Dekmantel

If there's one name which has become synonymous with Berlin's flourishing techno scene, it is undoubtedly Ben Klock. With a rich discography, he has released numerous records both on his own label Klockworks as well as the heavyweight Ostgut Ton imprint, winning him regular slots at Ostgut's infamous abandoned warehouse venue, Berghain. Klock's strain of earth-shattering, "nosebleed" techno epitomises the Berlin style as a darker, more foreboding mutation of the original Detroit sound. In his characteristically kick-drum heavy fabric mix, Klock's diverse influences appear via tracks by Burial, Detroit veteran K Hand as well as Marcel Dettmann, the latter of whom Klock has frequently played back-to-back with, wowing techno fans across the globe. Klock will play before Dettmann on the main stage on Friday, where both DJs can expect a roaring reception.

Kieran Hebden is responsible for some of the most memorable DJ sets of the last few years. Earlier this year he played alongside Floating Points for a whopping six-hour set at the closing party of East London's beloved Plastic People, prompting much online hype. As a producer, Hebden encompasses a vast range of genres whilst remaining effortlessly unique, an ability most producers endlessly seek to master. Despite his former “folktronica” crown, these days "the club is [his] world now", as he recently told the Guardian. Certainly, records like 2012's Beautiful Rewind LP display a deep relevance to dance music: sample 'Kool FM' for proof. Never one to adhere to conventions, his latest album Morning/Evening consists of two 20-minute pieces, featuring gloriously subtle synths and Bollywood samples looping above steady 4/4 beats. It is this kind of creative innovation which sets Hebden aside from the crowd.

British club music has a lot to thank David Kennedy for. Forming Hessle Audio alongside Ben "UFO" Thompson and Kevin "Pangaea" McAuley under his former Ramadanman moniker, he helped lead an evolution in UK bass-orientated music. Some call it post-dubstep, others insist upon the uncategorisable nature of such a sound. Whilst it's definitely fair to say the timbre of his production is informed by dubstep and grime, early releases such as Blanked/Blue Eyes shamelessly flirt with the 808s of Chicago footwork, with references also to the percussive drive of jungle. What is certain, then, is that Kennedy has always made music for the dancefloor, no matter what shape it may have taken, and fans are right to argue against the pigeonholing of his style. Earlier this year he dropped his self-titled debut; listen out for the squelching depths of 'Glass Eye', which has received support from names such as Surgeon and Martyn and is likely to be heard resonating across the Dekmantel fields.