Thanksgiving isn’t a simple holiday. Especially for many Indigenous peoples across Turtle Island, it lands less like a celebration and more like a National Day of Mourning — a reminder of land theft, forced displacement, cultural erasure, and the ongoing violence that still shapes daily life. While the U.S. is trying to lean into gratitude, a lot of people are choosing “No Thanks, No Giving,” refusing to skip the genocide chapter just because the calendar says it is time to be festive.​

Oljato-Monument Valley, United States by Gerson Repreza

Instead of clinging to a mythologized origin story, this is a moment to lean into what nightlife teaches at its best: truth-telling, solidarity, and collective care. Our scenes do not exist in a vacuum; they sit on stolen land, in cities that still profit from histories of dispossession, policing, and extraction. Gratitude without accountability is empty, and any talk of “community” or “sustainability” has to start from that ground.​

On November 21, 2025, Olivia Dean, the fast-rising UK singer-songwriter, turned viral outrage into industry reckoning. Her North American tour tickets went on general sale that morning. Within hours, seats originally priced around $60 were snapped up and relisted for $900 on Ticketmaster and resale platforms.

Dean took action swiftly and decisively, posting on Instagram and directly naming Ticketmaster, Live Nation, and AEG for enabling these inflated resale prices. She called their service “disgusting” and “completely against our wishes,” pushing for live music to remain accessible. Her intervention forced Ticketmaster to cap reselling at face value, posting on X “We support artists' ability to set the terms of how their tickets are sold and resold. We're capping resale prices for Olivia Dean's tour on our site at face value and hope other resale sites will follow.” on the same platform they responded to one of the fans saying that the price was ‘a typo’.

In an industrial stretch of East Williamsburg, Avant Gardner emerged in 2017 under the vision of Jürgen “Billy” Bildstein. What began as a fleeting pop-up concept found permanence with the opening of the Brooklyn Mirage - a sprawling outdoor venue whose ambitious production and scale set it apart from the outset. Over the next two years, additional halls rose beside it: The Great Hall, cavernous and versatile, and Kings Hall, intimate and subterranean. Together, the complex offered a new blueprint for year-round nightlife. But the by early 2025 the venue saw its first needles in coffin and by August 4, Avant Gardner, LLC (“Avant Gardner”), the operator of Brooklyn Mirage, together with its affiliated entities filed for bankruptcy.

Electronic music was not only born as an avant-garde sound—it was, first and foremost, born as a stance. Before it became a global phenomenon and a lifestyle product, before “techno” and “rave” got absorbed by marketing and were turned into buzzwords and hashtags, the scene was a radical movement. A safe refuge for all those society pushed to the margins: Black, queer, trans, poor, non-privileged, migrants. A new social utopia was emerging in the sweaty warehouses of Detroit, Chicago, New York, Birmingham, Manchester, and Berlin, one that would soon spread with force across the planet.

Zohran Mamdani’s historic win as New York City’s first Muslim mayor marks a cultural realignment. With artist Rama Duwaji by his side, the new administration embodies a future where art, intellect, and civic imagination become infrastructure for everyone, not billionaires.

 A new voice meets a seasoned producer. Brooklyn-based producer Saqib and rising vocalist Galactic Girl (Kaycee Carpenter) drop “New Me,” a theatrical house record that radiates mental clarity. The track fuses “circus-like soundscapes, Eastern European waltz rhythms, and Hammond organs” that swirl beneath Kaycee’s breathy, cinematic delivery.

The system glitched, and out of the distortion came a robot with motile, unstationary beats.

A machine built not to please, but to provoke.

Identity Crisis hit play and watch it detonate your brain.

We can rethink the way we party - fun doesn’t have to depend on a headliner. The crowd itself can be the party, creating a unique collective energy.

It’s abnormal that only a few benefit from this industry: DJs, managers, promoters, club owners, while so many other contributors (technicians, performers, designers) are left undervalued.

The system as it stands drives exclusion: skyrocketing prices enrich a handful while pushing many people out of access to these cultural spaces.

Unmixed Editorial music Reviews : Marc Bedikian - Qui Peut Le Plus [Cod3 QR]

At the Maccabi House showcase in New York City, we caught up with DJ/producer Saqib for a short backstage conversation before his set. In just a few minutes, he captured the energy of the night — from the tracks he was most excited to drop, to the ongoing question of how exclusivity shapes underground culture.

Earlier this year, we spoke with New York-based DJ and curator Sana, who unpacked what we called the “politics of presence” in dance music — the pressure to show up, be seen, and still somehow stay invisible. In a recent IG story, she doubled down on the exhaustion of performing identity while trying to push boundaries. “I personally struggle with ‘adapting’ my sets,” she wrote on her Instagram story, “to a more desi crowd and in the past have been a bit drained from doing this.”

“High Brow, Low Tech” opens like a memory you can’t place—familiar in the best way. Primitive Needs lock into a groove that feels inherited from the deeper corners of the club, yet totally alive in the now. It’s that elusive midpoint: the sweet spot where familiarity meets novelty, with nothing forced and nothing extra.

On the cover of Dextro’s new EP Covil Dos Abutres, the Mutual Rytm logo glows like a neon omen against black—a fitting herald for an album that dares to take a stand. This EP is a statement of intent from a stalwart of the early ’90s rave scene. Having honed his craft through key residencies and landmark releases on CLR and Missile Records, Dextro channels decades of intuitive production into this debut on SHDW’s Mutual Rytm. Dropped on April 4, 2025, the five‑track vinyl (and eight‑cut digital) EP revives the art of album cohesion in a scene drowning in standalone singles. From its opening seconds, it’s clear this isn’t background music; it demands full attention. 

Dubstep Might Be Dead, But This Track Feels Alive

Anecho – "Spiritual Blitz'“

On our journey to unearth true underground gems, we stumbled across a real treasure on Bandcamp—Spiritual Blitz by Anecho. Released on March 5th, this track is officially labeled as "dubstep"—a genre I usually steer clear of. But against all odds, this one resonated in a way I didn’t see coming.

There’s a certain formula to big-room melodic techno these days—brooding synths, rolling basslines, and a buildup engineered for that peak-time euphoria. But every now and then, a track drops that doesn’t just follow the formula; it owns it. She The Last One is exactly that.

Taipei-based producer William Trilogy brings a refreshing perspective to Deep House with New Heights, a track that refuses to settle for the genre’s usual formulas. Instead of looping into predictability, this production brings in a refined minimal groove, layered with subtle yet powerful textures that create a more dynamic sound.