Coburn are currently lighting up dance floors around the world with theirunique blend of house, breaks and rocky electro.
Their track 'We Interrupt This Programme' was originally released onGermany's Great Stuff Records, and was one of the biggest tunes in Ibizathis summer.
It has now been snapped up by Data Records in the UK.
Following in the footsteps of Jacques Lu Cont, 'We Interrupt This Programme'has been licensed to a new Citroen TV advert, something that is guaranteedto get Coburn noticed, and gain them a wider audience.
Tim Healey and Pete Martin are the boys behind Coburn - their project namedafter Hollywood legend James Coburn.
You will need Windows Media Player to watch the clip.
Here DJmag catches up with Coburn in their studio to discuss gadgets,polishing turds, and underwater recording studios.
Q: What is your favourite production tool?
Tim: Absynthe, the drink, not the soft synth.
Pete: The Minimoog. It's a slice of 1970's analogue heaven that nosoft-synth could ever replicate.
Q. What was your latest purchase for the studio?
Tim: Ableton Live 5, a great programme for producers and DJs.
Pete: A Roland Jupiter 6 analogue synth.
Q. What's the most important thing to consider when making music?
Pete: What is there to say that hasn't been said before? It's got to soundgood!
Tim: It must have soul?
Q. If we lived in a world where anything was possible, what piece of studiotechnology (real or not) would you like to own?
T: I fantasise about owning an extensive underwater studio, somewheretropical, with glass walls - so that you stare out at the fish all day.
Plus irritating visitors could be fed to the sharks.
P: I'd agree with that, although I'd definitely prefer to be aboveground, in a South-Pacific setting, with Hula girls as assistant engineers.
They would have to be able to make a good cocktail though.
5. Briefly outline the beginning process you go through when producing a newtrack - how does it start?
P: The important thing is to have a strong idea of what you are trying todo and stick with that theme.
It may be a song that was written on a guitar that you are now producing, ora unique idea that you are trying to translate into a track.
If you just start with a blank canvas it's impossible.
T: We chop up a handful of time out in the countryside with guitars.
Then we sample up everything in sight and sprinkle it into a bubblingcauldron of sound that is our studio.
Season with Mini Moog and Jupiter 8, simmer for 2-3 days, and then servewarm.
6. If someone wants to start producing, but can't afford much, what kitwould you suggest they buy?
P: Get the best Mac computer you can afford.
Get logic, and try to work with someone who's got some productionexperience.
The boys relax after a hard day in the Studio
However, some great music is made on crap equipment, and a lot of crap musicis made on expensive stuff.
It's not really about the production, it's about ideas.
T: I wouldn't rush into buying anything right away - you should get someexperience working in a professional studio first.
Cheap kit is generally pants, and spending loads of hard earned cash orcredit on posh kit before you understand it would be a massive waste of timeand money.
7. It's been said you have a huge record collection. What's your favouriterecord of all time?
T: I've got loads of favourite records. My favourite obscure record is'Peter and the Wolf', read by David Bowie, featuring the London PhilharmonicOrchestra, which is green vinyl.
My favourite vintage record is Serge Gainsbourg's - 'L'Histoire de MelodyNelson' (Philips).
The best dance tune for me is Tone Loc's 'Wild Thing', and my Fave albumthis year is the Stars' 'Set Yourself on Fire'.
8. What's the worst record you've ever heard, and how could you make itbetter?
T: Someone once told me, 'you can't polish a turd', so trying to make acrap record sound good is pointless.
If it is crap, with all the skill and love in the world, you won't changeit.
9. Do you have to be a nerd to be able to produce good electronic music?
T: Pharell and the boys asked us to work on their new album this year.
We'd love to, but we just don't have the time.
P: There is something inherently nerdish about producing music - maybebecause it's about flashing buttons and electronic gadgets, which isdefinitely a bloke thing.
But then again, production should only be a way of getting your ideasacross.
10. Who was the last person to criticise your music to your face, and whatwas your response?
P: My friends are really harsh judges and so is our manager.
I have no problem with negative criticism - it's really important.
At the same time, you can't make music by committee, so it's important totake advice and weigh it up with what you really believe.
T: I live in a bubble surrounded by sycophants and if anyone does get within50 yards of me with negative vibes, I just see my therapist - immediately.