I've seen your music described as electro, tech-house, fidget, tech-funk......how would you describe what you play?

I don't set out to play a particular niche, I'm happiest playing good productions, across the board. Whether its a dubstep track from "Martyn", or "Zomby", or a techno track by "Modeselektor", to a house track by "Switch", or "Jesse Rose".

Do you think genres are too restrictive for DJs and producers alike?

Genres helps converting music into money, whether it's choosing what section to but music from in HMV, or writing a review in a magazine.. As an artist it's unhealthy to restrict your production to the narrowest of sub-genres. The best songs are irrelevant of genre..

The most important factor, is to set a standard, and keep on rising.

How do you feel things have changed for you since winning the Diesel award and the release of Lean & Bounce?

It took me to a professional platform for me. It gave me the chance to fully concentrate, and learn the art form of electronic music. Being able to study music full-time is a very rewarding feeling, which i never hope to lose scope of. Diesel gave the impression to the public that it was an overnight thing. I'd been studying production 3/4 years prior, Diesel just accelerated the process of working professionally as a producer.

You've garnered quite a bit of big name support, such as Laurent Garnier. Do you find that having your releases in playlists has been a help in raising your profile?

I haven't noticed it directly from what i do day-to-day.. But great DJs such as Laurent, or Erol giving a seal of approval to your work is satisfying. My biggest inspiration at present is gaining recognition for arists/djs i respect. It gives me to confidence going into the next project i'm working on.

What's been your favourite release to date?

It's always my next release I'm working on, which hasn't reached public ears, but has probably been on my hard drive for 3 months. For example, I made "Hoy" almost 2 years ago..I've developed a lot in 2 years since then.

Do you have a set methodology in mind when approaching your remix projects?

My aim is to make something I could play within my set at that given time, to complement the original record, and also to try to achieve the hardest element and make something that can stand the test of time.

The most important factor is trying to install my personality on the record. A lot of people get confused to why I twist a remix so much, that it isn't recognisable from the original. This is due to the factor I just mentioned, plus I tend to manipulate the original sound sources beyond recognition using certain techniques, and technologies, that makes it unrecognisable to the original. A lot of people find it difficult to distinguish the original from a remix I do, but there is still a lot of elements from the original there, which I recognise.

Can you give us a run down of what a typical day for you consists of?

Recently, there has been no typical day. Today, i'm in LA working on some music for other artist, whilst at the same time wrapping up a remix for Late Of The Pier. But the week prior I was mostly travelling, playing in Ireland, Barcelona and Berlin.

Ideally though my week will be spilt from Monday-Wednesday producing and Thursday-Sunday listening to music, and DJing.

Are there any tunes in your box you're eager to unleash on Chew The Fat?

My new "Late Of The Pier" remix, and some half finished bits and bobs.

What's your favourite activity, food and drink to unwind after a gig?

After a gig i usually end up in a slump in a hotel room, being woke up by room service, being politely asked to leave the hotel around 12:45. The thought of any activity after a gig doesn't usually equate.

And finally...what three people would you have at your fantasy dinner party and why?

I've never been to a dinner party in my life, but in a fantasy context: Stanley Kubrick, George Clinton, and Mary-Kate Olsen.