Not providing enough dynamic range for the mastering process is bad. Also, but not often discussed, providing too much dynamic range and not enough peak control on individual stems, is also not usually good.
A balance is usually best.
This is DnB not a -85 SPL film score. 
But even a -85 SPL (K-20) film score needs dynamics and peak control. You can imagine how much anything else might need – a lot.
Many engineers, myself included, have moved to K-Metering for tracking, buss / stem dynamics and what comes off the 2buss.
Alternatively, you can use Dorrough loudness meters, as its “20” and “14” are very compatible with K-20 and K-14, in terms of RMS weighting and min/max values, peak ranges, Crest and overall ballistics.
Bob Katz, “Loudness War” Grandfather, has even said that he would be delighted to get K-20 stems (that would naturally sum a few db hotter). K-20 is surprisingly “narrow” compared to how untamed tracks can often end up.
It takes a surprising amount of dynamics and peak control to get to K-20, even as wide as it is (and it’s the spec for film, the widest of them all).
For DnB that’s a bit too wide of a dynamic range, in my opinion. I would suggest K-14. James Wiltshire, and his engineering team, also recommends K-14 and has an excellent video discussing this: Logic Pro - K-Metering Mixing Tips & Monitor Calibration - With James Wiltshire - YouTube
Brainworx (Plugin Alliance) – experts in the mastering process – talk a little about this on their BX_Limiter plugin product page.
I also do modern electronic music styles, and lately have been enforcing a strict adherence to a “warm” K-14 stereo mixdown (pre-mastering / pre-pre-mastering) and it’s working wonders on all my new stuff. Night and day, actually.