Latest articles by Danny Turner
DJ Seinfeld: "The debate is not whether lo-fi’s good or bad, but if that raw quality can bring something to a track"
Known for spearheading the lo-fi house scene, DJ Seinfeld’s new album Mirrors offers an entirely new sonic fidelity. Danny Turner talks to Armand Jakobsson about his reinvention
ODESZA: "You can have all the gear in the world, but that doesn’t mean you’re going to write anything super special"
The Grammy-nominated duo return with the most epic-sounding album of their decade-long career
Jeff Mills: "I’d advise anyone who makes electronic music to just go into your studio, pick one machine and try to do something with it that you’ve not done before"
Danny Turner chats to the Detroit icon about taking techno to the next level with new project, The Paradox, and collaborating with session jazz pianist Jean-Phi Dary
Eats Everything: "There’s a plugin that I use on almost every channel and it only cost me about €30"
Eats Everything’s Daniel Pearce on how having his gear stolen and going back to basics inspired a new approach to music-making
Flume: "I’ve seen some of my favourite electronic acts try to do a show with live bass and drums and it sucks"
After ten years of stardom, Flume’s Harley Streten ditched LA to return to his native Australia. Danny Turner discovers why
Nik Colk Void: "I couldn’t make a banging dance album or an experimental album – it had to be between the two"
Known for her improvised approach to modular systems, voice and guitar, Nik Colk Void talks to Danny Turner about her long-awaited debut album
Ron Trent: "If you listen to the album you’d think I have a whole analogue world down here, but all I did was plug in a MIDI keyboard"
A key figure in the Chicago house scene for over 30 years, Ron Trent chats to Danny Turner about his latest project, WARM
HAAi: "As a non-male in dance music there's a narrative that people think a man has to be behind what you’re doing"
Teneil Throssell on collaborating with Jon Hopkins and Hot Chip for her lockdown-produced debut album
ACT!: "Modular is totally unpredictable - once you start patching you can end up anywhere"
From Egyptrixx to ACT!, David Psutka’s sound experiments defy categorisation. Danny Turner grills the Toronto artist about his creative process
Louis La Roche: "It's become so easy to find samples these days - the art of recording has become a little lost"
Danny Turner quizzes Louis La Roche on his fourth album We’re Not So Different and its authentic disco-era world
Little Boots: "I was put in with so many big producers from day one that I lost all faith in my ability"
Little Boots on returning to her DIY roots and self-producing her latest album, Tomorrow's Yesterdays
Sally Shapiro: "There’s too much focus on production and not enough on songwriting within electronic music these days"
After disbanding in 2016, Swedish italo-disco/synthpop duo Sally Shapiro returns with a fourth album. Danny Turner discusses synths, pseudonyms and the making of Sad Cities
Nightmares on Wax: "I was like a mad scientist. The studio had no soundproofing, I didn’t know anything about transience and we didn’t even use a compressor, yet the tunes sounded wicked"
Due to a health scare and enforced DJing sojourn, Nightmares on Wax’s George Evelyn was forced to totally re-evaluate his life and craft. Danny Turner learns more
Hinako Omori: "As a disclaimer, I’d recommend not listening to the music while operating heavy machinery"
Omori’s new album, a journey…, was created at Real World Studios using binaural and 3D spatial tech. Danny Turner decodes its therapeutic frequencies
MMM: "At some point we get the feeling that we’re not in charge anymore – the track has a life of its own and is suggesting what it wants"
The glowing techno chords of MMM’s long-awaited debut album, On The Edge, are delivered with razor-sharp precision. Danny Turner charts the record’s creation
The Black Dog: "We had all the OB8s and Roland stuff, but we just sampled the hell out of them and created our own libraries, so why have thirty grand’s worth of stuff that we bought off Phil Collins sat in the corner?"
Danny Turner meets the techno outfit to chat Sheffield, brutalism and new album Music for Photographers
Rival Consoles: "There isn’t an analogue synth that can do what software like Massive does, and that’s an old digital synth now"
Rival Consoles' soundtrack to the dance production Overflow is a dark, complex body exploring the sinister side of digital media. Danny Turner finds out more
Ross From Friends: "I had an idea to create a piece of software that would record everything I play. It’s the same principle as sampling – except I’m sampling myself"
Felix Clary Weatheralls’ second Ross from Friends album recontextualises his love of nostalgia via the self-made plugin, Thresho. Danny Turner discusses its creation
Boys Noize: "I’m attracted to making extreme decisions and f*cking with people"
Alex Ridha’s fifth Boys Noize album aggressively explores the schism between soaring melodies and hard, atonal beats. Danny Turner reveals his modular approach
Eris Drew: "It was cool to like Guns N’ Roses and sh*t like that, but there was I with my Depeche Mode shirt listening to house music mixes on the radio late at night"
One of the few DJs still performing with turntables, house producer Eris Drew also uses her Technics as a production tool. We take a deep dive into her debut album
Feed Me: "When I’m producing I’m always trying to hide the process so you just hear the result"
EDM producer Jon Gooch has revived his cartoonish Feed Me moniker. He showed Danny Turner around his studio and talked through how live instrumentation changed his production approach
Japanese Breakfast: "I realised that I never want to do this DIY shit again, I’ve hit the ceiling with that"
Moving beyond the grief-stricken narrative woven into Michelle Zauner’s past Japanese Breakfast records, new album Jubilee strikes a more celebratory tone
LoneLady: "I was given a synth by Brian Eno. It’s a very crisp and weird digital-sounding beast"
Exchanging grey Manchester for a basement studio at London’s Somerset House, Julie Campbell broke out the machines and got started on her third album
