"The Anna Wintour of Music" - Benji B started his climb to success earlier than most of his peers in the industry. His first step was landing a job with legendary radio DJ Gilles Peterson on Kiss FM at just 16. From there it wasn’t long until he had his own show on BBC Radio 1Xtra. Today Benji holds down a weekly slot on Radio 1 using the platform to introduce listeners to underground electronic music from around the world.

Here’s a little history lesson for those under the age of 20: During the 2000s, Ed Banger Records, helmed by the diligent and aptly named Busy P, were lighting up dance floors across the world with their neon-tinted, funk-filled, distorted take on the proud, French, electronic music tradition through acts like Justice, Mr. Oizo and DJ Mehdi.

Effortlessly bridging the worlds of RnB soul and electronic music the musician DJ remixer and Canadian beatsmith known as Kaytranada is many things but chief among them an extremely talented producer with what already looks set to be an exceptional career ahead of him.

Brodinski thumped onto the international scene at the end of his teenage years in 2007. His first release Bad Runner shot him straight onto the crest of the electro-house wave on a level with contemporaries Busy P 2manydjs Tiga and Erol Alkan.

Richie Hawtin is a genuine original. His critical acclaim spans the creative realm of the fine art community to the technological vanguard. Meanwhile, as a performing artist, he is constantly pushing conceptual frontiers, moving things forward, welcoming as many as he can to ideas and experiences that would have seemed pure science fiction when he began his career.

On stage de Witte charms techno heads with her natural ease, composure and expertise. Making it almost look easy to play the biggest stages in the world. Her own studio productions have proven to be intense, addictive and downright impressive, captivating sounding labels like Novamute and Mary Go Wild. The future looks bright for Charlotte de Witte.

When Simon Green first burst onto the scene in 2000 with the ‘Animal Magic’ LP it was a time when words like ‘downtempo’ were frequently thrown about by music journalists and experimental turntablism and crate-dug samples were all the rage among producers. While Bonobo’s immediately recognizable sound has always been indebted to these traditions it has also matured over time into favouring the organic unpredictability of live instrumentation over the post-modern collage of sampling.