A staple of the Hospital Records stable for the better part of the last decade, UK drum & bass producer, Logistics, lands in Brisbane next week to unleash musical mayhem. Scene caught him before he headed out the door enroute to Heathrow.

You released your fourth album earlier this year; how does 'Fear Not' encapsulate Logistics the artist in 2012?

I feel it displays my tastes and influences at this particular moment in time; as I've progressed as a producer my music taste has broadened and hopefully the new album reflects that.

At the start of the project, did you have a clear idea of what you wanted to create musically?

Yeah, I was quite certain of how I wanted it to sound this time. With previous albums, I'd just go into the studio and bang out a load of ideas and run with the ones I was happiest with. With this album I spent quite a bit of time thinking about how I wanted it to sound before I even went in the studio.

The album is less sample based than your previous albums; did you actively go down this path?

Yes, one of the main reasons for that is that I always felt quite restricted when I was using samples. When you create everything yourself you are totally free to take the track where you want to take it. It definitely felt like more work doing it this way round, but I feel much happier with the results. One of the other reasons for working in this way is that sample clearance was always quite a lot of hassle and I really found it hard having to re-vocal tracks after I'd become used to the original mix of a song.

Your take on drum & bass in 2012... has the genre shifted much over the last few years?

I think it's always shifting, but right now it seems to be in a good place in my opinion. I think that dance music as a whole has gone through a big change over the last few years and I think it's great to see the genre boundaries blurring again — usually that's when the most forward thinking music will come about.  

As a producer, how enjoyable is it to work with all the technology that's now available?

I think it's definitely made things a lot more accessible for people — it's certainly cheaper to get a studio together nowadays! When I was younger I was looking at getting a loan of about £7000 to get a studio together; these days pretty much all I need is a laptop, some software and some monitors and you're away. 

The UK drum & bass scene; is it different from mainland Europe?

The scene here in the UK is second to none in my opinion. I love playing all over the world, but the UK just has this deep-rooted culture in dance music that makes it a really enjoyable place to play. Sometimes it feels as though the UK crowds are the hardest to win over because they're almost over exposed to club nights, but when it does happen there's nowhere else like it.

With modern technology, do you enjoy the interaction you can have with fans and other music lovers these days?

To be honest most of my time is spent in the studio or on the road so I don't make full advantage of it, but it definitely bridges the gap between the artist and their fans which I think is a really good thing. I also think it's great in that artists can now build a huge fanbase without needing a major label behind them, which makes it much more possible for anyone to become successful in music.

Having a brother who's also in the industry... how did that help, assist you at the start of your career?

It was a massive help in the early days. I learnt pretty much everything from him. Back when I started there wasn't the YouTube tutorials on how to mix down a tune or how to EQ a vocal, so that kind of knowledge was usually gained by knowing someone else who made music, and luckily for me my brother was already heavily involved in production. It also made things much easier in terms of networking as well so I definitely owe a lot to him. 

What's been the strangest or weirdest project you've been a part of?

I've just done a remix for Namco for one of the tracks from the Tekken soundtrack, which is something slightly unusual for me to do. As a big fan of Tekken growing up I couldn't resist getting involved. 

A decade into your career... how much has gone to plan and how much has been ride-by-the-seat-of-your-pants type stuff?

I've never been massively calculated with my career. I spend most of my time focussing on making the music I love and hoping that the rest would fall into place. There is obviously some planning involved with things such as touring and when to release new music, but for the most part I'm quite happy to let it evolve naturally. 

Your relationship with Hospital Records; obviously it's played an important role with the development of your career?

Absolutely. When I first signed with them I was relatively unknown as a producer and I guess they believed in my music enough for them to sign me up for an album deal. I think most people are aware of how professional they are as a label and I feel very lucky to have worked with a label that do much more than just release a few records here and there.

Logistics plays The Hi-Fi Thursday July 5. He’ll be joined by Sambora and P-Digsss plus Tali.