Tag results for looking good
looking good
Meshing dancehall, dub, techno and industrial music, Bristol’s Bokeh Versions label has carved a unique niche in the UK underground
Meshing dancehall, dub, techno and industrial, Bristol’s Bokeh Versions label has carved a unique niche in the UK underground Alongside a 100% Bokeh mix recorded with Giant Swan’s Robin Stewart, founder Miles Opland speaks to Oskar Jeff about the value of eccentricity, the spirit of collaboration, and unique ways of releasing music
Turntablist and producer Jon1st delivers his annual end of year megamix via the On Cue series: a tempo-shifting set of hyped-up breaks, turbo-charged drum & bass and breakneck genre fusionism.
Turntablist and producer Jon1st delivers his annual end of year megamix via the On Cue series: a tempo-shifting set of hyped-up breaks, turbo-charged drum & bass and breakneck genre fusionism. After a year that saw him launch a weekly A/V mix series and drop an impressive run of releases, he tells DJ Mag about how learning audio-visual skills sharpened his production scalpel, and how turntablism should be fun, not just technical
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 chats to Katie Thomas about his route into music-making and DJing, the importance of respecting dance music history, and the push for a more diverse scene
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 chats to Katie Thomas about his route into music-making and DJing, the importance of respecting dance music history, and the push for a more diverse scene
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Christchurch, New Zealand duo Ebb & Texture drift from drill, dubstep and grime into blistering UK techno, breaks and jungle in their Fresh Kicks mix
Christchurch, New Zealand duo Ebb & Texture drift from drill, dubstep and grime into blistering UK techno, breaks and jungle in their Fresh Kicks mix, and chat to Eoin Murray about their local scene and landmark EP for Sicaria Sound’s Cutcross Recordings
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It's out on his very own Looking For Trouble label
London-born DJ iona serves up an hour of percussive heat, out-there bangers and club cuts for the Fresh Kicks series, and chats to Amy Fielding about finding her post-pandemic balance, Dance Tunnel, and teaching a new music course at City Lit
London-born DJ iona serves up an hour of percussive heat, out-there bangers and club cuts for the Fresh Kicks series, and chats to Amy Fielding about finding her post-pandemic balance, Dance Tunnel, and teaching a new music course at City Lit
Rachael Williams, aka Ambient Babestation Meltdown, compiles an hour of obscure TV samples and leftfield techno, rave and '80s German punk for the Fresh Kicks series, and chats to Amy Fielding about discovering alternative music, working at an adult entertainment channel, and a love for sampling
Rachael Williams, aka Ambient Babestation Meltdown, compiles an hour of obscure TV samples and leftfield techno, rave and '80s German punk for the Fresh Kicks series, and chats to Amy Fielding about discovering alternative music, working at an adult entertainment channel, and a love for sampling
On their new album, ‘Honest Labour’, Berlin and Manchester-based duo Space Afrika sculpt an experimental electronic sound driven by a desire to break free of genre lines, subtly informed by memories of being young, Black and working class in northern England. Speaking to DJ Mag, the pair discuss the importance of developing artistically on one’s own terms, the influence of Channel U on their ethos, and the beauty of creating undefinable music
On their new album, ‘Honest Labour’, Berlin and Manchester-based duo Space Afrika sculpt an experimental electronic sound driven by a desire to break free of genre lines, subtly informed by memories of being young, Black and working class in northern England. Speaking to DJ Mag, the pair discuss the importance of developing artistically on one’s own terms, the influence of Channel U on their ethos, and the beauty of creating undefinable music
