The past year or two have seen a staggering return to popularity of house and techno music in the UK. For the first time since the mid-1990s, records which have grown steadily through club play over many months are breaking through into the charts on a regular basis – but just as exciting and significant are those records that remain resolutely underground. Because it's there that you start to see the real reason for the longevity of these sounds – both well over a quarter of a century old.

The thought of attending a dance music conference in Amsterdam frankly gave me the creeping horrors. I'd never been to Amsterdam Dance Event before, and the combination of DJ egos, business hustling and relentless partying through hundreds of club venues in a renownedly liberal city presented so many opportunities for both boredom and complete catastrophe, it just seemed like a fool's errand. But this, of course, wasn't fair.

When drum'n'bass emerged from hardcore rave's interactions with London's pirate radio culture, 20-odd years ago, it created some of the most radical grassroots music ever to come out of the British Isles. It came in such a white heat explosion of underground, transforming repeatedly and rapidly through different iterations its first few years, that nobody could have predicted that it would reach a commercial high-point two decades on.

AlunaGeorge deserve to be lauded as one of this year’s great singles bands solely on the strength of “Attracting Flies” and “White Noise”, their collaboration with electro outfit Disclosure. The London duo - featuring the purring vocals of Aluna Francis and George Reid’s sassy production - have been gaining attention in all the right places over the past 12 months, which gives their delayed debut a lot to live up to.

“Formulaic” is all too frequently used pejoratively in reviews – but from minuets to minimalism, Bo Diddley to drum'n'bass, finding a formula that works and sticking to it has produced some of the finest music in human history. Liverpool-born producer E.m.m.a. might not yet be in the history-changing category, but she's certainly found a simple and distinctive recipe and her explorations of its possibilities are currently extremely fruitful.

Drawing connections between the far margins and the relative mainstream always leaves you in a difficult position, as it invites judgement from different groups with very different criteria. And the duo of Andrew Hung and Benjamin John Power put themselves in that position more than most.

The part-Japanese Brit Maya Jane Coles displays elaborate asymmetric hair, interesting piercings and enormous tattoos in her moody photoshoots, makes sounds that are uniformly smooth and high-gloss, and has a sonic palette that takes in populist trance, chillout and straight-up pop music as well as more nerd-cred underground sounds.

The Meltdown Festival has always been a fascinating proposition, getting a living legend in their field to curate their own personal festival line-up, and present all of their idiosyncratic choices to London in the refined and retro-futuristic surroundings of the Royal Festival Hall.

It was a carnival-like atmosphere and a packed house for the transatlantic trendsetters Major Lazer in Camden. Recent show reports suggested a more maximal and bombastic vibe from Diplo and his current sidekicks Jillionaire and Walshy Fire, but while the addition of these two stalwarts of the Caribbean music scene would suggest that the show was to be a faithful homage to the vibes of a Kingston dancehall or Trinidadian J’ouvert, this was sadly not the case.

Benga is at a crossroads. Like many who arose from the dubstep scene, the 26-year-old is finding the term an albatross that’s hard to throw off. Sure, he was one of the Croydon originators of a sound that now dominates Transatlantic pop, a sound which is the basis for his national radio show and his band, Magnetic Man, but the term has become restrictive, too often tired shorthand for a lack of imagination among his lesser peers. The new album, then, is called Chapter II, although it’s his third, presumably to emphasize that we’re witnessing a rapid and drastic evolution.