coming soon on Bleep… release date 8th February.

Autechre, Flying Lotus, Omar S, Ellen Allien, Martyn, Joker, Kode 9, Nathan Fake, Derrick May, Lindstrom, Appleblim, Pinch, Surgeon, Geeneus, Roska, Lue Vibert, T++, Ceephax, Joy Orbison, Kelpe, Subeena, Breakage, Billy Nasty, Zinc and more… The line-up is huge and it’s in a Butlins…. what more could you want?

For full details, click HERE.

We are giving away a pair of tickets to the weekend. To win, simply e-mail info@bleep.com and state the name of the new Autechre album currently being pre-ordered on Bleep.

This Saturday sees the official album Launch for Hudson Mohawke’s Butter album in New York’s Santos Party House. Featuring the man himself, and supported by Mike Slott, and Falty DL… this night is going to be a stormer.

To win a pair of tickets, simply e-mail info@bleep.com and state who would be your 3 ideal guests at your ideal party….

Those good guys over at Numbers are teaming up with super-club Fabric to put on one helluva party… in the main room will be none other than the living that it is Todd Edwards alngside Hudson Mohawke, Rustie; with 2562, Headhunter, Joy Orbison and Untold all in the mix too.

To win a pair of tickets to this stellar event, simply e-mail info@bleep.com and state what is your favourite number and why…

You have been known for your diverse style of sounds that you create – what external influences do you think has helped shape your wide sound pallette?

Well, I try to let other music influence me. I can’t always keep up, but when I get into a rut, it usually helps to hear what other people are doing. Sound wise, I’m mostly sample based, so I try to collect sounds that might be unusually interesting and try to make them musical. I guess that helps keep my sound diverse.

A Certain Distance has a much more pop sound… What do you think made you lean this way and was it a conscious decision?

Sure, I guess I just got sick of dealing with the same sorts of structures, so I wanted to experiment a little more with verse/chorus and vocals and see if I could make it work, while still keeping my sound.

How do you go about constructing a song? What musical set-up / equipment do you use?

It’s a combination of hardware and software. I might start with a particular instrument that I haven’t used in a while and just jam until I come up with an idea. I don’t have any set rules on how to construct a song really, but it usually involves building patterns individually and doing variations on those patterns.

As you do both, what do you find easier – scoring a movie or making an album?

Neither, they both come with different sets of challenges. Scoring a movie is basically trying to collaborate with the director, but finding your voice within a set of parameters that works with the movie. Writing an album can be just as hard because you have to come up with something on your own, without any guidelines. Both ways can be inspiring and frustrating at the same time.

You have had many different guises to your music, is there a reason why you have differentiated these personas and their relation to the music of Tadd Mullinix / Dabrye / James Cotton / SK-1? Do you have a different work set-up / structure for these different personas?

I sorted my aliases according to genre for several reasons. In order to try to remove myself from the music I create a persona that will encompass the things I like about a certain style. I also think that it is important to prepare the listener for a certain kind of experience. Context plays a big role in how people take in art. And context is important when making art too. Some techniques are more interesting in a certain musical context. I think that few people would be interested in a music that is a hodge-podge of many styles that I find interesting.

How do you go about constructing a song? What musical set-up / equipment do you use?

Usually, I begin with a very basic idea and I work on it with instruments until I’ve got something that I think is interesting. Sometimes I experiment until I get something that sounds good and then I elaborate on the main ingredient. I use Technic 1200 turntables, a personal computer, a Roland tr-808, tr-909. tb-303, sh-101, mc-202, tr-606, sp-404, tr-505, tr-707, Alpha Juno 2, Boss DR-660, Yamaha CS-15, DX-7, Ensoniq ESQ-1, Realistic/Moog Concertmate, Casio RZ-1, SK-1, and whatever FX I can get my hands on.

Who are your favourite producers and why?

My Favorite producers are Aphex Twin (because he was my stepping stone into the electronic music world and is usually doing something very interesting with sound design, melody and rhythm) and the late J Dilla (because his music is superior on all fronts. He never made an OK beat. They are all sick!).

What projects is coming up and when can we expect to see it?

2AM/FM will be releasing a 12″ on Creme Organization and a few tracks on M>O>S early next year. And perhaps Dabrye will be doing a remix for a certain (really GOOD) well known dirty south group for a certain late night cartoon program (for ADULTS). And James T. Cotton will be releasing another diverse EP on Spectral Sound soon.

Remote Location was established in 2007 as a creative technology & communication studio by Adam Rodgers and Neil Morton. Both are from Glasgow, UK originally and worked together on a few projects, including stuff for Warp and Numbers, before starting Remote Location. They are now based in Spitalfield, in the east of London.

Focusing on fresh design, concept & production, they collaborate with their network of creative and technical specialists when approaching projects and realising ideas.

Recent stuff they’ve produced includes the Hudson Mo Butterstar Galactica game for Warp (collab with Thomas Traum and Mike Tucker), record art for Darkstar on Hyperdub and Neil Landstrumm on Planet Mu (Vice’s worst cover of the month), and an identity & website for blackmaps.

Forthcoming creations include a site and sleeves for their sister company Numbers, sleeve art for the new Fabric comp, new identity & online home for Rubadub, a site design for Samurai FM, working with Craig Armstrong, and of course further developments of Warp.net.

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Art direction + design for the latest Neil Landstrumm LP on Planet μ Records. Head-dress & breakfast vibes. Photography by Sam Robinson

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Butter Star Galactica. Produced in collaboration with Thomas Traum & Mike Tucker for the Hudson Mohawke LP ‘Butter’ on Warp Records.

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Marks for Rubadub Records & blackmaps

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New website for Warp’s Music, Films and Records companies. Created in collaboration with Universal Everything.

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Screen-printed & Lazer-etched graphics for various Rustie EPs on Stuffrecords & Wireblock. Bad Science EP designed in collaboration w/ Konx-Om-Pax.

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Numbers. Identity for Glasgow based events company / record label.

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Graphics for Darkstar’s EP on Hyperdub – inspired by the Monolith from the film 2001: A Space Odyssey.

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Destroy! Arcade style game to promote Flying Lotus and his LP ‘Los Angeles’.

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Some sketches

Having produced one of the best electornic pop albums this year in the shape of the superb “Machine Dreams“, high hope are expected for the forthcoming London date of Little Dragon on December 7th at the Rhythm Factory. With Kotchy, Samplha and Laura J Martin in support, this looks to be killer gig. We have managed to blag a pair of tickets, simply e-mail info@bleep.com and tell us what you would name your pet if it was a little dragon…