Âught magazine is a platform seeking and manifesting the talented and masterly magicians of modern culture. 

We look beneath and beyond mainstream photography, art, fashion and music. 

We dive deep into the depths of the subculture. We celebrate the beauty of the grotesque.

photography // interviews // polinapho

Louisahhh for ÂUGHT Magazine.

"There is a moment within a set, on a good night, where a feedback loop exists within the crowd and myself. It is entire presence, love, fearless connection. It requires a willing openness from the audience, and some vulnerability from me in order to be a channel for this. It feels dangerous and uncanny and bigger than the sum of its parts. Getting to feel that, to be part of it, on a fairly regular basis is the most exciting thing about this work for me."

Eric from OAKE for ÂUGHT Magazine.

"The best compliment that we’ve got after a gig was from a friend who said: “Your bass made me sick, I had to vomit, it was too much for me”. For me, the world opened up at that moment, when he said that. It was exactly what we wanted to do – to put people into uncomfortable places."

Shlømo for ÂUGHT Magazine.

"Life has a taste because you know that you will die one day, it makes you wake up and do things. If you are eternal you lose the sense of purpose."

Vessels for ÂUGHT Magazine

"When we write we’re apart and when we play live you feel that you’re coming out of your little world. The excitement is always much more tangible when there are other people to share your music with rather than just us scratching our chins critically."

Makornik for ÂUGHT Magazine

"It’s an underground dark kind of pit, a closed off space where the demons lurk. It has rave energy - very dark but powerful. The entire vibe is very grim, kind of angry but conscious. Red and black. I guess it’s like a beast. There’s an element of destruction in it but it’s controlled."

Boy Harsher for ÂUGHT Magazine

"There is something really beautiful in vulnerability. More and more it feels like fear fuels strength and tenderness is forgotten. When you come across those who are honest and kind and open it’s really something. I aspire to be true and vulnerable."

La Mverte for ÂUGHT Magazine

"When I went to Berghain for the first time 7 years ago, I clearly remember when I stepped into the room how the sound blew my head and my mind. It was precise and loud to make you feel like you’re walking into some sort of swamp. It was breaking my legs. It’s like you take MDMA for the first time. A rare moment that you don’t need to reproduce because the memory is strong enough to give you the effect just when you think about it. This is the kind of moment that acts like a once in a lifetime injection that works for the rest of it."

Parfait for ÂUGHT Magazine

"Techno music and cinema, they are very intertwined. They are hypnotic forms of art: because this music is repetitive, it’s like a trance – just like movies. In movie theatres you sort of become the characters, you forget yourself. That’s also why the best atmosphere for techno is in a club in the dark, just like the experience of a film is best in a movie theatre."

Tommy Four Seven for ÂUGHT Magazine

"There is no compromise when being creative because I have no pressure to write music I don’t like. A position I am fortunate to be in but also work hard to maintain."

Soft Moon for ÂUGHT Magazine

"It’s a part of my reality completely. It’s just a way for me to express myself, because I’ve had a hard time expressing myself or communicating my entire life, and that one hour on stage each night is that one chance for me to finally say what I have to say. And I also say it dramatically, because I’m saying it to a lot of people at the same time. I’m not just talking to a friend over a period of time: I wait, and then I tour, and then I speak to thousands and thousands of people in the duration of months, and simply get it all out."

SARIN for ÂUGHT Magazine

"If I were angry then my music would be more distorted. I would say my music is observational. In terms of the vibe I sort of want to scare the audience but keep people captivated by this aggressive energy. I want to give them a feeling that something is going to happen, whether good or bad; a sense of paranoia that they willingly don’t want to escape."

VSK for ÂUGHT Magazine

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