Wilkinson’s fifth studio album Infinity lands via Sleepless Music with 14 tracks, Kaskade, Camo & Krooked, Mefjus, and over 75M streams already banked
Three years in the making, Wilkinson’s fifth studio album Infinity arrived March 27 via his own Sleepless Music imprint, and it lands with the weight of a producer who knows exactly what he is building toward. The 14-track project follows 2022’s Cognition, which topped the OCC Official Dance Chart and became the most commercially successful drum and bass album in over a decade. Infinity does not ask whether Wilkinson can repeat that. It asks how far he can push past it.
From Moonwalker to Eternity, can’t believe I’m 5 albums deep and I feel like I’m only just getting started”
Wilkinson wrote on social media upon announcing the record. That energy runs through every track. Across 14 productions, the West London producer moves between floor-wrecking club cuts and precisely crafted melodic song writing, a balance that has earned him over a billion streams and a career-defining crossover reputation few in the drum and bass world can claim.
A Collaborator Roster Built for Scale
The guest list on Infinity reads like a deliberate statement about where drum and bass sits in the broader electronic music landscape right now. Kaskade, whose earliest releases were in fact D&B before he became a house and trance institution, joins Wilkinson and Paige Cavell on “Shine On,” a track the two finished together in Kaskade’s Santa Monica studio during Wilkinson’s North American tour run. Camo & Krooked and Mefjus, two of the genre’s most technically rigorous production acts, appear on “Lose Control“ featuring ILIRA, a cut Wilkinson had started as far back as 2020 but could never fully resolve until now. The album’s vocal cast is equally deliberate: Mougleta anchors lead single “Eternity“ with a haunting presence, while Emily Makis, Julia Church, ILIRA, iiola, Kelli-Leigh, and NORTH each bring distinct textures to the record’s emotional range. Standout cuts confirm what longtime fans already suspected. “Never B Mine“ with Kioto Bug, which first surfaced in 2023, has the makings of a future D&B classic: subtle, atmospheric, and built around a groove that prioritizes mood over impact. “Drop It“ swings in a different direction entirely, layering acid elements into the architecture in a way that signals Wilkinson’s interest in stepping further outside genre convention. He said as much in a recent interview: “I want to start stepping out of drum and bass in my production and my sets. More liquid sounds, more breaks, also not just D&B.”
Proof of Concept After a Decade of Groundwork
Infinity arrives off the back of what Wilkinson has described as his busiest year yet. Sold-out tours across North America and Australia, a headline slot at Alexandra Palace, and festival bookings at Tomorrowland, Electric Forest, and Boomtown for 2026 frame the album as the centrepiece of a career operating at full capacity. With 75 million streams already banked on the tracks released ahead of the full project, and a limited double-vinyl edition pressed for physical collectors, the commercial infrastructure around Infinity reflects an artist who has learned to treat his releases as events rather than drops. The closing track “Balance“ featuring NORTH wraps the album with warmth and restraint, a deliberate exhale after 46 minutes of forward motion. It is a choice that reveals something about where Wilkinson is as an artist: capable of the floor-filling heaters the scene demands, and equally capable of knowing when to let a record breathe. Infinity earns both.
