The Duke Dumont

Born the son of a record dealer and raised in north-west London where pirate radio ruled the airwaves during the late 90s, it was near-inevitable that a teenage Adam Dyment would eventually find himself in front of a pair of Technics 1210s. This was a time of swapping vinyl and mixtapes - a time bridge, really - before broadband internet and mass illegal downloads, but during the early stages of computer software becoming an option for beat making. And this was the era of Adam's grounding in music; DJing was the in-thing, and was simultaneously the genesis for accessible music production software.

Music production became an all-consuming passion and, after winning the Diesel U Music award for the country's best unsigned producer, he was afforded two huge opportunities: being signed to a DJ agency (a move that allowed him to quit his day job and focus full-time on music), and being given the opportunity to remix a track by Mekon featuring Roxanne Shante. His stock has been rapidly rising ever since; for the next few years, his ability to transform indie tracks into his own, made him the go-to remixer for the likes of Mystery Jets, Late of the Pier and Bat For Lashes. However, his production has broadened in scope with remarkable force, and with his debut artist album in the works this year, he is determined not to be held ransom by musical-cliques.

The Duke Dumont's burning appetite for good music, first and foremost, is conveyed through a rather surprising collection of sonic treasures on his FABRICLIVE 51 mix. Stripped down to a slim-line 13 tracks, it is utterly free from gimmicks, from nods to tastemakers or from big names. Instead, it rightfully focuses on allowing all 13 tracks space to express themselves and take the listener on an inspiring journey, at once cerebral and emotional, heartfelt and precise. Taking in the acid-tinged techno of Saturn V on Spectral Sound, the Berghain warehouse throb of Scuba, the melodic lilt of Bodycode, the deep 2-step swing of Floating Points and the epic swell of Idioma's closer, it's a mix that takes listeners right back to the centre of Room Two's pitch black 4am dancefloor.