Maybe you have heard his sterling remixes of Cut Copy or Andreya Triana; on Beats in Space or a signature set on Boiler Room? He gets around, does Fort Romeau. At present he tells me he is catching up on House of Cards... but we know he isn't and hasn't been idle since the release of 2013 Kingdoms, with such a strong deck to build on; and on the decks too. New album Insides has been growing naturally the past year for its upcoming release on Ghostly International, and is sure to suit their strong hand.

The album comes in softly with New Wave, almost immediately washing away preconceptions based on previous work. The rest of the album follows in degrees this gradually focusing, gradually strung out saga. At first it is hard to fathom what chord it strikes, as if a departure from the progression to this point. I make that my first question, to the reply:

"It has to be inevitable that when you work on something, it develops, it is a journey to find new influences for your craft. I see the remixes, and DJing, finding new records, as satellites in a sense, ways of experimenting around your own sound."

Fort Romeau's remixes though different, have always been diversions in sound. There is a maturing process in play, one you can sense from album start to finish. The remix of 'Beacons' comes to mind, a track with speed, tripping and trailing off. Insides is more distant in time from original mixes Stay / True E.P., or the Live at Robert Johnson release, yet is closer to them musically. Artistically, it is all one exercise, and there is a staple, searching sound underpinning it all:

"[Remixing] I always think to do something that is sensitive to the spirit of the original track... it is reactive, but sometimes that limitation can be a strength, it lets you explore what may not before be appropriate."

Seeing Kingdoms as the predecessor to Insides, Fort Romeau went from smooth and soulful to vocoded vocals, with some work of late speaking the first sentences of this coded language. Beauty in the first album has been translated into binary in the second. It still manages to speak volumes. That said, some may be confused by the transition. As Fort Romeau explained it, "as I have DJ'ed and progressed, my branches have tended toward more early electronics, and new wave, kraut rock, whatever you want to call it... [Insides] has a broader palette." The growth in sound is in no way nonsensical, but it needs making sense of. Naturally the music maintains the "slow listening" quality alluded to in the past; Insides holding a longevity for early morning crowds. Yet it flows with a new '80s inflected current.

"What is that quote, writing about music is like dancing about architecture? There seems to be a human need to break things into parts... I don't see why we need to come up with artificial links between two records that simply speak to one another."

With that point in mind, the exploration prior to and expression though Insides takes single shape. 'Not A Word', made with New Jackson, has the same airy yet serious tone that has been airing out over previous work. It grinds out its groove, like the other album tracks, with an atmosphere that has it speaking out to emotive music from Footprintz, Maceo Plex, Super Flu and others in that orbit. It may be an artificial link based on factors, but they seem to share something organic. In ways Kingdoms and Insides do not make such natural mix mates, but it is more in the mood than the math; the same formula concocted in a more filtered way. Insides seems to come from the club rather than the record store, reflected in its continuous soundscape, void of samples. The result is too fluid for hooks, burning slower but for longer.

This maturing and refining means experimenting, and a more self-conscious cut of tracks. At times this conveys itself in a somewhat introverted way, plugging at small sounds, or slipping away into ambience in Lately. It is certainly niche, but mostly on the level. In the London scene we can see a new niche being cut too. Fort Romeau was unsure of any grandiose view of our complex, not entirely collected capital:

"I know the guys down at Night Slugs, but I don't necessarily see myself tied to a London scene, more physically than in theory... we think about Trilogy Tapes, which is a reaction a lot to German sound; is there a city sound? I suppose London music does have roots in jungle, bass, and dubstep, but today geography matters less and less, it is all reactive."

Reactive to a whole mesh of sounds it may be, but where does London dance stand with Fort Romeau; or Wolf Music, Civil Music for another? This album and its contemporaries will we hope flip the city into more of a switchboard on the electronic circuit, turning from influenced to influential with its current raw-ish, noir-ish style. What is for sure in his own words, is that Fort Romeau has found a label that in having no strict aesthetic, has earned its unique reputation:

"Ghostly as a label, I don't see them as being particular with sound... they exist as this white cube space, like a gallery. It's all electronic music sure, but not in quotation marks, 'house style'. With Workshop for one, an aesthetic can be valid, but when it came to making an album I didn't want to align too closely. There really is no signature sound."

Gold Panda, Recondite, Matthew Dear, and of course Fort Romeau; you have to applaud their sentiment. Chatting to Fort Romeau, what we may need is not "sub-genrification" - his phrase! - or the constant homage to dance heritage. What we need we are getting out of Insides and its contemporaries. Bolder sounds and a new scene, one not synonym to another.

Fort Romeau's new album, Insides, is out on March 31st via Ghostly.