'Glut' got hybridized with producer S-X's 'Woooo' to find middle ground with grime. 'Work Them' illustrates how juke infiltrated the UK's consciousness via the Swamp 81 'dark 808ish' stable. Consider his output: 'Glut', 'Grab Somebody', 'Work Them', a six-track EP for Hessle, as well as a Pearson Sound 12' and a breathtaking 110 bpm mix for Jamie Woon's 'Night Air'. It certainly helped that his label mate Ramadanman came into such amazing form, upping his game from 2009. The Hessle camp built on their momentum, with Ben UFO competing with the best in this new DJs sphere, dropping the bpms to mix house with UK funky, techno with techy dubstep.

Also great from Deadboy was his piano-lead refix of Drake's 'Fireworks'. Numbers' Jackmaster also increased his capital as an A-list DJ, finding the space between the new and the upfront, between house, funky, techno, and beyond.

That they're already in a position to release their first compilation CD is amazing, considering the label is only a year old.Д«ased in Scotland and born out of several labels, Glasgow's Numbers imprint also had a strong year, bookended by Deadboy's 'If U Want Me'- a sour, UKG indebted slab of 'wot do you call it?'- and Untold and Roska's dark funky jam 'Myth'. As a whole the label found a very creative space between grime and house, built on percussive urgency and saturated synth colors. The Night Slugs camp run by Bok Bok and L-Vis 1990 unleashed a whole phalanx of next-level records, from Girl Unit's 'Wut' and 'IRL' to Jam City's 'Ecstasy Refix', Lil Silva's 'Seasons', Velour's 'She Wore Velour', and L-Vis' remix of MJ Cole and Wiley's 'From the Drop'. There were many others in incredible form throughout 2010. He broke one of the records of the year, Girl Unit's 'Wut', and launched his 502 label with two fresh new artists, Fis-T and Jay Weed. By summer, armed with peerless mixing skills and new Serato tricks, Oneman would reach Slimzee circa 2003, Hatcha '04, or DMZ '06 levels of creativity, putting clear water between himself and the very hot competition. Instead he spent the next two years walking a new path, eventually ushering in a new generation of producers and sounds distinct from the grime, funky, dubstep, and garage scenes that inspired them. When Loefah put him forward for Mary Anne Hobbs' Generation Bass showcase in 2008, his talent as a DJ was undeniable, yet mixing early DMZ releases into old UK garage records will only take you so far. Out of those negative situations came a new set of creativity, diversity, and possibilities a fresh ecosystem- a decentralized matrix of new idea clusters, rather than one dense defined new movement, as we're used to seeing.ДЇew epitomized what an incredible year 2010 was as DJ Oneman, this column's DJ of the year. The area that has shined brightest in 2010, what the year will be remembered for, is the currently nameless zone that, catalyzed by UK funky, grew out of disenchantment with dubstep's direction and the lack of dancefloor inertia in grime.

Dubstep bled into juke and UK funky, UK funky into house and grime, grime into pop, pop into dubstep and so on. The borders between relatively separate styles of bass music dissolved, leaving hundreds of islands of creativity connected like an archipelago of breathtaking music. You've got everything from trippy, Illuminati-featured pieces to all-out depressed clown short films to young girls using mystical powers to torture their molesters.It has, within the remit of this column, been an incredible year for music. You shouldn't be surprised at the names includes, as either the biggest artists ( Skream, Knife Party, Kill the Noise, Benga) are included, or the artists affiliated with big labels ( Ram Records, Never Say Die, Dub Police) that are willing to put forth something different to help push their tracks. In our quest to find the best in the dubstep music video lot, we tried to satisfy all of those points. That's not to say that there aren't dope music videos for the dubstep scene out there, but you'd think that more of them would involve either a sick visual component, or take it to the next level and develop some stories that mirror the track. Maybe it's a money thing, or maybe the idea of translating a voiceless sound into a narrative visual piece can be daunting.

For a genre where a large part of its growth and fanbase are directly attributed to how massive the scene is online, it's amazing to think about the lack of quality music videos there are in dubstep (or all of EDM, for that matter).