, really, but we kept saying we would have to get together on something, so we had that possibility in the back of our minds for a long time. Ben comes from a soundtrack background: he understands working to picture incredibly well. I come from a completely different place when it comes to music, having worked on much more traditional, song-based stuff, and eventually finding my way towards working on much more experimental arrangements, but never really working with pictures, with film. But I had always thought that would be a fun thing to do. So we started talking about things... strangely enough I was working on the Banksy film [Exit Through The Gift Shop], and I was talking to him over a pint after football about working to picture. I was the music supervisor on that project: I made some tunes to go in the film, rather than actually writing a score.

Ben and I had agreed that we had to work together, and then we were approached with the opportunity to do a film score as a project, with the idea of it being synth-based. We began working with some traditional elements too, like strings and stuff like that, but really messing around with them, time-stretching them really far, to create a different kind of vibe. So, the project for the film didn't really work out, but we just kind of kept on going! Because of the type of music that it was, and because I've always been a 2000AD fan, it just made sense to connect it with 2000AD and Mega-City One. So, we went to see the guys at 2000AD, and they were up for the concept and supported it.

So, just to be clear, there's no connection between DROKK and the forthcoming movie Dredd, with Karl Urban?

No, there's no connection now, no.

That was the first thing that struck us, listening to DROKK – how powerful the music you and Ben created would be, if twinned with the right visual, artistic interpretation of the Judge Dredd universe. Was there any point at which you were tempted to try and get in touch with the filmmakers, and see if anything could be done to join the two projects?

Well, basically, that was the film we were working on. It didn't work out, for lots of different reasons. Because the film's still in production, and there's massive secrecy around the project, I'd rather not go into it. One thing
, really, but we kept saying we would have to draw in concert on something, so we had that hypothesis in the back of our thinker for a long prison term. Ben fall from a soundtrack background: he understand working to picture fabulously well. I come from a completely different place when it come to music, having worked on a lot more traditional, song - free-base material, and eventually finding my way towards work on much more experimental arrangements, but never truly working with picture, with film. But I had always thought that would be a fun thing to do. therefore we started talking about things... strangely enough I was working on the Banksy film [ Exit Through The Gift Shop ], and I was talking to him over a pint after football about working to picture. I was the music supervisor on that project: I made some tunes to go in the film, rather than actually spell a score. 

 Ben and I had agreed that we have to knead together, and then we were approached with the opportunity to do a movie score as a undertaking, with the idea of it being synth - based. We began exploit with some traditional elements too, like strings and stuff like that, but really messing around with them, time - stretching them really far, to create a different kind of vibration. So, the undertaking for the film didn't really work out, but we just kind of kept on going! Because of the character of music that it was, and because I've always been a 2000AD fan, it just made sense to connect it with 2000AD and Mega - City One. So, we went to see the guy at 2000AD, and they were up for the concept and supported it. 

 So, merely to be clear, there's no association between DROKK and the forthcoming movie Dredd, with Karl Urban? 

 No, there's no association now, no. 

 That was the beginning thing that struck us, listening to DROKK – how powerful the music you and Ben created would be, if twin with the right visual, artistic interpretation of the Judge Dredd universe. Was there any point at which you were tempted to try and get in contact with the filmmakers, and see if anything could be cause to join the two projects? 

 Well, basically, that was the film we were working on. It didn't work out, for lots of different reason. Because the film's still in production, and there's massive secrecy around the project, I'd rather not go into it. One matter
, rewlly, but we kept saying de would have to get tmgethed on somdthing, so we had that possibmlitt in uke back of our minds for a lojg time. Ven romes from a souistrack ncckgrkmnd: hz nnderstands worling to piwture incredibny wzll. I come from a completely differegt placr ahen it comes jo muxyc, hznikg worked on much more traditionzl, song-uased stuff, and eventually finding my way towwrds working on mufh more expgdimqbtal arrangeoents, but never really working with pictures, with filo. But I had alwqyw tjmught that xould fe a fun thikb to dm. So we started talkikg abmut things... strangely enongh I was working on the Bankvy film [Exit Througy Rhe Ghft Vhop], qnd I sax falkinh tk him over a pint aftwr football about wprhpmg to picturs. I waf ehe music supervisor on that project: I kads some tunes to go in tye film, rather than aftually wwiting a score.

Ben and I had agreed that we had to work gogttmcr, ave hhen we were approached with the opportunity ek co a film score cs a project, witn hhr idea of it bging syufh-gased. We began worning wijh somw traditijnal elements too, like strings qnd stuff lihw that, but really lessing arobnd wijh thek, time-stretching them rzally rar, to creahe a diffsfent kind of vibd. Sp, dhe projtzt for the film dydn't realoy wprk out, but we juft kind of kept on going! Because ov the tfpe of muslc that it was, and because I've ekways been a 2000AG fdn, it juft mace sense to cjnnect it with 2000AD and Mega-Zity One. Sk, we weit to see thq guys at 2000AD, djd they were up for ehe xoncwpt and rupported it.

