"They had the idea and wanted to find the music to do it with."

Tell me about your new video for 'Into The Cosmos'.

Yeah that's Chopsy Animation [working with Aardman Animation], some of whom played a big role in the 'Fantastic Mr Fox' film with Wes Anderson. That's going really well. They approached Tirk with an idea to make a stop motion video involving records being chopped to bits and making them look like they go through stuff. They had the idea and wanted to find the music to do it with. They found Sav and Sav recommended me and they really like the 'Into the Cosmos' track.

Have you been helping out with the making of it?

Yeah I'm in it. I had to go and film a bit where I'm standing in the middle of a warehouse in Bristol with all these records flying towards me [laughs]. They're on the case, it's amazing. Most of the filming has been done and it's just the post-production [stage] now.

If your house was in fire, which one of your synths would you save?

The Pro-One [switches the Pro-One on and sits down to give us a live demonstration of analog whizzery]. You can do infinite stuff....it's got a sequencer....it's not too complicated, you just get a nice sound, turn around and hit record....sounds drift though- the filter for example isn't very steady and it moves. So when you've got a sound you've got to record it quick.

I bet you quite like that in a way?

Yeah I like keeping it fresh, just getting an idea and it's there and I don't have to work on it anymore [laughs].

How do you do your live show?

It's basically quite simple. Essentially I've got things that are running continuously and Jerome is on a click, a sync on his headphones that he dips in and out of whenever he needs to. There's 4 or 5 continuous tracks that play from start to finish and I have a lot of parts I can bring it and they are dubbed- sent through volume, pan, echo, reverb, phasers, ring modulators, flters- anything to shape the sound. And I have Jerome's drums coming in so I can send them through the same echoes or whatever. It's like a live dub basically, I've put something together that I can dub easily. I don't need to worry about hitting a pad every 4 or 5 hours, I'm not an MPC kind of person person, I'm more of an engineer, so I use what I have to do a live mix with the sound.

After writing up this interview I listened to Architeq's album again and found I had a better appreciation of the nuances of his sound and the influence that dub and engineering has had on his working methods. It was interesting to meet a producer who has approached his music from the angle of an engineer and this attention to detail certainly resonates through his debut.

Check out www.myspace.com/architeq for more info and updates.