musicians. We did recordings with cellists, drummers, some guitar stuff. There's quite a lot guitar on the album, actually, but then you go through it with a fine-toothed comb to pick out those interesting inflections or textures and start constructing them. We get a big archive of things that excite us and start putting things together to see if there's synergy between the sounds or interesting juxtapositions. Track by track, we begin with the material we each have and work on sketches before bringing them to the table and looking at whether we can work them up. It's been a healthy way of working. JA: For example, Tom will put a guitar through some effects, make half an hour's worth of sound and then we go through it and pick out bits. A nice sound can be patched to a drum patterns and what's exciting is you get certain points or textures that match. There's an element of chance in that match, and as soon as we've got it, we'll throttle the hell out of it! It's sounds very intricate... JA: It takes hours [laughs]. It's an amazing process to do with someone else. You've always got someone to discuss it with. The other person kind of limits you. TH: It's really important to have that discourse, because it's really hard to have it with yourself. JA: There's a core of what we're doing that we both know we're trying to reach. There's an absolute specific idea. And you've got