Your debut album, also called ‘Emptyset,’ is out now. In your own words what can people expect from it?

The album was an opportunity to take some time out from making twelve inch records and instead focus on a more substantial interlocking piece of music that felt like an in-depth exploration. The process we used was geared towards a bedrock set of rhythms that gave a foundation for sonic events and generative textures.

In the accompanying album information Bristol is cited as a major influence to your music. It’s written about in an incredibly passionate almost romantic way. How do you consider the turmoil of redevelopment and the city’s history has affected your music?

Bristol over the past ten years has been in a constant battle with counter-urbanisation. The collapse of the city centre and the migration of services to the outskirts created a vacuum. From here central dereliction, abandonment and decay became a stark reality, and Bristol became in essence a city without a heart, a more fragmented type of urbanism. These influences around us were definitely feeding back into the sound we were creating.



Bristol’s affiliation for dubstep is pretty well publicised but how does it fare for the more brazen techno?

Techno music definitely has a presence in the city, something collectives like under_score and cuisine have worked hard to ensure, though it is still more of an underground.



What other producers should we be looking out for pushing the forward thinking deep techno sounds?

Louis Digital the former Warp/Arcola producer will be starting up a new label called City of Quartz next year. His 'Unspecified Enemies' record with CiM was a big inspiration, so we are looking forward to that. 


Tell us about the mix you’ve made for us. There is a diverse range of artists involved from classic house producers to ambient/deep experimentations through dubstep, techno and beyond... what makes you bring all these strands together?

There has been such a diverse range of music that has inspired and interested us that DJing offers a good medium for sewing all these connections together. Mixing is simply an opportunity to think about how sounds come together in a very immediate and raw way, and cross patching genres and influences is often where the most interesting results happen.



What else is coming up for the project?

At present we are taking some time off after completing the album. We are putting together some loose ideas for a new record which will involve spatial recordings so that is in the pipeline.

Any words of wisdom for our readers?

It will all happen in its own time.