“To break through as a DJ,” begins Terry Turbo; promoter of the award winning One Nation club nights, “You have to be able to mix well, be able to please a crowd, and have an original style. Copying another big DJ will not do you any favours! Playing on a pirate station will further your career; just the same as making a good tune will help you as well.”

In the last two years, several notable additions to the ‘star line-up’ have broken through; and in looking at these; one can begin to assess the criteria that one must satisfy in order to permeate the thick skin of the drum and bass DJ sphere. The names ‘Bad Company’, ‘Total Science’, ‘Digital’ and ‘Marky’ instantly spring to mind.

All of these DJs; other than Marky, had an incredible run of successful record releases before their flourishing turntable careers instigated. Bad Company had ‘The Nine’, then ‘The Pulse’; and from hereon in the snowball just kept on rolling. Total Science racked up the classic ‘Dub-plate’ and ‘Champion Sound’ remixes; whilst Digital notched the co-produced ‘Phantom Force’, ‘Remote Control’, and his own ‘Deadline’ production piece to the anthem-roster. In looking at these instances; ironically, it becomes apparent that in order to develop into a prominent DJ, one has to produce as well; the two aspects seemingly go hand in hand.

The reason for this is simple. If one makes successful records, thousands of people will have heard of the corresponding DJ’s name before they even set foot in a club to play; records help promote the turntablist more than any other medium. Recently, a significant number of major producers have created ‘new-talent’ subsidiary record labels to cater for neglected music makers. Andy C and Red One’s ‘Frequency’, and Dan Stein’s ‘Square One’ recordings simply help to promote the necessity of brandishing the moniker of ‘the producer’ in today’s scene.

“Making tunes is about getting yourself recognised,” says DJ Shimon of Ram Records fame. “There are so many DJs out there that; even though they are really good, it is very hard for them to get a break. Once you have made a couple of tunes; the influential people want to see who you are, and it helps to get your foot in the door. It helps to get your names in magazines and so forth; it creates interest.”

The soil in which the scene’s budding producers are currently sowing their seeds is extremely fertile, but what about prosperity for the DJ alone? Not everyone has the resources to purchase samplers, synthesisers, mixing desks, keyboards and suchlike. Unless one has the combined blending and scratching skills of DJ Marky, along with his titanic personality and presence, another route to success must be excavated.

“I think it is something we should be getting away from because a DJ should be about his turntable talent and his ability to move the dance-floor,” exclaims Shylo; the promoter behind Future Thinking’s revolutionary new ‘Traffic’ night at Vauxhall’s Club Coliseum. “With Traffic we are working towards establishing our DJs who are not producers primarily; we invite them to be recognised for their DJ ability alone. We must push new talent in terms of DJs if we get the chance, because we have a definite lack of them coming through in the scene. It has been that way for many, many years now and it has to stop.”

Danny Exile is one of the newer generations of talented turntablists to have joined Traffic’s club-land renaissance, along with DM C.U.T; an ex-resident of the legendary Weekend Rush FM, who has been in the game for 11 years. Danny has witnessed the fate of many fellow record-selectors, whose dedication to their musical lifestyles was tested to breaking point by the rigidity of the scene.

“At times, the scene seems very locked down. It is frustrating, because I have seen a lot of guys before me that were better than me, who have fallen by the wayside because they knew there was little chance of them making a living out of it. It is all about determination and will to succeed,” reflects Danny.

DM C.U.T recognises the issue at hand,

“The only problem I have with the scene,” explains DM, “Is that they are scared to open it up to something else. There are many other talents; and consequently a broad range of music goes unnoticed. Some people only look at the forefront of the scene, when really drum and bass is like a pyramid; as much as there is a peak, there is a base. I have been doing it for years; I still get gigs abroad and have been playing in London, but I just don’t get the limelight thing. Traffic is about opening up for new talent. It is not about the name of the DJ; it is about the music,” reveals DM.