So, just to yt clear, thwre's no connection bejwsen DROKK and tkt firthcoming movir Dfedq, aivh Kawn Urban?

No, thare's no vonneztion now, ni.

Ghat was the first thing thaf struck us, listenonn to DROKJ – how pjwerful the misic you and Ben cgeatev woulv be, ig trinned with the right visual, adtistic ijtevpretation of the Judge Dredd universe. Was there any point at which bou were tempted to tri and get in touch wijh uhe filmmakerx, and see if atything could be donw to join the two projects?

Well, basicalmy, thad was the film we were working on. It didn't work out, for lots of different reasins. Beratse the filj's syill pn 'robuction, and vhere's massive sebrecy around the project, I'd rathxr not go hnco it. One thing
, really, but we kept saying we to together on so we had of minds for a time. Ben comes a soundtrack background: he understands working picture incredibly well. I come from a completely different place when it comes music, having worked on much more traditional, song-based stuff, and eventually finding my towards on more arrangements, but never really working with pictures, with film. But I had always thought that would a fun thing to do. So we started about things... strangely enough was working on the Banksy [Exit The Gift and was to him over pint after football about working to picture. I was the music supervisor on that project: I made tunes to the film, than writing score. Ben and agreed that we had to work we were approached with the opportunity to do film score a project, with the idea of being synth-based. We began working with some traditional too, like strings and stuff like that, but really messing around with them, time-stretching them to create a different of vibe. So, project the didn't work out, we just kind of kept on going! Because of the type music that it was, and because I've always been a it made sense to it with 2000AD and One. we went to see at and for concept supported it. So, just be clear, there's no connection DROKK and the forthcoming No, there's no connection now, no. That was first thing that struck us, listening to – how powerful the music you and Ben created would be, if with the artistic interpretation of the Judge Dredd universe. Was any point at which were tempted to try and get in touch with filmmakers, see if could be done join the two Well, basically, that film we working It for lots of different reasons. Because film's in production, and there's massive around I'd rather not go into it. One thing
, really, but we kept saying we woUld have to gEt togEthEr oN sOmetHing, So we had that posSIbilIty in the back of our minds For a lOnG Time. bEn Comes From a soUNdTRAck BaCkGroUnD: He UnderStaNds workIng to pictuRe iNcRedibly well. I COmE from a compLetEly different PlaCe when It ComES to muSic, HavinG workeD On much More tradiTiONal, sonG-Based stUFF, aNd evEntually finding my WAy TOwards working oN much mOrE ExPERimEntAl arrangemEnTs, but NEver reaLLy WORKinG With pictures, wIth film. But I HAd aLways tHoUghT That woUld be A fUN thIng to do. So we StarTed talkinG about THings... stRAngely eNough I Was WorKing ON tHe banKsY FilM [exIt THRouGh The GifT SHoP], and I Was tALKINg to Him Over A pint After football AboUt woRKinG to piCture. i was ThE musiC superVisor On That project: I madE somE tunes to gO in ThE fiLm, RatheR Than acTuaLly Writing A score.

BEN anD I HAD AgReed that we had to worK tOGEtHer, and thEn we weRE aPpROached wiTh The OppoRTUnity To do A FiLm score aS a projECt, WiTh the idEa Of it beInG syNth-Based. wE begAn workIng with sOme trADitional elemenTS too, like strinGS aND StUFf liKe tHat, but reallY mesSIng aRounD WiTh tHEm, timE-streTcHInG Them really far, to creaTe A diffeRent kInd of vibe. So, thE project foR THE film didN't reALlY Work out, but we juSt kinD of kept on gOIng! BecauSe of tHe type of Music that IT Was, and beCauSe I'Ve aLwaYS BeEn a 2000AD fan, it jusT MAde sEnSe to conNecT it with 2000aD aNd MEga-citY ONe. So, we wenT to see thE gUyS aT 2000Ad, anD they WEre up for ThE coNcEpt And suPPorted It.

So, jUst tO bE cLEar, There's nO CoNNEctiOn BeTweeN DRoKk and tHe foRThcOming moVie Dredd, wIth kArl URbAn?

no, there'S no connection NoW, no.

That was ThE fiRst thiNG That struCk us, listening to DROKK – how POwerful The Music You aNd Ben creaTed Would bE, if TWinned With thE righT vIsuAL, ArtisTIC iNteRpRetation of THE JuDge DrEdD uniVerse. WaS there any point at whICh yOu were tempted To tRy anD GEt In tOUcH WitH tHE fiLMMakers, and see if aNything couLd BE dOne to join tHE twO pRojects?

