You recently did a track for Rafael's (Rafael Sebag of United Future Organization) compilation. I hear that there is an unusual story about that track.
It was quite funny actually. Rafael called and left a message on our answering machine asking if Richard and I could do, as he put it, "a tune for us." We liked Rafale's voice so much - you know he has this half French/half Japanese accent when he speaks English - that we decided to sample it and build the track around it. The song is called "A Tune For Us." It will be coming out on the new Multidirections compilation in Japan. 

How's the scene in Austria right now?
Austria is interesting because everybody seems to be going in different directions. People are going away from strictly House and Techno clubs to places that create a more eclectic style of music. Personally I get bored of places that play all one style of music like hip-hop or house. People in Austria are definitely getting into our sound, sort of tripped-out jazzy stuff. Although it's unfortunate that we don't have many good clubs right now. Richard and I are spinning at parties in Vienna more than clubs.

What are you working on currently?
We have taken a break from production lately although we just did remixes for Bomb the Bass, United Future Organization and Bone Thugs. For the most part we've been busy spinning records all over Europe and remixing.

I'm sure there is a big demand for K&D remixes these days.
Well there seems to be but you know we refuse most of the offers we get for remixes. There has to be something about the track that can open our minds up to be creative, otherwise we turn it down. Not even the money can open your mind.

So you're now able to work full time on music?
Yes, we are paid well for our DJ gigs and the remixing is good for us as well. Money seems to always come in as we need it.

 I wanted to ask you about the Tosca project and the song "Chocolate Elvis."
Richard did that one with an old school friend as a side project. His friend tapes all kinds of odd voices and sounds with a portable recorder. He was in New York and there was a street musician who was playing and joking that he was the "Chocolate Elvis." Richard's friend taped him and they created Tosca's version of "Chocolate Elvis." We released it very quickly because it's a bit different from our other stuff and we knew that timing would be key. Sometimes with strictly dance-oriented music, you must release right away. Thus we created the side project and did it as a single.

Your work is always so complex, much more than the current crop of trip-hop and future jazz. Why is that?
This is exactly the point that we wanted to make with G-Stone. We only want to make classics (laugh). You know how you always have in your DJ box several records that have been there for years. Those are the types of records we want to make. We spend a great deal of time on each track. The process is sometimes painful but it's the only way we feel confortable doing it.

Well I think you're achieving that goal. We have all of your tracks in our crates.
That's good to hear.