I would almost say that in our solo activities there is an overarching line of thought that is Porter Ricks itself. Our solo work delivers the details. So occasionally we have to go back to our corners and study and research these details to be able to bring it back into the Porter Ricks project, and into the dialogue.

There was a period when the utopian scenario was almost true - when we felt that you could do almost anything in a club, as long as it was any good. There was no rigid expectation from the audience as to how it had to be delivered. But this didn't last very long. It was almost palpable, the decline of this in the new millennium.

If you spent your weekends in the clubs, you could see the change in the eyes of the people. They became merciless, in a way, in their desire to be entertained.

I would almost say that in our solo activities there is an overarching line of thought that is Porter Ricks itself. Our solo work delivers the details. So occasionally we have to go back to our corners and study and research these details to be able to bring it back into the Porter Ricks project, and into the dialogue.

Maybe it's good that we are so slow with everything. We were saved from the damages that took place in the last 10 or 15 years in the scene.

We allow the sonic qualities themselves to develop their own momentum. It's a kind of humbling experience to put the sound first instead of the statement.

We are fascinated by the club and the dancefloor; we are also fascinated by very nuanced sonic experiences, and somehow we are convinced that we can bring together these two contradictory forces and create some kind of sonic supernova. This would be the candle that has always been at the center of our project.