If you're passionate about actually taking your music from the studio to the stage to the store, then it's worth thinking about the best promotional platform in the history of music - the internet. The ability to upload new tunes or videos, tweet about your concerts, send emails, sell tracks over the web and even hold live concerts via a web stream is a mindblowing amount of possibility for any artist. 

First of all, you've got a great choice when it comes to actually getting your music out there. SoundCloud, MySpace, embedded mp3 files on your own site, iTunes, and even YouTube if you want to put some images to a track of yours or even upload an entire music video. All of these methods can feature some method of feedback, so you'll be able to see what your fans think of your tunes quite soon after uploading them, if the community is involved with what you're making. 

But if they're not, how do you promote it? How do you make sure that it's your tune they're planning as they drive, or play partypoker. Well, for starters, you need to make sure that you're pushing your music into the spotlight every time you get the opportunity. Constantly network, talk to people, guest on podcasts, send your tunes to internet radio stations - ensure that your music is everywhere it can be. 

It sounds time-consuming, and it is, but it's surprisingly cheap, given that you'll pay nothing for music hosting in a variety of places, and all you're doing is submitting the same file, not burning CDs or recording tapes. Digital music can be a wonderful thing, in this respect. 

Finally, think about where you're not, not where you are - what social network platforms are you missing on? What communities are you not involving yourself with that you should be? Both of these questions (and others) will matter in the long run, because you need to be omnipresent. If people never see you in their daily browsing experience, they'll never hear you. Make yourself seen. Make yourself heard. Good luck. 

Ant TC1's tremendous Leeds based drum and bass label Dispatch Recordings recently marched past the 50 release mark and over the last couple of years has quickly cemented its reputation as one of the best labels in Drum and Bass today.  The most recent release entitled the Subsidiary EP by Italian producer Dabs. 4 intense tracks make up this scorcher of a release, and with the likes of Cern, Amoss,  Ant TC1 and Safire jumping on the buttons for some collaborations it's going to be in your bag for a while to come.  Friend of Example Laurent Garnier has been playing as well as top dogs in the scene such as Marky, Doc Scott and more. 

Check out previews of the tracks below... 

Described as one of the best clubs in the world according to numerous polls (including DJ Mag top 100 clubs), Fabric has been responsible for putting out compilations of the most anticipated current artists for the last few years. Now on its 62nd edition, head honcho of happening Critical records, Kasra Mowlavi takes the reigns for a smooth ride impeccable mixing, exquisite track selection and a whole backlash of remixes of some of the best tunes to emerge in 2011. It's fair to say that if the track list alone hasn't got you all hot under the collar then you were clearly trapped under an iceberg last year.

Alix Perez's rerub of Rockwell's sublime 'Underpass' sets the tone well for the rest of the compilation. Stripping back a few of the clicky drums and brushing away the melodic elements, Perez leaves his minimal touch on one of the most ground-breaking tunes of 2010. Blended in beautifully, Foreign Concept's less cutthroat vibes draw for a fluent transition into ‘Detuned Souls’. The calm vibes don’t last long as Dub Phizix’s complex drum patterns take over for ‘Handmade’. Delving into murky depths, Kasra introduces Phace & Noisia’s powerful and show-stopping ‘Micro Organism’ with aggressive drum patterns and metallic sounding synths.

Next up are two highly anticipated VIPs from Hybris and Sabre, Stray and Halogenix showcasing Kasra’s excellent mixing from ‘The Cleaner VIP’ into the gentle, soothing tones of the VIP of recently released ‘Oblique,’ giving it a more rusty and dance floor ambience. Tearing riffs and disintegrating drums mark the mix being taken on a rougher journey through Mortem’s ‘Uprising’ and winding grooves of Jubei’s rerub of Alix Perez’s ‘Myriads’.

Break’s forthcoming ‘Soundwaves’ provides an excellent window into Critical’s next release - a warm, dubby number with driving bass before Kasra delivers Judda’s scratching, dark ‘Pressure Plate VIP.’ Dub Phizix’s signature drawing gated synths and guillotine-sounding samples signal the climax of the mix. Easily one of the best tunes, Critical’s main man drops into it the fluid, complex beats of Hybris’ ‘Make My Drink.’

Touching base with one of 2012’s hottest producer’s, Enei, ‘So Real’ is another co-produced tune for Kasra, complete with routine vocal sample before disintegrating into scorching synths and rasping bass. Enei’s solo production of ‘Machines’, a cluster of twisted melodies and whirling samples drops effortlessly into Foreign Concept’s take on Enei’s mighty ‘Obsession’. A more sinister descending bass and quicker tempo render this remix and Enei’s remix of ‘Mob Justice’ special enough to be released on a limited edition 10” vinyl.

