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Electronic music
August 2024
Techno godfather Juan Atkins: ‘There were 5,000 white kids going crazy to my music’
New summer classics playlist: 15 artists pick sunshine tracks
July 2024
Western DJs accused of ‘normalising war’ for playing at Russian techno events
Mercury prize 2024: Charli xcx, the Last Dinner Party and Beth Gibbons among nominees
Watch me work it, I’m perfect! The return of electro-house, pop’s trashiest, brattiest sound
Low’s Alan Sparhawk on the death of his wife and bandmate Mimi Parker: ‘If you fall in love, you know this could happen’
Eno review – exhilarating Brian Eno documentary that’s different at every screening
Global album of the month
Bizhiki: Unbound review – commanding Native American songcraft
How we made
‘We knew a banjo house record would annoy the techno bores’: how the Grid made Swamp Thing
One to watch
One to watch: Berlioz
Kiasmos: II review – will have you crying tears of joy on the dancefloor
June 2024
Why Bronski Beat’s anthem of gay culture resonates 40 years on
‘We were the bridge between indie and dance’: Glastonbury icons Orbital on 30 years of breaking barriers
‘Women have always been sidelined. So we’re radical’: the Zawose Queens go from Tanzania to Glastonbury
From Coldplay to KMRU: who to see at Glastonbury 2024
‘The body was the drums, the brain was the synthesiser’: darkwave, the gothic genre lighting up pop
Club culture
From topping the 90s charts to ‘very controlled and predictable’ today: is the remix dead?
Sam Morton: Daffodils & Dirt review – actor’s intoxicating trip-hop debut
Best culture of 2024 so far
The best albums of 2024 so far
‘Don’t worry about AI. People want bodies in a room’: Faithless on the eternal power of rave – and the death of Maxi Jazz
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