{{boc|"Marcus: It is far from a bad thing, I think, if it serves to convey the idea that you can make dirty and irregular use of electronics, or to create music that is not simply meant to make you dance. We get a lot of music from new artists and we love to hear everything, some of these things are nothing short of great. but it is also true that by now we are starting to choose this direction, perhaps more concerned with obtaining a harmless imitation of fashionable sounds, than with favoring melodies. Indeed, i would say that most of these productions are really lacking in terms of melody, which for us remains the most important element to search for."}}

{{boc|"Mike: In the last couple of years we have mostly been passionate about melodic and super-smart hip-hop from Clouddead and Anticon bands. Dose one is a friend and we often talk about making a record together. We also listened to a lot of material from labels such as western vinyl and temporary Residence Limited, specialized in groups with a minimal and poetic guitar sound, I think of Sonna, Tarentel, Bonny Billy. And then there is an absolutely incredible group, called Aspera, and they look like a psychedelic rock band from the 60s transported to the 80s. Aside from that, we've dusted off older records, like those by Joni Mitchell and Scott Walter. As long as it was always minimal, psychedelic music, with some dreamy guitars."}}

{{boc|"Mike: I think, as adults, we feel that we have lost forever that typically childish stupor, which we try to find even if only temporarily in our music. Childhood is a transitory and ephemeral space in everyone's life: even your brothers or sisters you will know them for much longer as adults than as children; therefore it is as if those children you knew have been lost somewhere and replaced with adult beings. We try to create music that even briefly manages to tune in to the place where those children have ended up and we can faintly pick up their sounds, disturbed by interference."}}

{{boc|"Marcus: Usually it's the melody that comes first, and then we add a rhythmic structure to that, even if sometimes the process has been reversed. In any case, the next step is to 'imagine' the details of the song and then hide and mix them in the music."}}

{{boc|"Marcus: If you are in the position where your records end up in the hands of thousands of people who will listen repeatedly, at some point it makes you think 'What could we do with this song? We could experiment with this one...'. So, we tried to add elements that were other than the music. Sometimes we include voices to see if they triggered associations of ideas, and other times we also designed the structure of the some pieces according to rules that were not consciously recognizable. On Geogaddi, for example The Devil Is In The Details has a riff that re-proposes an equation in music. It may not mean much to anyone, but I find it interesting just to try."}}

{{boc|"Mike: No, we happen to do this from time to time. The Fibonacci series, used by other artists in painting or architecture, is just one of the equations we used to write melodies, also because it occurs very often in nature, from fern leaves to snail shells. But despite the fact that some melodies are based on mathematical principles and equations, much more often our way of composing is traditional and is inspired by our imagination."}}

{{boc|"Marcus: It was just a funny way of saying something serious about censorship. We like to experiment and see to what extent voices and messages can be camouflaged so that it would be very difficult for any censors to prove their thesis. Freedom of expression is a matter of great concern."}}

{{boc|"Mike: There is the possibility that a couple of songs, perhaps in a different version from the one they appear on the record, become the backbone of a short film. But we are currently working on other visual projects as well. We will see."}}