyful sound that, simply, makes people feel good
During the early part of the pandemic, DJ and producer ZHU went on a road trip with his bandmates, recording his new album in remote...
One of the first legal UK mega-raves to bring dance music culture to the masses was Fantazia. With its emphasis on spending big production budgets...
From AUDRA festival in Kaunas, Lithuania, Martin Guttridge-Hewitt reports on a long-standing, tight-knit and thriving electronic music scene often overlooked by outsiders
Psychedelics have become more popular in the UK in recent years, with some people using them recreationally to address mental illnesses. These drugs are illegal, but...