Growing up in West London, Seb's initial musical development was stimulated by ska, but soon dropped out of sixth form college to pursue a career as a DJ. His first `proper' gig was at Crazy Larry's on the Kings Road, getting paid £30 a night to spin tunes for a typical Eighties `sloanie' crew.

By 1989, Seb landed a residency at The Fridge, Brixton, where he played mainly hip hop and rare groove, swiftly followed a year later by a residency at The Wag, playing ragga, rare groove and acid. Next came a residency at Subterania, alongside Norman Jay and Jeremy Healy. In 1993, Seb gained his first house residency at Glitterati at The Cross.

Malibu Stacey was the next stop for Seb - a night he put together and promoted at the Hanover Grand with friend Craig Richards. As Malibu got more established, Seb got increasingly restless, and took to the road in a big way, focusing more and more outside of London, becoming one of the UK's hardest working `motorway jocks'. At the same time, music becomes harder and deeper.

In 1998, Seb was offerred a fortnightly residency at Cream, which soon became a weekly gig. In 1999, Seb took Ibiza by storm, with Cream at Amnesia.

Seb Fontaine clinched the deal with Radio 1 in February 2000, initially to deputise for dance shows exclusively on Radio 1, gaining him the nickname `super-sub'. He also joins Radio 1 in its mammoth summer of live music at the major dance festivals, and at the station's own Radio 1 Dance Parties. Seb had a monthly New York gig in 2002 with Subliminal Sessions, while he has returned to The Cross in London to launch his own monthly night Type. 'It holds all the ethics that I hold important about dance music at the moment,' he enthuses. 'It's a club that holds 1000 people. And it's all split up. Low ceiling, great sound.' Guests have included Norman Cook, Jon Carter, Erick Morillo, X-Press 2, Timo Maas, Slam, Circulation, the key figures in what Fontaine calls 'A new sound coming through, like electro and house married, really dark sounding but very exciting too.

A similar mindset governs his radio show, for which Seb understands how fortunate he is to be with the BBC. 'You're essentially federal employees, and basically you're given a white paper that says Play Good Music. We have no commercials, we have no sponsors, we're not dictated to. You're not told where you should be putting anything other than the fact you're chosen for your ability and told to do what you do. Being with the BBC is a fantastic opportunity to put forward where you think music should be going.' While involved in the occasion club cut as either Cequenza (for the 'bigger sounding tracks') or Sizzlak (for the 'funky house music'), Seb has shied away from remixing opportunities, both to avoid becoming jaded by overexposure and because he's a family man.