Contact Point’s (@contactpointuk) contribution to Make Your Era’s 2026 Spring Mixtape lands at an interesting moment for jump up drum and bass, because the label is clearly trying to frame this compilation as a wider snapshot of where the sound is heading rather than another loose batch of singles.
The project dropped on March 27, 2026, and it brings together eight new tracks from Falentin, Contact Point, Wigman, DEL & GRISEO, Hamses, Magenta, JGA, and SXN JXN, with each artist approaching the format from a slightly different angle. In Contact Point’s case, that means records that still hit with force on a system, but also come from a more personal place in terms of memory, style, and how he builds tracks that feel his recognizably.
That larger rollout matters here, too. “Like That” with Wigman arrived on March 18, and “Beef” with Magenta followed on March 21, giving Contact Point a strong presence across the tape’s release schedule. That says a lot about where he sits in the Make Your Era camp right now. Founded by Vibe Chemistry, the label has made these quarterly compilations part of its identity, and this one is designed around movement, pressure, and direct dancefloor reaction. It is music built to work quickly and clearly in a room, but the better angle is that it also gives newer artists a framework for defining what their own version of that sound actually is.
That is what makes Contact Point’s answers useful.
He talks about streaming, crate-building, and music discovery in a way that feels current, but he is also pretty clear that convenience alone is never enough. The emphasis stays on memory, emotion, and keeping enough of himself inside the work so the track still carries identity after all the playlists, inbox drops, and algorithm-driven noise.
Interview With Contact Point
How do you think about the difference between owning music and accessing it instantly through streaming platforms?
I miss seeing DJs turn up to shows with massive cases of tracks.
Some of the things that made DJs great have been lost in time and swapped for other things, but the amount of music you can connect with now makes the online world king in my opinion. But there was something magical about a DJ having to carry and collect all the records they’d play.
I do love the online era as there are so many talented people that can promote themselves, but there was just a certain magic around how it used to be.
Has streaming changed how you build or maintain your library?
Yes! It’s allowed me access to more songs, which in turn means more potential blends & things to mix, but also more artists & genres to explore!
For personal use having playlists is nice, you can build whatever you want to build for whatever moment, it just makes things easier all round.
When so much music is being released and hitting your inbox each week, how do you preserve music that defines your identity?
By making music from my heart, for the memories.
I have a wide love for music genres & also recognise how tracks supplement memories, this is where I would love for people to be – inside the moment, living it. When I make something I incorporate my styles, memories & emotions to create the track – this is how I keep my identity within tracks
Has ease-of-access influenced how you commit to certain records over time (or fall in love with them)?
I believe so, yes but I could not tell you directly – I’m just a big fan of music so if anything it just makes that gateway huge as the potential music you can listen to is practically limitless. I find that normally I fall in love with tracks that I associate memories with or that evoke certain emotions.
I guess before this it was harder to find tracks, but the connection in the moments was more, but now there are fewer connecting moments & more online listening, so although the music is still emitting the emotions, fewer moments make the memories happen.
What practices help you stay intentionally connected to your music in a streaming-first workflow?
Making sure that there are always elements of me in the music – then just moving with the track rather than having a pre planned idea for the track – I find as long as my elements are there then I can go in any direction. When I’m feeling stagnant I try to use different elements and find more things that feel ‘me’.
Over time I’ve built up a bank of what is ‘me’ and it ever grows because of this & I always feel challenged by my music by effect of constantly searching for more sounds & genres that I feel like are ‘me’.
Will Vance is a professional music producer who has been involved in the industry for the better part of a decade and has been the managing editor at Magnetic Magazine since mid-2022. In that time period, he has published thousands of articles on music production, industry think pieces and educational articles about the music industry. Over the last decade as a professional music producer, Will Vance has also ran multiple successful and highly respected record labels in the industry, including Where The Heart Is Records as well as having launched a new label with a focus on community through Magnetic Magazine. When not running these labels or producing his own music, Vance is likely writing for other top industry sites like Waves or the Hyperbits Masterclass or working on his upcoming book on mindfulness in music production. On the rare chance he's not thinking about music production, he's probably running a game of Dungeons and Dragons with his friends which he has been the dungeon master for for many years.
