Alex Metric may have made his name chiefly as a remixer, but that doesn’t mean the UK producer’s skill set is limited to one field. Rather, it seems there are few musical frontiers Metric hasn’t conquered – he can sing, DJ, remix and produces both his own work and that of others artists.

Naturally then, Alex Metric’s resume is an impressive one. As well as putting out the well-known remixes for Phoenix, Depeche Mode and La Roux, Metric has released the album Open Your Eyes and most recently, the chart-climbing single End of the World featuring the vocals of Charli XCX.

Ahead of his visit for Future Music Festival, Alex took the time out of what must be a loaded production schedule to talk to inthemix about the US dance scene, advances in technology and why dubstep isn’t “his cup of tea”.

Hi Alex. So how was the European summer for you?
It was very, very busy. I had a lot of fun, it was quite a few trips to Ibiza and I think I did about 12 festivals, so it was full on. But I do love playing at festivals and playing records outdoors is so much fun, so yeah, it was good.

You have a heap of remixes to your name, are you pulling back on the remixing a bit now so you can focus on your own material?
Yeah, you know, it’s totally like accidental that I ended up doing so many remixes. It’s just that every time I say “right, I’m not going to do any remixes”, someone comes along who, you know, I would really love to do something with their songs. It’s not like I’ve decided to be a remixer, it’s just happened totally by accident and I’ve just been lucky enough that all these great opportunities have come along.

So I said I wasn’t going to do any more remixes this year a couple of months ago, but I’ve just finished one for Mike Snow and I’m just doing one for Snow Patrol now. So hopefully it slows down now– you know what, not even hopefully because if something amazing comes along, I’ll definitely do another remix. I’d just like to try and rein it in a little bit for next year so I can crack on with some new stuff.

So the US dance scene is obviously booming at the moment, what’s been your experience of it?
Yeah, it’s been mad actually. I’ve played over there a couple of months ago, the first time I’ve been in a couple of years and it is insane seeing the change in the scene over there. They’ve definitely got their own take on it. There’s places where you can do whatever you want, but then in some of the clubs it seems like there’s a divide between like heavy electro/electro-house, which also incorporates dubstep.

So there’s this heavy end of it and then there’s the mainroom, Swedish House Mafia type house sound of it, and there isn’t a massive in-between in the bigger places – it’s either one or the other. So it’s interesting to see how they’ve kind of taken certain sounds and run with it out there.

It also seems like the UK scene is really heavily influenced by dubstep at the moment, what do you think about dubstep’s prominence and move to the mainstream lately?
You know, it’s not something I play or have ever played. It’s not my uh, how do I put it without being too dramatic…it’s not my cup of tea, dubstep. So you know, I’ve never been in love with the sound in general, so it’s interesting to see how it’s grown and from an outsider’s perspective. I hope it doesn’t grow too quickly, hit commercial suicide and end too soon. I hope it can sort of level out and have some longevity to it.

But I guess my idea of dubstep in the UK is quite different to what dubstep’s become now, you know. Dubstep for me, I always used to think of Burial and the more left-field interesting side of it, and this other sort of thing that’s come from it is completely different, only the BPM is the same, really.