For a producer of relatively tender years, Petter has amassed a staggering back-catalogue of releases and remixes. The Swede has been snapped up by Border Community – the label that houses the similarly prodigious James Holden and Nathan Fake – and continues to turn out forward-thinking house and techno at a furious pace. In the midst of his Australian tour, Petter tells ITM’s Jack Tregoning about his meteoric rise to top of the class.

As an artist you fit neatly with the Border Community roster, while still having a distinctive sound. Has it been inspiring to work alongside the likes of James Holden and Nathan Fake?

Yes, definitely. We have been playing our tracks and ideas to each other since we started hanging out. It has had an effect on all our music I think.

It seems there isn’t such a focus at Border Community on producing tracks that can only be marketed to DJs. Are you given an uncommon degree of artistic freedom at the label?

Most of the artists on Border Community are very musical and capable of making music that isn’t just for DJs. I think that is where James wants to take the label in the future as well, to release more album based stuff.

It’s really quite remarkable how prolific your output has been, especially at such a young age. Do you have a rapid work process, do tracks come together quickly?

I used to finish tracks quickly, but these days I pay a lot more attention to the details, making sure I am satisfied with everything. I am not that good at finishing stuff up, though, so there is a lot of unfinished music laying around!

Your releases incorporate a lot of different strains of techno. As a producer when you were first starting out, what music gave you inspiration? Was it mostly from European artists?

When I started making electronic music I was listening to a lot of techno from Sweden. There were loads of small labels putting stuff out at that time. It felt like there was an endless supply of cool music.

Are you still based in Stockholm?

Yes, I am still in Stockholm. I just moved back in with my father, actually, as I lost my flat. Needless to say, I am looking for a new place. I am not sure if it will be in Stockholm or somewhere else in Europe.

Do you think collaborating with other producers would encourage you to think differently about how you make music?

I have never produced music with anyone else, actually. Özgur Can and I tried to [do it] a few years back, but we ended up watching cartoons and eating snacks.

You released your first album back in 2004. How do you feel you’ve refined your sound since then?

Since my first album – if you can call it that – came out my sound has changed a bit I suppose. Technically I know a lot more than I did back in 2002 to 2003 when I did those tracks. I try to stay as playful and experimental as I did [back] then, and not let technology take over. It’s still all about having fun writing music.

It’s a long time to be immersed in dance music and still be so young. Do you ever worry about burning out?

I do get tired of it every once in a while, but I still have a love for it that I can’t really explain.

What does your live show entail in 2008? What kind of equipment are you working with?

I haven’t done any live show’s yet this year. I’d done quite a lot of them in the last two years, and it just became stagnant and boring to play to be honest. Instead I have been DJing, which is a lot more fun at the moment. I am going to try and put together a new live set after the summer though.

Given the rate at which you work on new material, are you already putting plans together for another album?

I am, slowly, working on an album for Border Community. [There’s] no date set for a release at the moment.

Petter concludes his visit to Australia this weekend, with shows in Sydney and Melbourne:

Sat Apr 26 – Livewire, Sydney
Sun Apr 27 – La Di Da, Melbourne