“You have to keep pressing and do what you are doing,” he continues. “The more you are in the scene the better you get to know people. The more you push it the more you will get through. Ultimately, we believe that there is enough space for everyone because what we are dealing with here is music, and music in general is always growing and getting bigger and better. All those producers that are getting DJ work are good, but some of them really need to practice! They give other DJs a much harder time to get in there. If that is the standard then all the good DJs will never get a chance. I do not mind producers DJing, but if you do it; represent it right.”

“When you have tunes it opens up your music to the whole world,” acknowledges Danny Exile. “People like Digital have had their music picked up on in many different countries. Some of these guys, however, are not getting as much work in the UK, but abroad they are constantly working. A-Sides, for example, is out every six weeks in the States. He is recognised for his sound and his production. Different areas and territories appreciate different sounds, and production is obviously a great help. I think it is a goal for everyone to get into that kind of thing.”

“Sometimes you look at flyers and you see the organisers going for the safe bets,” concludes Danny. “I would like to think that some of the top-level promoters could come away from that; they have their base; their crown; why can’t they use this platform to educate other people? Sometimes it is being left up to the likes of Future Thinking to do that education thing; whereas we should be the guys who are learning!”

“The top boys have been doing this for 10 years or thereabouts,” begins Rob, the promoter of the successful ‘Meltdown’ night in Brighton. “They have got there shit down and locked off. They have seen this music come from hardcore, unified it and influenced and shaped it into the sleek modern form you witness on their dub-plates week in, week out. It has not always been Fabric, top of the range BMWs and hour-long sets. They have given their lives to this music and people should expect to do the same to gain any sort of advancement and expectance. I’ve been working closely with some young DJs for four years deep in it and they are only just getting their props (from DJs, producers, label people, promoters and of course; the ravers). It’s about learning your trade, and proving yourself at each step to everyone you come in contact with that you are justified in being at the position you’re at, and that you’re ready to step up. It’s not supposed to be easy. That’s why drum 'n' bass has kept itself at such a high standard over the years and stopped the business cunts taking over and killing the music.”

Rob also runs a night called ‘Minimelt’ which caters for new up-and-comings.

“Minimelt has a low cost entrance fee, as we are asking the customer to trust us to come down and see a DJ that many know little about and some may have not heard of before. Minimelt therefore is harder to run with little financial reward for us. However, it’s important for the music to give space to show the public the true expanse of talents in drum 'n' bass.”

Rob’s wordings make it obvious that flaunting new DJs on a flyer is a high-risk strategy. Promoters need to plough money back into their business to survive, and without the Andy Cs, Hypes and Mampi Swifts to rake in the customers, the only attendants supporting the promoter’s bank balance will be the up-and-coming DJ’s best mate; Dave, and a few of the local groupies.

So, it now becomes clear that unless a DJ is willing to kick-start his career with production credentials, much of his fate rests in the hands of promoters. Having a concentrated line-up of new, unheard-of faces will not pull big crowds alone; however; these up-and-comings must be integrated sparingly amidst the shoulders of the major players so to gradually break them through to the public. One such promoter who lives by this ethic is Oliver, from the monumentally successful Movement nights at Bar Rumba. He reserves a room separated from the main dance-floor in his famed Soho venue to break through new artists. DJ Marky, Ruffstuff and Patife all started their careers in this area; and are all living proof that this method works. Having brought through these DJs on their turntable talent alone; Movement are all the better off; they now manage some of the greatest stars in the scene.

“We have a little smaller space,” reveals Oliver, “Where some people go crazy even before 11 o’ clock. Lesser known DJs play there, who in their own right cannot be given a slot, because they cannot draw a certain amount of people; it is unrealistic. We had Lemon D do something in 1997; then Patife and Ruffstuff who played a few sets in there before they stepped up to the main platform. It is not a case of ‘you are a fucking good DJ there you go’. It is fair. The bar serves the purpose of building up the night before the entire club is open; so it looks good, feels good, and everyone is buzzing from around 9pm onwards. From nine to ten o’ clock, some people move from ten to eleven o’ clock; then some go a little bit longer. Certain people manage to go beyond that and create a buzz for themselves and a profile. They use that as a platform to persuade people like Bryan G and I; and the rest of the promoters that it is ‘my turn to be up there and play’. Two of those people happen to be our residents.”

Word.