LHH: Our parents are English, so we were exposed to a lot of New Wave growing up. The Cure, China Crisis, Joy Division, New Order. It was kind of endless. There was always music around. We were always going to the CD store at the mall, we’d always come home with a few CDs, whether it be Beastie Boys, “Hello Nasty”, and they would become fans and want to listen.

BHH: Even our uncles were putting us onto things all the time. Dizzy Rascal, more modern stuff.

CM I suppose then you were consuming lots of british comedy.

LHH: For sure, lots of Monty Python.

CM: My grandparents had the old Fawlty Towers VHS tapes.

BHH: Exactly. Black Books, too. Everyone in our family is quite funny. 

LHH: But like, kind of naughty.

BHH: Everybody’s got a joke. And our friends, too, in New Zealand.

LHH: I think a big part of it is making sure to bring you down if you ever think you’re the shit. There’s a lot of taking the piss out of each other. In that way you learn to make fun of yourself. And then to this day, I like Eric Andre, Nathan Fielder, Tim and Eric. Something a little zanier. So that’s always in my mind somewhere, when it comes to editing.

CM: I get the sense you guys have somewhat different personalities, or at least different tastes in music.

LHH, BHH:  Yeah, definitely.

CM: How do you work that into your collaborative process?

BHH:  We communicate really well, and quite a lot, and that’s important especially in the DJing process. Just how we’re going to approach things.

LHH: And then, by this stage, we really know what each other likes and doesn't like. And so we're in a space now where I can go off and listen to fucking Taylor Swift or something, and know we’re always going to meet in the middle.

CM: Did the decision to meld house and jazz grow out of that?

LHH: With the influences we had growing up, it became a natural thing. They work so well together. The first jazzy thing we did, Midnight in Peckham, really worked for us, so we just organically started making more of that sound. And it was becoming quite popular at the time in South London, around 2014.

CM: You’ve been in South London, and away from New Zealand for some time, but do you still feel in some way that you’re representing New Zealand?

LHH: Yeah, I mean there’s a disconnect because we don't live there anymore, it’s just not practical, but that’s our home.

BHH: It’s always home. And our memories from starting out will always be there. How our sound has developed is just re-referencing experiences from when we first went clubbing and discovered early tech house.

LHH: And it’s funny, now the stuff we play we think oh this sounds just like something we heard then. So it’s all come full circle.

CM:  I know you've worked with New Zealand musicians, which must help keep some semblance of home.

BHH: You think the same, because you come from the same place. And the music that they make is very similar to the music we make, just maybe different rhythms.

CM: You wrote something in the bio for one your bandcamp records that I loved. “It's an honor to rejuvenate these records, to keep the flames alive is very important to us.” Have you always felt that way? Or is that something you learn as you get older?

BHH:  We started thinking that way once we became more educated about the history of the music and the legends of this music.

LHH: I think from our very early introduction into like Chicago and Detroit house music and stuff like that, like, we always were conscious that this was an important thing that needed to be respected.

BHH: We were lucky to have mentors who were older and told us the stories.