With a tastemaker like Marcus Intalex at the helm of Soul:r, does it make it easier to create and release an album this diverse. Could you imagine being able to get away with it on any other label?

Lynx: Soul:r didn't affect our sound, which was perfect for us. We have never strived to fit into any particular niche within DnB. However Soul:r is a great outlet for the raw truth album, and was a real personal triumph being the first artists outside of Mistical to release an album on the label.

Kemo: Soul:r is one of the most respected labels in DnB because of the high standard of quality control and emphasis on pioneering sound. I cannot think of a more suitable label for our LP. I must say that I have a similar level of respect for Metalheadz, whose Commix LP has proven quite boundary breaking, and the D-Bridge/Instramental activity on Non Plus. In addition I am quite eager to hear Alix Perez LP on Shogun in its entirety. What I have heard so far is very deep and varied. Outside of Drum n Bass I could hear our sound on labels like XL and Ninja Tune. Marcus and Lee (from Soul:R) have been extremely supportive during the entire process. They gave us full reign to go in any direction and when it was time to tie the loose knots, they had the experience to help us find the right balance between vocal and non vocal tracks and to fine-tune the LP.

A certain spectrum of producers within the scene seemed to have kick-started a more 'considered' way of constructing and producing drum and bass, with a select few embracing minimalism, and drawing on deep electronic influences, rather than the traditional sampled breakbeat skeleton. What are your feelings on this musical shift?

DnB producers are a like a herd of antelope: one minute all going in one direction. Then the leader turns the other direction and the herd follow with equal conviction.

L: It’s great! For so many years there has been a real formula to writing DnB, especially when it comes to the sound palette used. Now there is a much wider scope of sound elements put into tracks. Also, less samples seem to be used and more synthesis and sound creation is being implemented. However, DnB producers are a little like a herd of antelope: one minute all going in one direction. Then the leader turns the other direction and the herd follow with equal conviction.

K: I embrace it, though I am in no way a niche fetishist. There are so many facets of DnB and many appeal to me. However a certain trend of formulated, quick fix, faster, harder, noisier DnB has left me personally longing for a deeper, more intricate sound. The fact that many producers are now moving away from formulas and quick fixes and beginning to really go in deep and experiment like in the good old days is a great thing and can only lead to more interesting tracks. I actually feel a progression in the scene and to be considered part of that is a great honour.

Do you think this shift will further compound the perceived 'two-tier' situation within the scene, with the small, musically progressive events vs. the large-scale money spinning raves?

K: I hope not. The nights we have played where the styles are mixed and DJs get to play more than one hour are the most enjoyable for everyone. I don't really want to hear the same sound for six hours. Personally I quite enjoy switches between DJs like dubstep and DnB on one floor.

L: In some ways it’s the same as 15 years ago where we have genres rubbing shoulders at events - that has to be positive. Big raves are still packed out so the people want them. It’s a quick fix and a good way to get a little taster of each DJ. I don't shy away from playing them, if I can take my sound to the ravers who may have never heard anything from me apart from disco dodo then I may just get a few into something different.

How do you feel about the current state of DnB and the music industry as a whole, and if you could change anything what would that be?

L: I wish there was more respect for music. People are so spoilt for choice that it feels there is less care and appreciation for the art of songwriting. It’s become an obsession of who can get the latest tunes first... that's from consumers and the DJs. In essence the physical format of music is nearly dead. Now we are in the digital age. Music is freely available. Who benefits? Well the consumers in some ways. But do they really feel attached to the music? The real winners are the websites that host the music. I am not just talking about illegal download sites. There are many forum-based websites that host hundreds of DJ mixes. They don't pay a penny to the musicians that have contributed to the DJs mixes. To top it, off they earn their money through advertisement because lots of people visit their sites to download the music. Shouldn't the artists also have a share in this advertisement revenue?

K: That’s true talk.

People are so spoilt for choice that it feels there is less care and appreciation for the art of songwriting.

Was there a distinct musical blueprint for you two when you first entered into this album making process, a structured effort or a series of collaborative jams?

L: There wasn't really a blueprint but our way of writing is certainly not jammed out like a band would.

K: There was no blueprint at all! After we decided to make this LP, we hit the studio for a couple weeks and came out with seven or eight tracks. None of which were DnB. They were more trip hop/downtempo. Some of them made it on the LP in the end, others will be released at a later point. We then started focusing more on DnB tracks, but still with no clear plan, just going where the music took us. It wasn't until the final stage that we really locked in where we wanted to go with the LP and rounded it off with a couple of essential tracks.

How does a show work live? Is there a desire to do a full live show, as opposed to the traditional DJ/MC formula?

L: Our gigs are more of a showcase than a standard DJ/MC set-up. We definitely get great feedback from our gigs, which is great especially as our music doesn't go for the stadium anthem approach. It would be amazing to do full live shows. In terms of our album, I feel getting featured vocalists to perform with us really captures a live mood and stays true to our production methods.

K: We showcase our sound enhanced by some tracks with a similar dedication to intricacy. Lynx mixes the tracks - crossing genres with special edits of The Prodigy, MIA and Bugz in the Attic. This gives his sets the same love for detail he gives his production. I host a bit, enhance the rhymes of my vocal tracks and freestyle a bit. But I keep myself in the background. It’s all about the music. We are very interested to do more extensive live shows, but unfortunately that is up to the promoters. We recently played at the Arches in London with Tali and Vaceo. Having (MC) DRS with us always enhances our sets. We will be playing the most extensive LP showcase at Ministry of Sound on August 13.

You seem to have struck the balance right with the vocal content on the album. Was it something you were conscious of, as there is the ongoing argument of the validity of some MCs out there and whether they actually enhance the track or not?

K: It was something we were cautious about. Nothing conveys thoughts and feeling as strongly as the human voice, but it needs the right balance - especially in such a dance-orientated music form. Lynx was brave enough to create several full vocal tracks and it worked out quite well I must say. The LP has plenty breathers in between the vocals, and gaps in between the sounds, and the tunes themselves weave in and out of each other on the CD, similar to a perfectly thought our DJ mix.

‘The Raw Truth’ is out now. www.myspace.com/evocators www.therawtruth.info