JS: How does it feel to be Australia's most famous remixing collective right now? Before you, the last Australian mixers to receive international notice were Filthy Lucre (ah, Yothu Yindis Treaty. Can it really have been twelve years?), and that seems so long ago. To what do you attribute your reputation on the international dance scene?
I: Um... It's not something we think about, to be honest. The attention is incredible and we really never thought we'd be seen as "internationally renowned. We just keep plugging away at making the music that makes us the happiest and try to push ourselves with every production. I think having three people working on a piece of music, all of us extremely passionate about all kinds of music, pulls our music in a lot of directions which makes it sounds pretty unique. I mean, we don't sit there and say "let's make something unique" just for the sake of it. It's just been the sound that emanates when we push and pull sounds here and there, argue over chord progressions and bounce around the studio.
JS: When recording or mixing in the studio, what is the essential thing (besides equipment) that you always have with you?
I: Bags of nacho cheese Doritos, takeaway coffee from the cafe up our street and a heater in winter as it can get ridiculously cold!
JS: Were you surprised to find that Paul Oakenfold used your mix of Bjork's "Pagan Poetry" (as well as a track of your own) on his Great Wall mixed CD?
I: Yeah, for sure, especially considering the Bjork mix isn't even credited as a remix. It was a bit of a surprise, yes. Like I said before, It's a mix that was done as a bit of fun and thought it would be cool to do a limited white label. I think it went a little out of hand. The Kate Bush one probably more so.
JS: What's the story behind your New Order "Bizarre Love Triangle" mix?
I: A long time ago we were asked to contribute a remix of Bizarre Love Triangle" to a New Order remix album that was being put together. We were given a DAT of all the runs from the master tape, i.e. Bernards vocals, the hi-hats, synth parts, and every element that made up the track on it's own. It was a bit of dream come true. We did this pretty much when we first started and gave them our copy of the mix (on a DAT). It was our only copy and it was in the day of MIDI and Atari STs. We had no backup. If you've seen the DAT of our mix, please return it to us. Needless to say the remix album never surfaced.
JS: Now that your current track "Girls Can Be Cruel" is conquering the world, what can we expect next from you at the Winter Music Conference and for the rest of 2004?
I: Conquering the world? (Laughs) You can expect to see us play somewhere almost every night of the conference and into our beds during the day. You might also see us making fools of ourselves on our last night there on our off night. The rest of the year sees us finishing and releasing our album, which has been going really well so far, and a couple more tours before the year is out. A return to Japan would also be rather nice.