Crack Magazine x Aphex Twin Augmented Reality Cover

Wednesday, November 14th, 2018 |

There’s no doubt about it, digital music and streaming has brought both pleasure and pain to the music industry. Pleasure for making music more accessible and by default breathing some life back into a once dying industry. The painful aspect is because it’s caused consumers to question the value of music. Why is it that too many people are willing to pay $3 for a cup of coffee that costs practically nothing to make, a few minutes to prepare and disappears forever, but can’t be bothered to pay a buck for something that took hours/weeks/months to create, years to learn and will always be with you?

Figuring out how to add value (even if it’s just perceived) to something essentially not tangible, and readily available for free, is a problem that Augmented and Virtual Reality can help solve. Media can benefit too. The current experience for both is passive and transactional for the most part but it can be immersive—and transformational. AR has the power to revolutionize album art design, concert posters and magazines into an interactive experience. It’s happening and the result is a win win scenario for creators and labels looking to make a deeper connection with fans… who are ultimately looking to light up their senses and discover/experience something fresh, unique and new.

Crack magazine’s latest cover story with Aphex Twin is a powerful example of how physical and the digital can coexist at the same time. The Bristol based publication recently sat down with the musical visionary that is Richard D. James for a rare interview and went all in on an augmented issue. The interactive content done in collaboration with Zubr is spread across a 10 page segment featuring artwork from James’ visual collaborator, Weirdcore.

If you’re able to score a copy of the issue, the AR app can be downloaded from the App Store and the Play Store here. Read the Aphex Twin cover article here.


“Winter Music Conference is my ground zero. It has always provided the perfect storm of opportunity and excitement for up and coming artists, including myself back in 2003, where I first caught a glimpse of how it felt to have an audience respond to my work. Over the years, I’ve always made it a point to have WMC in my calendar because that’s the spot where everyone congregates and you can feel it in the air. Creativity, brother and sisterhood, FUN and most of all the chance to come together as a community and celebrate the reason we are all here—the music.”



Before there was Ultra Music Festival, there was The Winter Music Conference, the annual coming together of the dance music tribes. Miami in March is a fundamental place to be from a business perspective, and has always given me endless opportunities for discovering new partnerships and talent. WMC brings together the dance music industry and surrounding culture like no other event in America. I’ve been attending WMC for nearly 20 years, and I’m very much looking forward to experiencing its evolution in 2019.

Matt Colon

Partner/founder, Deckstar Artist Management

I first went to WMC ’87, the year I started Big Beat. It was an incredibly inspiring congregation of indie labels, DJs, artists, songwriters, producers and dance music lovers dedicated to breaking and discovering new music. WMC has been instrumental in furthering the dance and electronic cause; keeping the community connected, vital and relevant, and serving as an amazing springboard for talent. It’s a fantastic crucible for the future of dance music. Long may it live.

Craig Kallman

CEO & Co-Chairman Atlantic Records, Founder Big Beat Records

WMC is and has always been the lifeblood of the dance music scene. Never missed a year since ’96, I can’t imagine Amsterdam Dance Event or Ibiza Music Summit existing without the blueprint that WMC originated. Seeing this revived is absolutely essential to reunifying the North American scene surrounding electronic music and its fringes.

Tommie Sunshine

Producer/DJ/Activist/Netflix Host

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