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Ibiza closing parties are in full swing over the next two weeks, with Circoloco, Cocoon, Music On, Paradise and many more hosting huge events that...

Care, consideration and caution are not always words associated with the fleeting world of dance music. DJs and promoters springing up and disappearing quicker than Eats Everything can guzzle a pint of the black stuff, it's tempting for the next pretty young thing getting hyped to high heaven to go for broke; rush out a series of half-finished tracks off their hard drive and sit back and wait for that cash-money to roll in. Not Bashmore.

In its nine-year history, Bestival has become one of the biggest festivals in the country, with only really Glastonbury rivalling it in terms of the legendary names that headline each year. In 2012 it was musical genius Stevie Wonder that provided the big draw, but with hundreds of other acts from Azealia Banks to The xx to New Order spanning numerous genres and generations, Bestival really is the festival for everyone.

Orlando Higginbottom, the fresh-faced 26-year-old behind Totally Enormous Extinct Dinosaurs, is part of a growing scene of British producers who’ve forged crossover success from their experiments in the meeting place of house, garage and pop.

He might be able to knock out badass tunes, but Bristol boy Eats Everything is, in his heart, a DJ first and foremost (or husband if his new wife is reading!). What’s more, the man born Daniel Pearce has been doing it for exactly 20 years now, having gotten his first decks for Christmas back in 1992.

The meteoric Maya Jane didn't have to wait quite as long as some of the other members of the 'DJ-Kicks' alumnus society to be asked to drop a mix for the pivotal series. She joins a glittering — and eclectic — number, including Stacey Pullen, Carl Craig, Kruder & Dorfmeister, Nightmares On Wax, Andrea Parker, Playgroup, Tiga, Erlend Øye, The Glimmers, Four Tet, Hot Chip, Photek and Scuba.

If there's a label that has owned 2012, it's Hypercolour. The year's artist roster reads every bit as well on paper as it plays on a turntable; Huxley, Maya Jane Coles, Mosca, BareSkin, Tom Demac and Kris Wadsworth.

To say Jessie Ware’s had a good year would be rather an understatement. Her diva vocals, that hark back to a golden era of house and draw comparisons with Sade and Donna Summer, have found increasing favour with the UK bass scene’s underground producers and, like Katy B before her, garnered a Mercury nomination.