Dave Yang & Steve Yin De-Swish T’ Swish
Cobby: “The title came after we were doing the decorating and got paint on one of them swish curtain rails that glides, although the gliding had stopped because it was covered in emulsion. So, we had to ‘de-swish’ the rail by scraping all the paint off.”
McSherry: “And for the ‘Dave Yang & Steve Yin’ thing, you know, we just elaborated on us as two painters and decorators with a little van parked outside with them names on the side. We should have gone down that road.”
Cobby: “So, as we were de-swishing the swish rail, the name just came to us. You know what we’re like with coming up with titles, if it made us laugh. It ended up on the board. And then, when it comes to finishing a tune, you’d just be like, ‘What tune fits with what title?’”
McSherry: “And it just made sense for that track to come first on the album because it’s like a little gentle introduction.”
A Zed And Two L’s
Cobby: “It’s the most listened to Fila tune on Spotify, because it’s featured in the most chill out playlists. It was in Chris Morris’s Jam, too.
“It was mastered at Jah Tubby Sound. We used them for all the early stuff. Keith – what a top boy. It was in Tower Hamlets – proper ghetto. I did a couple of attended cuts there. Then realised it was pointless, and just left Keith to do it.
“I remember making the track on New Year’s day because I’d been out at Room Nightclub. When I got back to the flat/bedroom/studio I didn’t want to go to sleep because of ‘sleep preventing substances’, so got into working on the tune.
“Time just started to flash past, and everything came together. And then I got the idea about leaving the delay time exactly the same, but changing the tempo of the track so that the delay went from a quarter to a triplet, like a Fibonacci sequence or something.”
Leggy
McSherry: “Leggy was a very popular track because it was kinda trip-hop, I suppose. It ticked all the trip-hop boxes. So, it was popular with everybody who had us down as a downtempo group as well.
“Also, back then, we just used a pure sine wave for bass. On the Akai – just a pure sine wave. Which sounds brilliant, as a bassline, you know, on a good rig. But, when you play it on something
