Cadence Culture is an online magazine FOR underground electronic music culture and its interconnection with politics and resistance, identity and subculture.

Club and rave culture provide for spaces where people come together to celebrate, but also to forget. Some people get lost in these places, while others find themselves. It’s a place where people experience, where they share and exchange stories. It’s a space that’s not bound by time; only in the way that by living the night, it makes daily life more bearable. It’s a place where we listen to others, where we heal, where we help. It’s a boiling pot for creative scenes worldwide, a place where like-minded creatives find each other. It’s the beginning for for fruitful collaborations. It’s a place where people work, it’s a place where people make art. They are places that provide us with like-minded people, where we can be part of an open-minded community. It’s a place where we form lifelong friendships and relationships. They are spaces that help us challenge the existing, spaces that provide the chance to create a new, better world, may it be even just for a bit.

Cadence Culture focusses on the culture of the sound, on the rhythm of events, on a movement. It’s a digital space where all of those stories come together. For too long, the contribution that club and rave culture brings to the culture of places has been underestimated and undervalued. Because through the lense of the night, we can look at daily life in a different way.


My name is David Wouters (25), Dutch, living in Amsterdam and freelance journalist for VICE and founder of Cadence Culture. I’ve written pieces about the crypto-rave, dance and politics, did scene studies in cities like Kyiv, Paris, Copenhagen and Amsterdam. I wrote my bachelor thesis on how Berlin’s electronic music scene copes with tourism and I was a guest at the talk show ‘future of the night’ organized by the night mayor for Amsterdam Dance Event.

I love diving into underground and alternative electronic music scenes internationally to find out how they are connected, how they differ and how they are the reflection of socio-political themes. I am fascinated by how dance can be used as a social and political tool, how it can be used as a form of resistance but also by how music scenes can shape cities.

My interest in music journalism started as a small-town-boy of 16, reading an article about Berghain in Berlin. Having experienced just one electronic music event in my life, I decided to travel to Berlin by myself when I was 18 years old. Finally on the dance floor, a half naked woman stood next to me dancing with her eyes closed. A man in a black t-shirt walked up to her and looked at her breasts, and. looked at her like he’d never seen something like it before. She returned his gaze with an annoyed glance and moved somewhere further on the dance floor. Interesting, I thought to myself. How the impact of tourism extends itself to impacts in nightlife. As an International Tourism Management student at that time, I decided to write an essay on it. Later, the essay became my bachelor thesis, returning to Berlin at the age of 21 to write about how Berlin’s electronic music scene copes with tourism and what impacts it has on the people, sexuality, the development of the city and the economy.

Meanwhile, I visited other countries to explore their rave scenes and moved to Amsterdam, where I quickly got acquainted with the electronic music scene. More importantly, I met a lot of interesting people who were carrying diverse and exciting stories with them. It came to a point where I wondered why there was no one documenting these stories. In the meantime, I graduated and felt a big gap, not being able to write about electronic music anymore. I felt that there were still too many stories that had to be told. That’s when Cadence Culture was born in the spring of 2019. I decided to set up my own blog and write articles that have a focus on connecting and come with a personal touch. 

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