Hello guys, how are things?
Things are great thanks, just had the feedback sheet through for This Is It and it seems to be a who’s who of the great and the good supporting the release so we’re happy.
You’re collaborating with seminal UK producer Skream, how did you react to the news that this would be happening?
I think we probably reacted the same way we react to most things, with a healthy dose of cynicism and piss-taking. Skream is a don no doubt, but there’s no place for ego in collaborations, he’s just Olly from one town over to us. That’s what the This Is It artwork represents. We’re all just south London lads making beats to make people shake a leg.
And did you have any nerves or doubts, or did you just jump straight in?
This ain’t our first rodeo and the studio-nerves died a long time ago. We work a lot with vocals and so we hatched a plan on a flight to a gig in Germany to interview Olly and use that vocal as the basis with which to build a tune. We sprung it on him on the day and he went for it. We had about 20 mins worth of interview there and cut it together, so you get a feeling of who he is on the tune. When he delivered the payoff This Is It line me and Morgan looked at each other like “that’s the one!”.
You have already released on his Of Unsound Mind imprint, as well as Dense & Pika’s Kneaded Pains amongst others, will you be adding anymore labels to the list throughout 2019?
We’re excited to be making our debut on We Are The Brave, a label we’ve respected for some time. We want to follow that up with some killers so have been crafting and testing a batch of our own tunes, ready to follow that up. We’ve also collaborated with Balthazar & Jackrock on something which Enrico Sangiuliano and Monika Kruse are hammering too, so that’s nice. The ink’s not dry on the contracts for anything yet though, so we can’t say where they’re going!
We read online that you both started out making Drum&Bass, what kind of influence have you noticed this has had on your sound inside the techno bubble?
We learnt our craft releasing on some of Drum&Bass’ biggest and best labels and those techniques are the foundation of all our tunes. There’s a golden era of DNB that people talk about that we always try to draw from. The shades of light and dark that Dillinja employed, the fizzy, grimy imperfections of Ed Rush & Optical or Bad Company. These are the sounds we grew up with that have shaped our sound over anything.
We’ve really liked your remixes for the likes of Eli Brown and Embassy, do you approach a remix much differently to a fresh project? If so, how?
We rarely (if ever) listen to the original other than once before agreeing to the remix. That leaves you free of influence and often spawns more original ideas. We start by taking the stems pack and mangling everything to make a pallet to draw from. Then it’s just a case of joining the dots. Simple, right?
Thanks a lot for taking some time out to chat, it’s been a pleasure! Before we go, tell us one track you absolutely love that was released before the year 2000?
The Prodigy – ‘Break & Enter’
With Keith’s untimely passing we’ve revisited a lot of vintage The Prodigy recently and this one always kills it. This is a masterclass in arrangement and clearly defined riffs all sewn together by what is essentially a reggae bass riff. Ridiculous production for something made in 94!
Melody Enemy and Skream’s This Is It EP will drop March 29th on We Are The Brave.