Chris: I met Neil in my club (Marz) in 1993. We had a mutual friend who knew of our interests in learning the other sided of music and productions. I wanted to make music and Neil wanted to get a dj's perspective. The first day we met in Neil's studio, I played Neil a bunch of records I was really into. This is when I introduced him to Sasha. Neil showed me some basic studio things. We messed around a bit and came up with a really cool track. We were both blown away on how it clicked. From there we decided to try to collaborate. Two years of trials and tribulations; we had a track called "For All the People" I played in a club one night. Icey heard it and told me how much he liked it. It was here we realized we might have something. We released "For All the People" in January 1995.

What was the first waypoint in your career that shed a promising light on the project?

What are some of your biggest influences?

We are influenced by so many things. We have been into this music for some time and have progressed through all the changes in house music. To name a few: Sasha, Digweed, BT, Quivver, Moby, Jam & Spoon, Paul Oakenfold (1989-1991),William Orbit, Fluke, even Nitzer Ebb, Front 242, Skinny Puppy, New Order and Depeche Mode. These are people who are obvious, but we get inspiration from almost everything we hear. Lots of unknown people do really cool things and when you hear them it makes you want to try it in your own special way.

So Chris, what got you into djing, and what would you like to see happen with in the future with it?

Our influences started from the same point. We both used to go to Aahz in the early days in 1989. We went there every week for years, but never knew each other. We were definitely inspired by Kimball Collins from the start- the way he could take the crowd up and down. Musically, he was light years ahead of everyone else. It was like magic every Saturday night. I (Chris) had always been into music, composing compilations for myself for my bike rides to and from the beach to go surfing everyday. Then I found house music, and the way it was all put together. It seemed like something that was really cool and interesting. Neil went through the same cycles, but for productions instead of djing. We both liked the way the music moved us. As far as goals, I love to play music every weekend. Seeing the crowds, wanting to pass on our passion for the music. I dont see myself stopping anytime soon. I am traveling further the last few years. Recently I have been in Central and South America. I will be back in England in February, and then on to Australia, New Zealand and Hong Kong in April and May 1999. We hope to do live shows eventually too.

What is your prediction on the USA Progressive House scene and the likelihood of it becoming accepted as it is in the UK?

Dance music in general is having a good upswing in America. Progessive music is pushing forward hard as well. I have seen the progressive sounds creeping into many mainstream productions. It is hard to say how far it can go in this country. We have a massive population and that means a lot of potential music buyers. I think that progressive is probably of the same level of acceptance in America, but dance mucic as a whole is very large in the UK. The country is small and word and trends travel fast. That gives American artists a disadvantage. We will have to see, and I plan on being there when it all kicks off big time.

So tell me about this album I heard about...is it on your label, Limbo, or is it a P&D (Production and Distribution) deal or what?

The album will be for Limbo in the UK. We can release it in the USA if we want, and may do on CD only, but we plan on leaving any Fade vinyl for Limbo. We are writing a lot of new songs. We want to make it an all new material album. Our new single, "The Love", will probably be the only track that will be released before the album is completed. We want every track to be fresh and there will be alot of song based stuff as well.

Well the Fade name has definitely be on top of the buzz charts lately with the remix of Delerimun's "Silence". How did the remix come about, and what do you foresee becoming of this?

Basically we did a mix of an old Sarah McLachlan track. The label decided the original was too old of a track to release and that Sarah had a new album out and didn't need this old track remixed. Since they liked what we did, they offered a new track that Sarah guest vocaled on. The song is brilliant and it really just came easy. She has an amazing voice. It has been going even better than we expected. We hope it can lead to more collaborations and productions of artists who aren't traditionally dance acts. We would like to give them voices in clubs. We are getting a lot of offers, but are holding off now to do our album though. If something really good comes up, we will probably do it though.

What else do you have in the works (remixes, Complations, 12"s, etc..)

We are working on the album now, and also have a CD compilation called "Sanctuaries" out now that is a collection of some of our best remixes and original tracks. I also have a mixed CD out on Streetbeat called "Atmospherics". We did some remixes this year that are just out now and some that are on their way.

disco...
Kalyx - Coming (Journey) - Original Production
Grimm - Forbidden Playground (Fade remix)
Delerium - Silence (Fade remix) - appearing on Plastic 2
Franco & Grimm - Latex Lover (Fade remix)
Argonauts - Sommertag (Fade remix)
Psiphonic - the unknown/the coil
SLP - Supernova (remixes) - to be released on Fade in 1999

We are also starting a mixed CD series for Balance Promote Group (my other job) - this will include a number of top UK djs in the mix that Balance looks after. The first one is scheduled for Dave Seaman.

Where do you see yourselves in the next 5 years?

In the future, we want to be doing the same things, maybe just larger projects- producing for high profile artists as well as our own creations. We want Fade to be a strong independant label and Balance Promote Group to be the most influential promotions company in the USA.

Ok time for a lil tech.-talk...what is some of your favorate studio gear to use, and if you were limited to only one synth to work with what would it be, and why?

We like the Juno 106. We don't use a lot of the new toys; we would if we had them. The Juno is easy to program and easy to manipulate. We use it in everything. It has been the backbone since we started. As for a sampler, we swear by Akai, Akai 2800 and 3000. Neil can make them stand on their heads. We hope to get an 8080 in the next month. That looks really cool.