The Dust Brothers are late. Twelve hours have elapsed since Andy Weatherall wrapped up Naked Under Leather’s first birthday with his remix of their ‘Song to the Siren’. I’m sat in a greasy spoon stirring my second coffee, pulling at the bags under my eyes.

Ed wanders in with a bag full of new vinyl from Eastern Bloc which explains their lateness. He orders a full breakfast and sits down to discuss the merits of the previous night, proudly flicking through his new records. As Ed’s rack of toast arrives his other half Tom enters with an equally fat wodge of tunes.

 Primarily DJs, purveyors of plastic with big beats, a big bass and the odd siren, and now creators of plastic with big beats, a big bass and the odd siren, the Dust Brothers are here to talk about the aforementioned record which has gained a release on the mighty Boy’s Own. Although the record is an off-the-wall, dark, subversive fucker The Dust Brothers are quite jolly chaps and as they’ve only caught four hours sleep between them they are babbling, bouncing contradictory statements off each other. And not being very serious at all.

 “We’re spiritually brothers. We’ve been living in the same commune for ages. Each other’s property is shared,” starts Tom, proud owner of shoulder blade-length blonde locks. “It’s just a natural love of music,” adds Ed who weighs in with a curly thatch known to have reached afro proportions. “What Tom does with a machine is very clever,” he continues “But his imagination’s lacking...”

 And it seems Simon Bates has had a major influence on the duo.

 “Batesy is areal inspiration,” Tom begins. ‘‘His love of dirty music,” Ed interrupts “The sharing of The Golden Hour where Batesy played the dirtiest music. We used to shout into each other’s rooms: ‘Did you hear that one?!’ Like ‘Going Up theCountry’ by Canned Heat. That’s a very big linking factor. The Golden Hour. That is it what the Dust Brothers are cemented on.”

 Both are keen to talk about ‘Siren’, the lengthy story of its conception unfolds.

 “We were playing all these records that always sounded quite similar, big beats and always had sirens at the start so when we couldn’t buy any more of them, we wanted another one we could put in. Basically the stipulation of any record we play is one with a siren in it,” Tom explains with a grin.

 The title and wailing sample were thieved from avant-garde 80s act This Mortal Coil. The Dust Brothers’ hard edge is due to a pre-house interest in rock?

 “This Mortal Coil aren’t really that rock,” Ed argues

 “They’re pretty rock, when they get rockin’ out,” says Tom.

 “Well, when they rock, they rock.” Ed concedes. “I’m not really into rock. Tom more than me probably.”

 ‘‘Yeah, you were pure soul weren’t you?” goads Tom.

 “No, I wasn’t pure soul. I used to be big on swingbeat”.

 I told you they were contradictory. Getting back to the record...

 “Weatherall was really caning the record at the end of his set. And I saw him up in Manchester and he wanted to put it on Boy’s Own so he could remix it.”

 First and foremost The Dust Brothers are fans. They know a good tune when they hear one and appreciate DJs who don’t follow fads; risk takers who will throw a record short on bpms into the middle of a set.

“Our record really vindicates Justin Robertson, Andy Weatherall and Darren Emerson,” says Ed. “I went to take it round all these record shops. And there’s this particular tosser I’d like to mention called Choci, who listened to the first two seconds and said: ‘It’s too fucking slow. You’re not going to sell any of those mate’. And Boy’s Own are aiming to sell fucking bucketfuls of it. Dean Thatcher I played it to. He goes this is a tune. It’s made me understand how some people have become top DJs and some haven’t. And Dean, Justin, Darren and Andy just played it and it went from there. If it hadn’t been for them it would never have come about.”

 And they both agree the record wouldn’t have happened if they hadn’t been involved in Naked Under Leather, their club night where anything goes, with smoke and strobes.

 “The whole style of the record has got the Naked stamp. Big bass, big drums, siren, mad.”

 “It was two hours of aching dub,” Ed reminisces about the early Nakeds “just to really make it annoying to stand around in that club.”

 “We used to chuck a few happys on at the end. I used to like a few happys,” states Tom. “A few happys at the end are always nice, send you home with a smile on your face.”

 Ed scags a cigarette and Tom dips his toast into my baked beans as we discuss their near-future plans. The next record, it seems, will be one about jackin’, the term that was included in any title worth its salt from Chicago five years ago.“We’re going to use really old house samples. But with a big beat. And Ed will be saying with real authority: ‘I am entrusting you with the power of Jack’.”

 Whether this record will ever get made, or whether Tom and Ed have just completely made it up I don’t know. Though Ed points out how difficult it is to get the funds together to make the records they want.

 “In Europe there seems to be an ability to finance much more leftfield records, all this stuff like Cowboy and Guerilla, it’s a bit safe.

 “But this year’s going to really pick up.” Ed enthuses. “This year’s going to be fucking wicked. People are into quite mad music at the moment. All that British house stuff was getting a bit boring.”

 So The Dust Brothers don’t slot themselves in with their Brit peers?

 “I think ‘Siren’ sounds more New York,” says Tom, before Ed gets the last word.

 “It’s not smooth, it’s out there. It sounds like it’s made by people with slight brain damage.”

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