RS: I was about to ask about film work, the Annie Lennox, how did you get involved with that project?
Alex: After the accident, I was just itching to get back to US because I'd made so many wonderful contacts in Hollywood, just hanging out there and just meeting people. I felt kind of guilty to them because they'd done a lot of work for me and there I was disappearing off the map for six moths. So I thought that I'd better get back there and see what's going on, and there I was kind of wondering around meetings in a Juicy tracksuit with a metal brace.

The mix came through working Los Angeles, getting to know people and exhibiting my material and productions to them. I felt like a young kid again trying to get a break which is a great feeling. I am enjoying a new challenge of trying to get some stuff moving in America.

RS: So, you're now back in the studio and working on your artist album?
Alex: Well I've actually finished it. I've finished the album now and we we're supposed to be mastering this week but something else came up - another remix which I've been asked to do which is pretty major stuff?

RS: What's the remix?
Alex: Unfortunately I can't tell you that one, I'm under lock and key on it, but it's another massive situation. It's my aspiration to be really involved with the United States movie business, I think it's a wonderful situation. It's really hard work and you have to do a lot of spec work, where you can spend a week on a mix and not get paid but that's just the way it goes. Though the satisfaction of remixing a Grammy award-winning song and having that opportunity and that chance to be involved is just breathtaking.

It's dream come true to be involved with the movie business in the States, that's really what I've always wanted to do. I'm leaning a lot more towards that, I mean a lot of my album is very kind of synchable material.

RS: Synchable as in your music fitting the themes and scores of movies?
Alex: Yes, television basically is the new medium for breaking electronic music right now in the States because if a show like CSI is using your music it reaches a lot of people. Same with having your music in movies. I know that some of American radio is actually opening up to the idea of electronic music but it's really tough to get that stuff played out there.

RS: But the TV's an angle to get in there?
Alex: Well absolutely because there's always a fast action scene going on with cops and robbers and all that sort of stuff. In the 1970s, if you watched Starsky and Hutch, they'd have like a whah-whah guitar going waw-waw-whah-whah, you know. Now it's <imitation of breakbeat>, like a fast breakbeat or something like that which is really exciting and fits the scene. Putting Xtravaganza music to motion is just the greatest thrill ever. It might not be as good a business medium but, then again, the record business has kind of collapsed anyway? I suppose it's just a natural progression for me, to move in to music to film. America right now, with the movie industry and commercials, is for me where it's at. It's a very welcoming place, for somebody like me who does what I do.