IN CONVERSATION WITH AUTOW NITE SUPERSTORE

interview by MAGDALENA ROE

Known for his genre-bending sound that merges heavy bass rhythms with soaring pop vocals and gritty raps, Autow Nite Superstore has consistently redefined the limits of electronic music. His latest album, ‘Running Towards the End of the Light’, is a bold step toward reimagining how raw emotions can be told through sound. Each track feels like a new chapter, layering styles, and narratives that challenge conventional genre lines. A relentless pursuit of authenticity, where raw emotion is not only heard but felt. Collaborating with talents like Tama Gucci and working across diverse labels, ANS reflects on a decade of sonic influences—from early techno and ambient to alt-rap, dubstep, and beyond. From Brian Eno and Boards of Canada to the pulse of UK grime and garage, where rough textures meet a kind of industrial romanticism—his instinct-driven approach turns each track into an exploration, balancing the primal power of basslines with moments of unexpected minimalism.

ANS opened up about his creative process, his vision, and how his journey has brought him to his daring new album ‘Running Towards the End of the Light’.

photo by Evan Maragkoudakis

Your sound encompasses a dynamic range of electronic styles—from bass, grime, and techno to garage and high-energy beats. How do you blend these genres and elements to create your own unique sound?

I think trusting your instincts and going into a more honest creative approach, is way more fun than following strict guidelines. And I always rely on the ‘feeling’ as a guide, rather than a genre or how things are expected to sound. Everything has energy and space – grime has this raw, heavy pull; garage is like a quick, stuttering pulse; techno gives you room. And I love maximalism and strong textures as much as a single piano chord. So it’s all about blending the contrasts until you feel something.

How has the UK sound, especially in genres like grime and garage, shaped your own musical identity?

I find purity, depth, and romanticism in more industrialized genres, especially within the UK scene. That spirit of taking rough sounds and making something bigger out of them has definitely seeped into my own process. For me, it’s about making raw emotions danceable.

Reflecting on your early musical influences, what sounds or artists initially inspired you?

It’s funny—looking back, I realize there was a mix of influences who brought something different yet equally essential. Brian Eno and Boards of Canada with that sense of haunting beauty. Moby with the idea that electronic music could feel as emotional as any singer-songwriter stuff, especially with how he’d sample voices that felt like they’d been pulled from another world. Then there were the Streets, Mike Skinner, and alongside my local heroes, Stereo Nova, capturing life in the most beautiful and honest way. And then Massive Attack, Portishead, and from Bristol back to US indie and Interpol’s Turn on the Bright Lights, these records were like stepping into another world entirely, introducing me to emotional late-night drives.

What draws you to the raw, gritty aesthetic and powerful basslines of these genres?

Basslines are primal; they are stripped down to the essentials, which makes them powerful and almost vulnerable. And rumbling subs can hit you in a very physical way, almost like demanding your attention, which is sometimes impressive I think.

What is your ultimate vision for your art and music? What impact do you hope to make through your work?

Ultimately, I want to create music that is as layered as memory—nothing overly fancy or intentional, just something that exists in a way that allows people to feel something, even if it’s not exactly what I felt when making it. 

Where do you see electronic music moving towards? 

I think we’re moving towards a space where electronic music gets even more intimate and personal. Technology is allowing us to bring in sounds from anywhere, real or non-existing places, and make music that reflects very specific experiences. 

Live performance is a key part of your art. How do you prepare for your sets, and what does your current setup look like? 

Live performance is key, and something I always look forward to. I primarily use Ableton, various controllers, and some synths, while intense lighting and design also play a significant role. You can find a lot of contrast in the set, going from super hard techno to some spatial ambient, and back again. It’s quite electric.

Your latest album, ‘Running Towards the End of the Light’, represents over three years of work. What did the creative process teach you over the years, and how did it influence the album’s final direction?

The creative process for this album made me in a way more patient and reminded me of the importance of letting ideas breathe. Over the years, I learned to embrace the uncertainty that comes with creating—sometimes, you just don’t know where a track is going, and that’s totally cool. It reminded me to just let it be what it wants to be. At one point, I felt this urge to make more DJ-friendly, danceable tracks, but honestly, that was the most wall-blocking mindset for me. Don't compromise your vision for anything. So, this album is all about that natural unfoldment and progression, flowing freely between genres and styles, and just letting it do what it wants to do. 

Can you share some of the inspiration that shaped ‘Running Towards the End of the Light’?
The inspiration behind Running Towards the End of the Light came from a mix of personal experiences and the world around me. There are elements from various genres woven into the album, each representing different phases or feelings. It’s like capturing snapshots, blending ambient sounds with heavier drumlines to create a soundscape that feels both personal and universal.

Is there a central theme or message running through the album that listeners should tune into?

I think it somehow represents all the struggle, and non-stop running to find what really enlightens us. I’d rather the listener interpret what the light represents for them. 

One standout track, “Bad Faith,” has a powerful visual component. What were you aiming to communicate with the visuals for this track?
I wrote this track while I was stuck in traffic, with my tiny Nissan Micra’s speakers barely holding together some bass music. I felt this was it; if you can’t escape just slam it. Political references are everywhere and this city seems to work fine favoring big corporations, towering buildings, and high-profile ignoramus, leaving everyone else aside, just waiting to be absorbed; like this is totally on OST of an urban decay. Effie Pappa directed the video for it, bringing the best out of this vision.

Do you see visual storytelling as a medium you’ll continue to explore?

Absolutely! I always try to make as many music videos as I can, but budgets and funding can be a bit of a roadblock. Still, I collaborate with Effie and other directors whenever I can, and I’ll keep putting in the effort to bring an image to the sound for as long as I’m able

Listen to ‘Running Towards the End of the Light’ HERE