You're just collecting all your favourite sounds getting vibes from them and putting them in If they fit they fit If not you

"You're just collecting all your favourite sounds, getting vibes from them and putting them in If they fit, they fit If not, you save them for another day. It's just experimenting and seeing what happens when we press a button It's nothing out of the ordinary, just the simplest things. It's minimal, and it comes from experience, just like driving or learning to eat with chopsticks..."All of them have a vision. "To me, jazz isn't a music, jazz is a progression and we're always progressing, we never use the same sound twice." The layering process by which they assemble their productions is also more intuitive than rationalised "You don't realise that you're doing it," he says. We used to sit and say to each other 'this is crossover music, you've got to like this'."The much-touted jazz potential of jungle (though a forthcoming Jazz Jungle album on Acid Jazz manages to fall between both stools) is, for Roni, a matter of attitude. The beats wouldn't be too aggressive, the bass would be warm and melodic, the sounds would be universal. We just thought, yeah, we've got to use that."Back at Unit 23, Roni describes the lofty aims of the music.

"When we were making Music Box, me and Die used to call it ozone-friendly music, meaning that everyone would like it. It's really weird because everyone else seems to have the right samplers, everyone has Akais or whatever, mad machines that can do everything, whereas ours is ancient - the sampling time is about 14 seconds.""We take anything from anything," Flynn adds, "videos, tapes from friends, old records." Their album includes a wonderful snatch of alto sax, perhaps Charlie Parker, and a dialogue excerpt that derived from mistakenly plugging their sampler leads into the television instead of the video. "We'd got the sample all lined up," Flora explains, "and then when we pressed the button this voice saying 'You can pull this switch' came out from the telly. And then rave came out and suddenly boom! - everyone could get it, there were no lyrics and you could throw in all of these samples. The break-beat thing went into drum and bass while the kick thing went into heavy house and hardcore."They work with primitive equipment in their home, at the kitchen table, sampling as they go "It's very minimal," Flora says, "very low budget.

"Everybody was trying that hip hop thing so hard," Flynn says, "but it couldn't quite make it because it was so American. But when it came to the lyrics I wasn't into none of it, so I moved on to instrumental music, and it was minimal and we were like minimalists. I liked reggae and I used to like the warmth of the bass so I took the breaks from hip hop and the bass from reggae and sped the rave up, so you come up with a different formula, and then it became English."He started to work with reggae sound systems after being thrown out of school and began learning about recording at the Basement Project, a youth club-cum-community music facility that has become an important force in training up Bristol producers.Flynn and Flora started to formulate their own form of jungle after travelling out to free parties as a sound system in the early Nineties. "I just remember making music and then people calling it jungle and then drum and bass. You used to have English rap groups trying to identify with American groups but it wasn't for me I used to like the beats.