DB: This track for Break’s compilation, in five words how would you describe it?
NFM: A salute to bristol bass.
DB: In general, it’s a heavyweight comp. What’s your take on it?
NFM: It’s a fact that all the music released on Symmetry is heavyweight. For us it’s conceptual dance floor music, all the tunes stand up on their own and as a diverse body of music guided together by Break. The tracks all seem to fit together and form some kind of dystopian soundtrack. All the artists on the project also carry their own weight and production values, something Break is very conscious of.
DB: Speaking of the artists, are they all part of the same mindset?
NFM: We keep to ourselves and don’t know many of the artists on the album personally but enjoy their work, Our connection is with Break: we have similar influences and experiences with in the culture and we think this is what our relationship is built around, our love for drum and bass and no filler. Just good strong expressive, emotional music. We send him countless tunes for him to give us feedback on, and he’s always on point.
DB: From your back catalogue, what is a tune that you feel defines your sound?
NFM: I’m not sure if there is one track we could place above the rest. The tunes that stand out on a equal weighting are D.F.T.F. …
… Poison Apple, Lofar, Skip Rope & Valentino. They all had something about them that caught peoples imagination and helped to craft our sound and profile.
DB: Your production is very unique… what are some studio habits of yours? It could be that you turn off all phones, never use certain monitors, that sort of thing.
NFM: When we are together we clock in at 11am till about 7/8pm then the rest of week we do our own thing. We also have our own home studio set ups where we both write ideas or our own projects at strange hours of the day and night.
We should turn our phones and communication devices off but we always try and be contactable for work.
DB: Speaking of work, have you got any road stories? GPS disasters, ghosts, you name it.
NFM: We’ve had numerous GPS problems with different drivers and hectic road works getting us lost all over the UK, but we’ve always made the gig on time. So far that is. Once Joe was coming back from a tour of Australia and his plane was diverted past Japan adding on a extra 9 hours to the journey time to the flight which was not fun.
DB: What do you listen to on the road?
NFM: Just whatever’s new, we also listen to a lot of our own tracks before the gig. Sometimes we listen to old unreleased tunes on the way home.
DB: The studio session question: which recording session in history would you have loved to have been at, and why?
NFM: Joe – Miles Davis ‘Bitches Brew’. The recording sessions took place at Columbia’s 30th Street Studio over the course of three days in August 1969, I can not get sick of that album. I totally get lost in that world.
Emilio – Aphex Twin ‘Selected Ambient Works Part 1′. I’d be interested in discovering what instruments he used, and what his emotional and mental state was like.