Truth be told, while theres many different sub-genres of d&b it seems like there's 2 listening groups: the guys/girls who like stuff like Aphex Twin, Square Pusher, Lamb and that sort of artcore stuff and then there's the group who listen to the more purist scene-related jungle/d&b like Dieselboy (yeah and Dara and AK1200), Phantom 45, on the UK side of things Grooverider, Dillinja, Brockie, Raiden, Noisia - I kinda tend more toward the UK myself but most of the stuff I'm really feeling most of the time is either on the Metalheadz, Renegade Hardware, or Innerground (Spirit's label).
Guys like Loxy, Skitty, Ink, Spirit, here and there B Key or Unknown Error will drop something a really like, used to like Tech Itch but he went away from the dark side of jazz and sci-fi heavy and went to that whole Barcode sort of end - him, Evol Intent, Exile, Limewax, and Current Value (lol, another guy who just came back from a long vacation) are good but I just take that stuff in doses because while I do like that kind of d&b to the point the head-banger pseudo death-metalish stuff really doesn't carry with it what pulled me in to the scene in the first place. As for what that was back in 1998 when I first got into jungle, there's a semi-national dj named Dj 3D from Chicago - some of his mixes like So Damn Tuff, Rollers Technique, and Live @ The Next Level were the strait up s--- IMO. That stuff, it was as dark as what Tech Itch and these guys are doing right now is but from a different angle - it felt like the energy was comming more from the darker moodier side of jazz and hip hop, heavy doses of sci-fi at times, similarly illed out sounds but much different trajectory and attitude and the grime was even harder in a lot of the basslines but it was reticent and make-ya-think type stuff but it sounded nothing like music from a bunch of disenfranchised metalheads. Some of my favorite records back then were from guys like Ed Rush, Optical, Dillinja, Trace, Nico, Fierce, Boymerang, Lemon D, Bad Company UK, RAM Trilogy, John B, Dj SS, Ganja Kru, Source Direct, J Majik, Johnny L, Ray Keith, and this is when Roni Size just had jazz elements rather than doing purely jazz d&b yet. Also yeah, back then Aphrodite was the s--- in terms of jump up, I was really feeling a lot of stuff by Prisoners of Technology as well, and there was also a pretty good Philly dj named J Smooth who spun hip-hop jungle: Soul and On the Block Hustlin are both awesome mixes.
As for the newer producers right now, I'd have to tout again: Loxy, Spirit, Ink, Blame is good, Gremlinz are sick, Aspect, Skitty, someone said Equinox and I agree on his stuff, also Tactile is another name to definitely look out for. Unknown Error - has his tracks and moments, Commix and Beta 2 both have some pretty interesting stuff on the deeper and more mellow side, Digital has come back - GG's is a pretty sick track and I hope he can dish out more of that. Dee-Kay and Lee can dish out some good stuff as well, definitely worth keeping an eye on. Also a couple other guys who are kinda on the grimier side but flirt with the elements that I used to really like back in 98' are D-Star and Mason, those 2 put together with Trust do a 3 dj tagteam they call Swarm - I've got a really off-the-hook mix of them from Therapy Sessions in Philadelphia last year with MC Armanni Reign (who reminds me a heck of a lot of TC Izlam - both real good MCs, they and maybe 2 or 3 other MC's I can think of from the UK like Eksman and Skibadee actually *add* something to a mix rather than destroying it). When it comes to the whole Raiden and Offkey angle, I like some of Raiden's mixes but I think on his label the guys who tend to impress me the most are Prode - they 4 Russians who come up with this real lysergic d&b that almost sounds like acid techno to a d&b beat (real good examples - look up Vodkabyte ore El Nino, they sound basic but if you heard that after smoking a bowl holy s---, it grabs at ya). So do I like LTJ Bukem? Took me a second to really get around to it but yeah, definitely like how he takes that smooth and jazzy stuff and runs those sort of flanged out horn or white noise effects shinging over the high-hats, sick combination - though I really cant decide whether I'd rather see him with Conrad or Cleveland Watkiss.
Heh, I almost promised myself that I wouldn't even go as far as to type all that just because, most of the time I just feel like I'm speaking my own language. Oh well, I gave in to my own compulsions and said my peace .