A serene vocal line brings the party vibes of Bladerunner’s ‘Back To The Jungle VIP’ before the S.P.Y’s coiling basslines from ‘New Beginning VIP’ take the mix back down before reaching the peak of a second climax. Commix’s ‘Version’ and Ulterior Motive’s remix of Klute’s ‘We R The Ones’ are a nice visit to the other ends of the underground spectrum before Rockwell’s drums and Icicle’s stormy bass take control for ‘Resources’. June Miller & Proxima’s ‘Killswitch Engage’ has been rightfully receiving some big support as the minor-key heavily distorted bass makes for a powerful transition into another incredible production from Enei. ‘Count To Ten’ featuring MC DRS is one of the best tunes on the mix, and showcases DRS’ unmatchable talent in the lyrics department and Enei’s superb stabbing synth intervals.

Bringing the hour long mix to a close, Kasra swaps the bass of ‘Count To Ten’ into Mark System’s ‘Pursuit’ – a complex swirl of melodies and twinkling breakdowns before delving into a heavily static and hedonistic collaboration between Break and Metalheadz’s Mikal. Spectrasoul’s drawn out and punchier take on Enei & Riya’s ‘No Fear’ fashions the end before Stray’s ‘Timbre VIP’ jumps in at the last minute with an array of complex and evolving drums, which in itself would mark a great end to a live set.

Fabriclive 62: Critical listening.

This week the 'blogosphere', as conservative MPs call it, has been delighting in Plan B's return to wearing jeans and being a cockney, as opposed to those other tunes he did last year, when he was wearing a tie and singing in a high pitched voice.  It's obviously an enormous surprise and really fresh to hear plan B being grimey, since he's never done it before, and he seems to have captured the hearts of Cameron's britain anyway, asking for the system to be changed, whilst prancing about with some fireworks in a car park.  Unfortunately I think the System is something which doens't look like it's going to change no matter how many rappers, punks etc etc say it needs changing.  

Plus you could argue, if you want to be cynical, that the major labels releasing Plan B's anarchistic tunes are huge capitalist conglomerates, who profit from promoting materialism and celebrity culture, which ultimately gives those poor children who live in the Ghetto false hopes and dreams. 

Oh and the tune has essentially been jacked off a German vocalist called Peter Fox, who saw amazing chart success with his tune 'Alles Neu' in 2008. His version uses the same strings and has pretty much the same flow and lead into the hook.  Granted Plan B's version has got some trendy breaks and some shouting in.  But I reckon they're the same. 

Although to be fair they both stole it off this guy Dmitri Shostakovich who composed a piece about the siege of Leningrad and he apparently made most of this up out of other guys' Symphonies.  So I don't know who's right anymore.

The Plan B / Peter Foxx bit comes in at 4:50

The concept of a brand is a very important one in running club nights, but it's all too often overlooked. Nights that try to please everyone often end up not doing anything well, 'Jack of all trades, master of none' being the best way to put it. If you look at the most successful nights you'll know exactly what music to expect, even if you don't know the DJs that are playing. This is what Pandemik do very, very well.

Since its inception, Pandemik has been very specifically about the darker side of drum & bass. This is reflected in their trademark gas-mask logo and militant undertones which permeate everything they do and add to the vibes. Put simply, if you want a skank to some pure, deep, dark drum & bass then Pandemik is your night. This growing reputation has led to them teaming up with some of the biggest labels in the scene, and they don't come much bigger than Renegade Hardware, who brought a great collection of DJs to Dry Live this February.

For those who aren't aware Renegade Hardware is one of the oldest labels in Drum & Bass. Having been formed in 1995 as an offshoot of Trouble on Vinyl it concentrated on the heavier, darker side of the drum & bass spectrum, quickly gaining an excellent reputation and releasing some classic tracks along the way, including the epic 'Messiah' by Konflict and Dillinja's smasher 'Twist em out'. Before long the label overshadowed Trouble on Vinyl and the parent company disappeared altogether in 2007. But Renegade Hardware lives on!

Dry Live was pretty empty when I arrived but my worries for the promoters were short-lived and it quickly filled up with ravers. By the time EBK came on at 12 everyone was ready to go. As probably the most well established name on the bill with a slew of releases on Renegade Hardware and other labels he probably had the biggest expectations on his shoulders for the evening. Thankfully he did not disappoint, playing a solid hour of heavy rollers and old school D&B vibes. It was difficult to do anything but rave around like a lunatic!

The night carried on exactly how it started too, DBR UK followed by Amoss and Cold Fusion completed the spectacle and not one of them let down their audience, pounding their ears with growling baselines and amen rinse outs as the night drew on. Amoss injected quite a few half-time heavy tracks into their set- clearly Marka's influence has been seeping through to other acts in the scene- which went down well and mixed things up nicely. The duo are pretty new on the scene, having only released tracks since 2010, but their talent is large and has been noticed by some big labels. They are certainly a name to look out for.

Pandemik have gone from strength to strength with their recent parties, with this Hardware link up the top of the pile so far. They're booking some great up and coming talent and truly deserve the support of every drum and bass fan in Manchester and further afield. This month's night is looking even bigger with the legend that is Loxy and the man like Anile both coming down to shake the foundations of Dry Live so make sure to check it out. For now, this infection's definitely spreading.