It was never Crossman’s intention to become a DJ – he started his career as a promoter/producer of the acclaimed UK club night “Shimmy” was his dream com true. It was only when they found themselves a little short on DJs that he decided to try his hand behind the decks. He definitely chose the right club to initiate a career from – “Lakota” is one of the most influential clubs in Bristol’s history and has been described by many as the Bristol equivalent of Manchester’s “Hacienda”.

It was the quality of his studio work, however, that really set Crossman on the path to becoming one of dance music’s most respected names. “Daft Funk”, “Further” and “You Will Be Under” are just some of General Midi’s well-known releases, all of which have pride of place in many an international DJ’s flight-bag. When you also consider the number of equally successful tracks that Crossman has produced with “Starecase” (his side project with fellow UK producer Al Watson) you quickly get a picture of just how impressive his back catalogue truly is.

Performing as General Midi, Crossman most recently grabbed the attention of the Australian masses with his highly original sets at Two Tribes. The lucky party-goers who managed to catch one of those sets were all suitably impressed, and it would seem that being impressed is a two-way street: Crossman wasn’t long back in the UK before he was planning his next visit to the Land Down Under.

In the midst of packing, producing and performing, Crossman recently took a few moments to answer some questions about his work as General Midi, his future plans and his impressions of Australia.

ITM: We’ll start with some of the obvious questions and then we’ll move into some that are a bit trickier. When (and how) did you first become interested in dance music?

PC: Around the end of the eighties I started to going to free festivals near where I grew up. At one of these there was a Rave tent and it was like walking into an alien space craft- it completely blew my mind and I started looking for the music wherever I could find it. I didn’t really dive in fully until I moved to Bristol in ‘91 and started going to more and more events and before I knew it I got involved in promoting techno and the rest as they say is history!

ITM: How difficult was it for you to first make your mark in the scene?

PC: It wasn’t so much difficult as an incredibly long process I didn’t start putting records out until I hooked up with Al (Watson). Up to that point I’d been resident live act at the club night that I ran with others (Leon Alexander at Hope being one of ‘em!)

ITM: When (and how) did you start to make the transition from DJ to producer?

PC: It was the other way round. I’ve played guitar since I was a kid and studied computing at university in Bristol. I only started DJing because we’d moved the night from a one room to a two room cub and we needed DJs for the second room. Most of the stuff I played live was breaks based and I was also into a lot of the drum & bass I was hearing at the time so it made sense to base the second room around that sort of music (this was in about 95/96)

ITM: Do you have a particular routine when working in the studio?

PC: Yeah, Al & I have been working together for a long time so we’ve developed an instinctive way of working. It helps getting as many sounds together first before starting arrangements and the like

ITM: You’ve done a lot of high quality remix work. Does your approach to remixing differ to that of working on an original track?

PC: Not really, it’s the same process

ITM: As far as remixing is concerned, who approaches who? How is a remix project negotiated?

PC: Generally we get approached. Our management handle all that!

ITM: Most of your releases have been through the Hope record label. It’s seems like you’ve got a good working relationship with the management there. How was that relationship formed?

PC: We’ve all known each other for ages, we were originally signed to Lakota (as Starecase) and when Hope formed it was a natural progression.

ITM: If you had to pick one track or performance as your “crowning achievement thus far” what would it be?

PC: I think that’s a difficult question, ever track has its merits and the best is yet to come!

ITM: What makes a General Midi set stand out from the rest?

PC: I can’t answer that one as I can’t be that objective! Come down & you’ll see.

ITM: This is the second time in under a year that you’ll have made a trip to Australia. What sort of impression has Australia (and the Australian scene) made on you so far?

PC: I really like it here. Last time I came I was able to stay for a few weeks and turn it into a holiday- it was so nice to see more than hotels & clubs! The scene has a well deserved reputation around the world and it’s always a real pleasure coming back

ITM: Australian audiences last saw you at Two Tribes. Do you enjoy DJing for crowds of that size or do you prefer smaller, more intimate venues?

PC: Both have there own merits, I think at a push the more intimate venues have an edge because it’s easier to connect with people (it can be a lot more scary as well!)

ITM: The majority of your work as General Midi would be described as breaks, but when you produce as “Starecase” your work tends to have a slightly houseier/tek feel. Do you feel that many producers (including yourself) often get pigeon-holed into particular genres against their will? If so, why does this occur?

PC: Pigeon-holing seems to occur when people try and describe what you do, and unfortunately people have a habit of lumping lots of things together under one banner, mainly for convenience. Pigeon-holing is inevitable really

ITM: Finally, what do you have planned (releases, tours or leisure) for the rest of the year?

PC: A General Midi album more touring and a holiday (at some point!)

You can catch General Midi in his only Australian performance, presented by Sunny and Escape, on Friday May 21st at Brown Alley in Melbourne. For more info check out ITM Whatson.