Magnetic Man: Biography, Discography and More | EDM Encyclopedia

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Introduction

Magnetic Man is an English electronic music project from London, consisting of dubstep producers and DJs Benga, Skream, and Artwork. The trio first met in the late 1990s at the Big Apple Records store in Croydon, a location that functioned as a central hub for the emerging UK bass music community. The shop served as a meeting point where producers, DJs, and MCs exchanged ideas and records during a formative period for what would become dubstep. Croydon’s role in the genre’s development is well documented, with Big Apple Records standing at the center of that activity.

The project launched in 2009, bringing together three artists who had already established individual profiles within electronic music. Benga was recognized for solo productions that helped shape dubstep’s melodic possibilities, contributing releases that expanded the genre beyond its darker, more minimal origins. Skream built a reputation for bass-heavy productions that ranged from aggressive club tracks to more experimental fare, becoming one of dubstep’s most visible figures. Artwork brought production experience and technical knowledge from years of involvement in London’s club scene, including work that bridged dubstep with techno and house music.

Magnetic Man distinguished itself through an integrated approach to live electronic performance. The group performed using three computers, each handling separate musical components: one playing drum samples, one playing basses, and the third playing leads and other samples. Artwork controlled the master laptop, to which the other two machines were synchronized via MIDI. This technical setup allowed all three members to contribute simultaneously rather than performing in sequence, creating a layered sound in real time.

Their sets combined original collaborative tracks with live remixes of Benga and Skream’s solo material, accompanied by synchronized projected visuals. This format positioned Magnetic Man as a live act rather than a traditional DJ collective, reflecting the trio’s interest in translating fl studio production techniques into a stage environment.

Genre and Style

Magnetic Man operated within the dubstep genre, but their approach expanded beyond conventional bass music formulas. The trio’s combined production experience allowed them to incorporate elements from techno, house, and UK garage into their dubstep foundation. This stylistic range reflected the diverse backgrounds of the three members and their connections to multiple strands of British electronic music.

The dubstep Sound

The group’s sound was characterized by its emphasis on low-end frequencies, syncopated rhythms, and melodic synthesizer lines. Benga’s contribution often centered on melodic hooks and structured arrangements, bringing a compositional sensibility to tracks that could have remained purely functional. Skream contributed bass weight and rhythmic variation, drawing on his experience with both club-oriented dubstep and more experimental productions. Artwork provided textural depth and technical precision, ensuring that the trio’s tracks maintained clarity even at their most dense.

Magnetic Man’s material leaned toward the more accessible end of the dubstep spectrum, featuring vocal collaborations and structured song formats rather than extended club mixes. The inclusion of vocalists added a pop dimension to the group’s sound that differentiated them from many of their contemporaries in the dubstep scene, while the productions retained the genre’s characteristic bass pressure and half-time rhythms.

The live performance format required the group to adapt their production methods for real-time execution. By dividing responsibilities across three synchronized laptops, the trio could adjust individual elements during performances without stopping the music. This flexibility allowed for improvisation within a structured framework, distinguishing their shows from pre-programmed electronic sets. The visual component of their performances added another dimension, with synchronized projected visuals creating a multi-sensory experience designed for larger venues and festival stages.

Key Releases

Magnetic Man’s confirmed discography spans a concentrated period from 2009 to 2011. The trio’s output consists of one EP, one album, and four singles.

  • The Cyberman EP
  • Magnetic Man
  • I Need Air
  • Perfect Stranger
  • Getting Nowhere

Discography Highlights

The project’s first release was The Cyberman EP in 2009. This record introduced the collaborative production approach that the three EDM producers developed together. As the group’s debut commercial offering, the EP established the sonic territory that Magnetic Man would explore across their subsequent releases, demonstrating how Benga, Skream, and Artwork’s individual production styles merged into a unified sound.

The trio’s only album, Magnetic Man, followed in 2010. The self-titled record compiled the group’s productions into a full-length format, featuring vocal collaborations and demonstrating how the three producers’ individual approaches functioned as a single project. The album served as the central release in the group’s catalog, representing the culmination of their shared history at Big Apple Records and years of individual production work.

