In 2012, two British music journalists named Push and Mark Roland — veterans of Melody Maker and the founding team behind the legendary 1990s dance title Muzik — found themselves a decade removed from the magazine world, having drifted into books and copywriting. Then Push called Mark with an idea. The result, launched first as a digital-only title in early 2013 and later expanded into print from a Victorian warehouse in Norwich, was ELECTRONIC SOUND: a monthly magazine devoted to the full spectrum of electronic music, from Delia Derbyshire to Daft Punk, from krautrock pioneers to today's modular synth obsessives.
What sets the magazine apart is not just its editorial pedigree but its refusal to treat electronic music as a niche. ELECTRONIC SOUND covers the machines and the people who play them, the history and the future, the culture and the technology — all with a confidence born from decades of frontline music journalism. Each print issue ships with a limited-edition seven-inch vinyl single, exclusively curated by the editorial team, turning every subscription into a small record collection. There is a resident synth wizard called Synthesiser Dave who fixes broken machines. There are columns and deep dives and the kind of obsessive detail that only genuine enthusiasm produces.
Operating from Norwich with a small full-time team (and two office dogs), ELECTRONIC SOUND has grown into what many readers consider the finest electronic music publication in the world. Its smart, clean aesthetic — stylish, confident, oscillating, as Push once described it in three words — and its commitment to paying writers properly have made it a model of how independent magazine publishing can still work, and work beautifully.
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