Transitions? If one word sums up the career of John Digweed that would certainly be it. One of the original DJ superstars, a previous Top 100 winner and half of the most iconic back-to-back pairing in history, Digweed is still re-inventing himself at the cutting-edge with a sleeker tech fused sound that still carries all the melodic hypnosis upon which his sound first rode to success. 'I've been playing more and more techno for a few years now and have always played right across the board so it seemed strange that people still wanted to call me a progressive DJ,' he admits. 'I think people have finally started to realise that the music and the sound has moved on. I'm not trying to tag what I do with anything.' In today's times of genre-blurred pollination, it's testament to Digweed's diverse, astute tastes that Guy J's 'Esperanza' LP became one of 2008's true revelations with DJs from all corners hailing Digweed's discovery as a modern masterpiece. Indeed, roll back six years and the idea of Sven Väth, Sasha, Tiga and Chris Liebing all playing the same Bedrock releases would have seemed laughable but all are calling upon Guy J's melody strewn soundscapes to add texture to their sets. 'To have been involved in the project from the start and offer a bit of guidance as to where the album should go has been really gratifying,' lends Digweed. 'Guy's music has soul to it and that's why it's touching so many people. It hits you somewhere and combines elements of techno and house. It's a really unique sound.' Springboarding from the electric interest in the Guy J material, Digweed's Bedrock label is now enjoying a renaissance after a few years in the post-vinyl limbo period. 'When sales first started to drop it suddenly made running the label very, very costly,' reflects John. 'Before you'd even sold a record the running costs were through the roof. We had to trim everything down. I let my label boss go, closed the London office down and just spent 2007 going through things step by step and trying to make sense of it all, working out where we could save money and not lose out.' Both celebrating its 10-year landmark and a rejuvenated presence, Digweed's Bedrock label is again living up to its name as a touchstone for deep, quality electronics with the dreamy prog-tech of Christian Smith's 'Flyertalk' and the uplifting tech-house of Jim Rivers' 'Empathy' EP just two recent highlights. Confident of the corner turned, it's telling that Digweed neglected the temptation to turn the recent 'Bedrock 10: Past, Present, Future' CD into a pure nostalgia exercise. Instead, the decade anniversary CD is a triple CD celebration of future promise with a host of classic Bedrock tracks freshly remixed by ascendant talent and plenty of modern favourites amongst the odd old school original. 'It really feels like we've breathed fresh life into the catalogue and shown just where we're going, as well as where we've come from,' explains John. As for Digweed's personal DJ excursions, it's been another non-stop year on the road with a March tour of Australia followed by a rekindled back-to-back tour with Sasha throughout America, Canada and Mexico. 'Gig-wise, it's been a great year,' beams Digweed. 'Ever since Australia it's been full-on. There was a whole array of festivals over the summer, it was back out to Asia in October and I've got South America to look forward to at the end of the year.' And somehow John still found time to mix arguably the best DJmag covermount mix of the year in 'Bedrock: A Musical Transition', drop the fourth edition in his 'Transitions' CD series, get back in the studio with Nick Muir to record 'Aquatonic' and promote his Bedrock 10th anniversary party at London's new technologically perfect über-club Matter. 'We want to be part of the venue,' John tells DJmag. 'You know anything coming from the Fabric camp is going to have the highest standards.'