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“It’s easy to be a show-off with production. In electronic music right now, that’s what a lot of people are doing - but that’s just ego”: Ela Minus looks inwards on new project DÍA
By Matt Mullen published
The Colombian hardware synth-head on her soul-searching second album, demolishing the ego, and why she can’t stand Dave Smith’s presets

“It was the first song I wrote just to see if I could. I discovered - oh yes, I can!”: How David Byrne created Talking Heads' most popular track right out of the gate
By Andy Price published
The song was intended as a deliberately dark response to the more playful macabre antics of Alice Cooper. But it would end up shaping Talking Heads’ future

8 tips to improve your mixes in 2025 that won't cost you anything
By Matt McCracken published
Get ahead on your mixing game in 2025 with these spend-free tips from a master mixing engineer and producer

“Technology is cool, but you’ve got to use it as opposed to letting it use you”: Why Prince never allowed gear to lead the way and how we can take back control of our tech
By Andy Price published
It’s pretty easy to be daunted by the sheer quantity of music technology at your disposal, but always remember - it's there to serve you

“Calling anything with a loop or sample in it ‘hardgroove’ is kinda annoying and often misunderstands what the sound actually is”: Exploring the hardgroove genre
By Andy Price published
This techno subgenre has been rediscovered in recent years, but what elements make it stand apart from the rest?

Native Instruments teams up with Akai, Korg, Novation and more to "empower millions of music creators"
By Matt Mullen last updated
Native Instruments is expanding NKS integration to its competitors' controllers and making its software and sounds available on the Akai MPC platform

Producer John Porter on shaping the sound of The Smiths, and why he’s auctioning a huge collection of studio acetates
By Andy Price published
John found a huge collection of original acetates and mixes of many Smiths’ classics unplayed since the 1980s

How a song intended to be an album track would leave a massive mark on music’s future
By Andy Price published
When Brian Eno first heard it, he could sense its potential to revolutionise the way pop would be made
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