In the thirty-first installment of our interview series, we are honored to feature Samuel Kerridge from the United Kingdom.

Samuel Kerridge has been carefully turning techno inside-out for over a decade. Taking a distinctly post-punk approach to the genre, he has become an integral part of Regis’ legendary imprint Downwards. Kerridge has helped to define the label’s contemporary sound: broken techno and snarling punk, informed by industrial music and metal.

As a producer, Samuel has released seven EPs and five albums (including a collaboration with Dva Damas’ Taylor Burch) and his latest,  ’Kick To Kill’’, has become something of a statement of intent, blossoming into a new label and event series with a focus that broadens beyond techno tracks into full-blown songwriting. Aside from his solo work, he collaborates with OAKE in what he describes as the “power metal techno” duo UF, and has recently started his own guitar band, Death Disco.

He’s also an accomplished live performer, most recently developing a hybrid live-DJ set that dismantles hundreds of tracks into a sampler to make new music in real time. It’s an inventive process that places him in the lineage of iconic and groundbreaking techno acts, while still carrying the flag for the darkest corners of underground electronic music.

For this chapter of our interview series, we had an in-depth conversation with Samuel about his latest album released last month on Blueprint, plus various aspects of his career, and several other fascinating topics. It turned out to be a very interesting interview. Read below.

Hello Samuel, it’s a pleasure to have you in our interview series. First of all, how are you doing, and where in the world are you taking this interview from?

I’m doing alright, surviving at least! Currently residing in Manchester, where it’s permanently grey, mildly hostile, and generally conducive to making bleak music. I hope that helps.

What other things do you enjoy doing besides your work in electronic music?

Outside of music I try to maintain a healthy lifestyle, keeping my chakras balanced, and failing miserably. Supporting Manchester United with a level of emotional investment that’s probably unhealthy makes sure of that, and indulging a general interest in anarchy….not the theoretical kind, but the small everyday version of mischief, a bit of disruption, and some mild mayhem where appropriate.

But mostly I’m with my family or in the studio, which are the only things that keep everything else from tipping completely out of control.

Do you remember when and how you first discovered electronic music?

That would be through my parents who jumped on the UK Acid house scene in the early 90’s, they’d take us to parties as children so I was exposed to it throughout my life.

What’s the story behind your career as an artist, and how has it evolved over the years?

It started as a necessity rather than a career plan. I was exploring sound as a way of processing ideas I couldn’t articulate otherwise. Over time the work became more focused and restrained. Early on there was a lot of excess and aggression, whereas now I’m leaning more towards tension and space. The trajectory has been about subtraction. Less is more, as they say.

What’s your opinion on the current state of the scene where you live? Is there anything you would change?

The scene is fragmented, which isn’t necessarily a bad thing. There’s a lot of productivity but not always enough risk. I’d like to see more emphasis on intent rather than output, fewer releases, more considered statements. Theres some cool people doing interesting things here in Manchester, collectives and artists. Always has, always will. Its a city of innovators!

Congratulations on your new album Memoir of Disintegration, released this month on James Ruskin’s imprint, Blueprint. What is the concept behind the album, and how is it different from your previous five albums?

This album gave me the opportunity to work within a single approach in a way that hadn’t been possible before. Previous releases were often shaped by competing impulses, with each track pulling toward a different idea. Here I allowed myself the time to slow the process down and examine the internal possibilities of one framework more closely.
By separating my work into distinct projects, I’ve been able to remove the pressure to scream everything all at once. That shift has made the process more deliberate and the music more focused. 

How did your relationship with Blueprint begin, and what’s the story behind this particular release?

I’ve known James for a while and he invited me to release an EP on Blueprint in 2014 titled ‘Deficit Of Wonder’. I sent him the new album in the summer of 2025 and the rest is history. All very natural, no nonsense, he loved it and released it. Its a beautiful thing. 

Could you tell us about the production process and the inspiration behind Memoir of Disintegration?

Like all my music I wanted to create something authentic, to myself but also the influences that have shaped my career in electronic music. Theres a nod to the UK in there, that just bleeds out. The beats were recorded with a processing tool which isn’t quite accurate in timing….so the album involved some painstaking work time stretching/editing the rhythms you hear so it doesn’t sound a complete mess. I guess most people would sack it off, but theres a beauty in there for me, that piece of kit has character, its a romantic vision.

Can you describe your studio setup? What gear do you currently use, what gear would you like to have, and what are your sessions like? On average, how many hours do you spend per session?

The setup is minimal, a small selection of hardware and software which I know intimately. I’m a big fan of the Dave Smith and Oberheim synths and drum machine. I’m not interested in accumulating too much gear. Sessions can be long, sometimes hours of work can result in nothing usable, but that’s all part of it. I try to record at every opportunity I get.

In your personal opinion, do you consider it important for every DJ to become a producer at some point in their career?

No. DJing and producing are different disciplines. Not everyone needs to produce, and not everyone who produces should DJ. What matters is intent and honesty, not completing a checklist.

Could you name three important moments or events in your career that have positioned you where you are today as an artist?

Releasing my first full-length record. Learning to say no to labels, gigs, and expectations. Also understanding that longevity comes from clarity, not visibility. 

Thank you for your time. To close the interview, what advice would you give to up-and-coming producers hoping to get their tracks heard and released on major labels like Blueprint?

Focus on developing a voice rather than chasing platforms. Be patient and critical of your own work. If the music is necessary it will find its context eventually.

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