so good to see you Lads how are you how's life right hey we're in New York are you in New York man you're back at work for real for real I'm trying to think the last time we spoke like this you were coming to the end of a cycle I think you were about to do some shows in Australia you a real triumphant sort of
end to a to a to a run and I know that there's been other bits and Bobs you've been doing and you've been moving around but you weren't really in album mode and it feels like you're really in album mode and and I so how does it feel to kind of be back with with this album coming out October 11th it feel good
feels great we were just we were just look at like the pre-order for the record just went live and it's just it's such a funny place to be after spending a year and a half working on this big body work it's like 15 tracks and then what just seeing it like live like is is crazy so cool like the artwork
everything you never get accustomed to that feeling especially when you put so much love and effort into it it sounds like this was a fun one though um that you did this kind of in different parts of the world beautiful idealic spots and you really kind of leaned into the opportunity of of letting the
environment play a little bit of role right because you know you can't go out and record in in Austin in La Bea do some stuff in Miami wherever without kind of absorbing the energy of that so uh good to see you spending some money boys good to see thank for the label uh so you know when when did this
all start how did this sort of and hopefully we'll talk in more detail but I'd love to sort of just get an idea about how this project sort of began and the idea of like hey we don't have to be stuck in one place we can keep it moving again yeah so I think that uh it was sort of out a circumstance that we had
uh had some time to yeah I guess decide where we wanted to live and uh Tyrone wanted to head down to enenas uh uh you know close to San Diego and me and James decided that we'd change things up too and go to Miami and so they also me that we uh would create our own studios in those spaces and do some back and forth but the real magic
started to happen once we were doing these little two we stints uh in those places that you were just talking about Austin LA and theer and uh I guess we really made the most of those two week stins we were in a really good creative flow were uh reconnecting uh and particularly reconnecting in the studio
more than ever I think just making minute account um getting a lot of lot of work done and uh you know Le less uh less distractions and and there all music time you know when you go out on the road and you start playing your music that you've made lovingly and sharing it with people in front of increasingly large crowds and you're
getting the joy of that experience and then you you call time on that does some of that energy carry over into the next project or is it important that you kind of you you sort of start from fresh and you don't have any expectations of what you've achieved before creeping into that you know even just the thought of
how this will play in front of 30,000 people because you've done that now I think that definitely plays in our minds a little a little bit we're very good at putting ourselves in other people's shoes when we're making the music but at the same time we're also very good at entering a little bubble and you know
because it's just the three of us we can create a little ecosystem where we're just having so much fun and the and the studio spaces that we're setting up are like playgrounds with you know our favorite syns and um all of us are just rotating trying different things trying ideas and I would say on this um it's
been really fun and liberating we've been pushing the boundaries of what the expressions of our music looks like you know trying different tempos trying different sort of beat you know beat Expressions things that are beatless and and so I feel like this album that we've created is way more Dynamic and a
reflects that we were more liberated more fun in this studio um you know and it was just us referencing music that we loved and bringing that to the table you know trying different things things were evolving and uh yeah so it was very liberating f for us perfect banded do that too because I feel like you've been
you've been dancing in these in these playgrounds for a while dancing in these spaces for a while now like you know I it's hard for me to categorize what it is that you do I said that at the top of the show I'm like I don't really consider you to be a dance act I feel like you have as much in common with
ambient and with soundscape music to me as you do with Tempo and dynamic Rhythm and you know so the whole thing s of to me it's an emotional experience more than it is a genre fied experience so how do you know when the emotion is right I mean you can get the tempo you can get the sense moving how do you know
when it's like okay it's moving us because I know you wouldn't put it out unless it's moving you for sure that's very true uh I think we've gotten better as time's gone by like the more time we spent in the studio we're quicker at uh catching whether we're connecting with it or not so we'll start ideas and we'll
run down the rabbit hole of that idea for however long it is and as soon as someone Cotton On should we move on to another idea let's do it or we'll continue fleshing it out and that is very much based on whether we feel something you know and I think the magic especially on this record more so than
the others like a lot of the ideas that we found in those initial moments we would flesh out and basically complete the song like get a rough sketch of pretty much you know 90% of the words the lyrics the production and it would be done and fleshed out and there there's a magic in that when you can you
know finish a song at a small moment in time and it's just that EXP and you just Hing in on that feeling whatever that is it's interesting cuz the first time I heard break my love and it's got this thing which is just like to me repetition is such an important part of of a dance floor experience you know
getting the right Loop like that it's not maddening it's not a drill in my brain I could listen to just that for like five minutes right if you get the right tone and the right EQ and then it's just like let's build around that and I'm like please don't let that go and you don't you keep that going
through the entire song and so obviously you felt the same way right this kind of repetitive thing with this stuttering effect has such a powerful sort of emotional resonance you built did you build the song around that to some degree did that come later yeah so the song sort of started with um we were in one of those uh two week uh like
sessions and uh when you go on bed when you when you that creative flow that we're in in the studio it sort of doesn't stop when you go to bed and so one other nights I woke up and I mumbled this melody that I hid in a dream into into my voice recorder voice voice memo came into the studio the next day played
some simple chords in the piano and started singing it to the boys to sort of get that idea out of my head and then from there we quickly like translated that into into we recorded it and then James started with the yeah basically with this this springboard that John androy in was really intriguing it was
the the the chords and and the vocal Melody that became like the breakdown vocal Melody and the precursors and um I got really inspired straight away with like you know what if we brought in there was a beat me and John had work done that was a slow temp it was more lurching and then um yeah I got really excited
with building out something that was more sort of like tripped out lurching psychedelic and basically then um Tyron was uh riing on some vocal Melodies small other books and I just took one of Tyrone's um vocal Melodies and just started looping and chopping it and I had that really weird like psychedelic
stutter and it felt like that you know bled into the rest of the track having that 16th Lurch and falling over itself a bit yeah it is it is it's trip it's tripping it's it's trippy and it's tripping itself up in a really way it's like when you dance to it um it's it's like it's got a dynamic energy to it but
it feels way slower than you think it actually is do you know what I mean it plays tricks on you messes with you might a bit I think another cool element with the track was this um you know it was there's a bit of a weird Funk to it and that was because tyan brought this guitar kind of Riff in and you know yeah
yeah I I loved I think with the initial vocal Melody when we walked into the room and J was like playing the cords and the breakdown vocal I like the way it was syncopated sounded a bit funky to me I'm like oh this feels fresh for us like we we should lean into this and so like the verse The rhythms of the of the
verse vocal and the chorus I just really wanted it to be this little funky thing and the guitar and yeah I don't know I like that it's us stepping into other you know Funk bunk yeah it's a funk yeah no definitely is it is it's it's it's Rufus duunk um the album is called inhale exhale it's coming out of October
11th um time is a funny thing you don't really realize it's going fast Until you realize that life's been lived in between projects it feels like yesterday that I spoke to on the last album I'm glad you're back with a new one really don't take it for granted I love the fact you're back the song is brilliant
Rufus to solo back with the cover of new music daily cor break my love boys it's great to see you enjoy the last remaining days of whatever Freedom you have before you're back out there bringing the joy to us and we'll catch up with when the time is right have a good one take care boysbody [Music] no [Music]