Four singles accompanied and followed the album. I Need Air and Perfect Stranger, both from 2010, functioned as introductory singles that showcased the group’s melodic approach to dubstep. These tracks highlighted the trio’s ability to blend vocal elements with bass-heavy production, offering accessible entry points into the group’s sound. Getting Nowhere arrived in 2011, extending the group’s run of vocal-driven tracks with a more contemplative tone. Also in 2011, Anthemic (remixes) presented reworked versions of the group’s material, offering alternate perspectives on their productions from other electronic artists and extending the reach of their original compositions.

While the project’s active years are listed as 2009 to present, no additional albums, EPs, or singles have been confirmed since 2011. The group’s catalog remains focused on this concentrated period of output.

Famous Tracks

Magnetic Man built their discography through a carefully paced series of releases that showcased the combined talents of Benga, Skream, and Artwork. Their official introduction arrived with The Cyberman EP (2009). This collection of tracks established the sonic blueprint for the project, setting expectations for their bass-heavy, club-oriented sound.

During 2010, the group released the bulk of their most recognizable material. They kicked off the year by releasing the single I Need Air (2010), a track characterized by its prominent synthesizer melodies and vocal hooks that propelled it onto UK radio playlists. They followed this success with Perfect Stranger later that same year, maintaining their momentum with another track that blended heavy low-end frequencies with accessible song structures. These two singles set the stage for the release of their self-titled debut album, Magnetic Man (2010). The full-length record compiled these initial hits alongside new productions, demonstrating their ability to craft a cohesive long-player that spanned various moods and tempos.

The year, the trio continued to expand their reach. They released the single Getting Nowhere (2011), which showcased a slightly different approach to their production style. The same year also saw the release of Anthemic (remixes) (2011). This package provided alternative versions of their work, offering DJs updated tools to incorporate the group’s music into their sets. By sequencing their releases strategically across these two years, the project successfully transitioned from underground dubstep circles to wider commercial availability.

Live Performances

The trio approached live performances with a distinct technical setup designed to translate studio productions directly to the stage. Rather than relying on standard DJ decks, they performed using three separate computers: one handled drum samples, another played basses, and the third managed leads and other samples. This configuration allowed each producer to control specific elements of the music in real time. Artwork operated the master laptop, to which the other two were synchronized via MIDI. Because Artwork controlled the master clock, he functioned as the technical backbone of the group, keeping the tempo locked in while the others manipulated the audio.

Notable Shows

This synchronized approach allowed for a degree of spontaneity rare in electronic performances at the time. Because each member manipulated specific audio stems, they could alter the trajectory of a track on the fly. Sets usually consisted of a mix of original tracks produced together, and live remixes of Benga and Skream’s solo work. This required intense coordination between the three producers.

To complement this technical arrangement, their shows were accompanied by synchronized projected visuals. This visual element added another layer to the experience, transforming standard club gigs into fully coordinated audio-visual events. By dividing the workload across three synchronized laptops, the producers ensured that every element of their studio productions was represented on stage. The combination of separate sonic elements and a full visual show distinguished the group from standard DJ sets, highlighting their focus on a structured, multi-sensory presentation.

Why They Matter

Magnetic Man is an English electronic music project from London consisting of dubstep producers and DJs Benga, Skream, and Artwork. Their formation represented a significant consolidation of talent within the UK electronic music scene. The trio first met in the late 1990s at the Big Apple Records store in Croydon. This record shop served as a central hub for the early dubstep community, providing a physical space for local producers to exchange ideas, vinyl records, and new sounds.

Impact on dubstep

By officially joining forces years later, these three established dubstep producers brought dubstep from underground London clubs to larger, mainstream audiences. Their collaboration demonstrated that the genre could work within a traditional band structure, even if the instruments were laptops and MIDI controllers. The project showed that electronic musicians could command large festival stages with the same visual and auditory impact as live rock bands, moving beyond the standard DJ booth.

Their impact is rooted in how they bridged the gap between solo electronic production and collaborative live performance. Combining the distinct styles of Benga, Skream, and Artwork into a single, cohesive unit proved that electronic music production could support supergroups just as readily as other genres. Their self-titled debut album and subsequent singles brought the distinct sound of Croydon to an international audience, leaving a measurable mark on the evolution of modern electronic music. They provided a blueprint for how electronic producers could pool their talents to create a larger-than-life stage show.

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