SBTRKT is the man of the moment. His well-received debut album is being released on the 27th of June and he has a huge amount of festival gigs this summer. However, he still found the time to talk to us at The 405 about the album and his future plans.

So with the album dropping on the 27th June, what inspired you during the making process?

It’s just like the culmination of listening to a lot off music that’s around and about at the moment, in terms of dance/club culture stuff since the whole dub step period and onwards and then mixing in with all stuff I’ve like from the past from, 2 step underground garage, to drum and bass and hip hop and RnB, and everything else from house and techno, and just sort of striking these influences together in my kind of way, rather than just being a statement of what music is in 2011 I think its more my viewpoint. Its not necessarily a record for a DJ to use in a box for a certain scene, yeah, it’s just my viewpoint.

So was this all made fairly recent or has it been since like 2006, when you first started to make remixes?

Well over the last sort of 2 years really, I’ve kind of been working on it, the same sort of time period as some off the other 12’s and EP’s that I’ve done before and tracks that have come out. A lot of vocal collaborations have been honed and worked on for quite a long period of time, some of the collaboration with Sampha and that would never have happened if we just spent an hour in the studio we just sat around jamming and then focused on the idea and I basically took it, produced something around that and built it up from there. In the process of writing a record like this it’s took me a longer time to appreciate what sound I wanted and creating a mood pallet, you can do things in like 2 weeks but I don’t think it would have that diversity or feel, where every song had reached the limit it could be. The thing I’ve tried to do with this record is to make it so I can listen to it in 5, 10 years time.

When the album does drop, do you get nervous about how the audience will react to it?

Not really I guess. I suppose you want a positive reaction from it and people to appreciate what you’re doing. But I guess it’s that thing of whether people follow your direction and path and, as music is quite selfish, as you create things for yourself and developing for yourself. So it’s whether people follow your path and what your vision of making music is. So I guess that makes you nervous for the future. But for me I just want to follow my path and try and make music which I appreciate and that others will, rather than trying to create something else.

So the summer for you, is just festivals isn’t it?

Yeah well mainly, but we did our launch party on Tuesday which was really exciting. It was just mad, no advertising, last minute, which just became really busy and the turnout was amazing. It was a bit of a sweatbox for people in the crowd but a good reaction from them. Festivals are a bit hit and miss really, with the different vibes and weather I suppose but we’re quite excited with Glastonbury, European gigs then the US over the summer for a week in New York then in Autumn, a UK tour then the European one, then Australia and us to just try to play to people in more places.

So do you approach say the festival gigs, like Glastonbury differently to say playing an academy?

Well yeah, traditionally I’m a DJ so, I very much play to the crowd so I think playing in different environments requires you to play different sets so like if you’re playing to a dubstep audience, you can’t play sort of, minimal music in comparison in your playing in a house venue you have to go up that route. I tend to tailor my sets accordingly. Like at Glastonbury we’re playing at the dance east tent, so I guess it will be quite ravey set so I’ll try to bring in the techno side of what we do.

So I was reading an article on the BBC music page and they used all these adjectives to describe your music genre, how would you describe it?

(Laughs) I can’t remember what they wrote on that. Most of what I do is trying to write quite dark, late night, melancholic songs mixed with a very soulful element. Generally where soul is involved means quite upbeat, gospel type singing but I try and take the soul element and change the direction of it really. That’s where it meets some of the music that’s out now. Crazy, minimal, melancholic, dubstep whatever it’s called now! That for me is where it comes from, I like that sound.

They also described you as the next new Timbaland…

(Laughs) That is a funny one. For me it’s flattering if they see as a producer, with artists and finding the strength in someone and creating a knew thing. But obviously in terms of music schooling I don’t think I’m at all close to where he sits or his kind of beats but I’d love to have such a vast back catalogue as his!

So out there at the minute, who do you admire?

I don’t know you know, the album I’ve been rinsing at the moment has been Friendly Fires album it’s a very different scene of music to everything else. I really appreciate artists, who write songs, and arranging and production values and stuff I think. I’m quite into traditional song writing stuff as well as everything like techno, club orientated hits. Stuff like Hessle Audio to Objekt and people like that. Machinedrum is one of my favourite producers and his new album on Planet Mu is amazing club culture, crazy, euphoric uplifting album. I always find the albums I’m most excited by are probably things I have no clue how to write or to replicate and it take me years of how to learn to make these sounds to make myself even copy them records. The machine drum record is really clever and amazing in its production and the same with Friendly Fires I’ve no idea how they even record them vocals and synth, and everything and make it sound as clean and clear as they do.