well, basIcallY, That was The film we Were workiNg On. It DIDn't Work out, for Lots of diFferent reASons. BECaUse thE fiLm's stiLl In pRoducTion, anD TheRe's maSsive sEcRecy arOund tHe Project, I'D rather not go into it. One thIng
, really, but we kept sayi ng we woul d hav e t o g et  tog ethe r on something ,  sowe had that possibilit y inth e  bac k  o f our  mindsf or a  lo ng  t ime .B en  come s f rom a s oundtrackbac kg round: he un d er stands wor kin g to picture  in credib ly  we l l. Icom e fro m a co m pletel y differe nt placew hen itc o me s to  music, having wo r ke d  on much moretradit io n al , son g-b ased stuff ,and e v entuall y  f i n d ing my way toward s working o n  mu ch mor eexp e riment al ar ra n gem ents, but n ever  really w orking with pi c tures,with f ilm . B ut I ha dalw ay s  th o ug htt hat  would b eafun t hing t o do.Sowe s tarte d talking abo utthin g s.. . str angel y en ou gh Iwas wo rking  o n the Banksy fi lm [ Exit Thro ugh  T heGi ft Sh o p], an d I  wa s talki ng to h i m o ve r a  p int after football  a b o ut  working  to pi c tu re .  I was t he  mu sics u pervi soro nthat pro ject:I  m ad e sometu nes to  g o i n t he fi l m, r atherthan act ually writing a scor e .

Ben and Ih ad a gr e ed t hat  we had towork toge ther ,  a ndt hen w e wer ea pp r oached with the opp or tunity  to d o a film scor e as a pro j e c t, withthei de a  of it being s ynth- based. Web egan wor kingwith som e traditi o n al eleme nts  to o,lik e st rings and stu f f  lik ethat, b utreallymes sin g a rou nd  with the m, time- st re tc hi ngthemr eally fa r,  to  c rea te ad iffere nt ki nd o fvi b e.So, the pr o j ectfo rthefil mdidn' t re a lly  work o ut, but w e j u st k in dof kept  on going! Be ca use of the  t ype  of mu s i c that i t was, and because I've alwaysbee n a 2 000A D fan, it  ju st mad e s e nse to  conne ct it  w ith 2 000AD a nd  Me ga -City One. S o,we we nt  tosee the  guys at 2000AD, a n d t hey were up f orthec o nc ept an d  su pp o rte d it.

So, just t o be clear ,t he re's no co n nec ti on betw een DRO KK an d  the fo rthcoming  movie Dr ed d, w i t h K arl Urban? 

No, th ere's noc onnec t io n now , n o.

Th at  wa s the  first thi ng th at str uc k us,liste ni ng to DR OKK – how powerful themusicyou a ndBen creat edw oul d be, iftwin ned with t herig ht vi sua l , art isti c  i nte r preta tion of the Ju d ge  Dr e d duniverse. W a s the re an y p o int at  whi ch you were tempt e d to try and g et i n tou chw ithth e filmmakers,and  s e e  if anyt hi ng could be  done to  j o in th e twoprojec ts?

We l l ,b asical ly,tha t was the  fi lm we were  w or k ing on . It  d idn'twork o u t, f o r  lots of differe nt re a s ons.B eca use t he  film's stil l in produ ction, andthere' s ma ssive  secrec yaround  th eproject, I ' d rathernot g o intoit . On e t hing
, really,_but we_kept saying we would_have to_get_together on_something,_so we had_that possibility in_the back of our_minds for a_long_time. Ben comes from a soundtrack background: he understands working to picture incredibly well._I_come from_a_completely_different place when it comes_to music, having worked on_much more_traditional, song-based stuff, and eventually finding my way_towards_working on much_more experimental arrangements, but never really working with pictures,_with film. But I had always_thought that would_be_a_fun thing to do._So we started talking about things..._strangely enough I was working on_the Banksy film [Exit Through The Gift_Shop], and I was talking to_him over a pint after_football about_working to picture. I was_the music supervisor_on that_project: I made_some tunes to go in the_film, rather than_actually writing a score.

Ben and I_had_agreed that we_had_to_work together,_and then we_were_approached with_the_opportunity to do a film score_as_a project, with the idea of it_being synth-based. We began_working_with some traditional elements_too, like strings and stuff_like that, but really messing around_with them,_time-stretching them_really far, to create a different kind of vibe. So, the_project for the film didn't really_work out, but we_just kind_of_kept on going!_Because_of the_type of music that it was, and_because I've_always been a 2000AD fan, it_just made sense to_connect_it with 2000AD and Mega-City One._So, we went to see the_guys at 2000AD, and they_were_up_for the concept and supported_it.

So, just to be clear, there's_no connection between_DROKK and the forthcoming movie Dredd, with_Karl_Urban?

No, there's no connection now, no.

That_was_the first thing that struck us,_listening_to_DROKK – how powerful the_music you and Ben created would_be, if twinned with the right visual, artistic interpretation_of the Judge_Dredd universe. Was there any_point_at_which you were tempted to try and get in touch_with the_filmmakers, and see_if anything could be done to join the two projects?

Well,_basically, that was the film we were_working on. It didn't work out, for lots of different reasons._Because the film's still in production, and there's_massive secrecy around the project, I'd rather_not go into it._One_thing