DK ‘In the summer of 94 I met Rosco, a young rapper from South London. I wasn’t convinced by U.K hip hop but Rosco had a certain arrogance about his world, so we began working together. The first demos were limited, one drum sound, one Rhodes sound, one bass sound and Rosco doing the best he could under the circumstances’.

DG ‘I arrived back from a year in Australia and caught up with Darius. We had worked together a lot in the past, Genaside 2 etc and had owned a label together. Darius had been working on a few tracks with Rosco, and I loved Rosco’s rapping straight away, it was great to hear someone with their own style and not trying to sound American or cockney. I jumped at the chance of getting involved, so we started on some new material’.

DK ‘The new demos were interesting, we were using analogue sounds and Danny was enhancing the sound with the use of records and samples. However, I wasn’t satisfied with just Rosco, I wanted a singer, then we met up with Roya Arab’.

DG ‘Roya turned up in the studio, I hadn’t met her yet. Darius had given her some of the tracks to live with and she’d written some lyrics. She was very confident, individual and very stoned. She started singing on what was to become Dark Room and blew me away, her voice was beautiful and lyrics perfect. We continued working and the next thing you know we’re looking for a deal’.

DK ‘Six Record companies, Six Publishers, we were excited. Ended up signing a joint Record/Publishing deal with Island Records. Rosco’s ego started to grow, the whole thing started to fuck up’.

DG ‘By the time it came to finishing the album things were bad. We had to stop Roya and Rosco coming to the studio because we couldn’t work together and it would have never got finished. I couldn’t stand the sight of them and the feeling was pretty mutual. We got the album done after a few weeks mixing with Neil at the Strongroom. I know Roya was never happy with the results, I don’t know about Rosco, but I was overjoyed’.

DK ‘With a mixture of Record Company incompetence, band hatred and lack of direction, things weren’t looking good. So one Saturday after appearing on a cable children’s program (never understood why Island wanted us to do this) I called it a day. Album 2, Take My Head’.

DG ‘We began Take My Head in 97, after months of trying out singers we met up with Suzanne who we had known for some time and worked with before. Matt also joined as resident drummer. This album had to be different from the first. The demos were great apart from a couple of tracks I never really liked, but lived with. The album went down hill for me from then on. Independiente, our new label convinced Darius that we should work with producers, I hated this idea, and the producers they got us to work with just cleaned up the album and took all the life from it while earning a fortune. I was fucked off that no one would listen, I knew it was all wrong but couldn’t convince anyone else. The one good thing to come from this, was that we learnt not to do it again’.

DK ‘It's always lovely when someone else describes one of your songs as a ‘hit’, it’s even lovelier when you have the head of a label giving you 22 percent of the deal because of your so called ‘hit’, but they don’t release the hit as it is. They spend £500,000 making it even more of a hit. The problem is it ends up sounding like an unemotional pile of shit. They soon realise this and drop us. They spent half a million quid on completely fuck all.Album 3, You All Look The Same To Me’.

CW ‘Maybe there was something in the coffee that day or the tuna sandwich I had for lunch or perhaps it was the realisation as I read the NME that nothing much was happening that inspired or fired me up anymore’. ‘In the back I found an ad for a singer wanted with influences I could identify with. I decided to answer, for the first time, a vocalist wanted’ ad (what the hell)’. ‘I spoke to a bloke called Darius who exuded good vibes, enthusiasm and belief in his band and their music. I gave him a brief history of my murky musical past. That I was a singer/songwriter in Power Of Dreams from Dublin, Ireland who, in the early 90's released two albums for Polydor and then a couple more for Lemon Records. We were young, we were free, we saw lots of the world and then we broke up’. ‘After that I formed a band called Pharmacy and signed to an American label but only released one single because the label folded. I then spent a couple of years in the wilderness getting my head together man! This takes us up to the here and now’. "Darius called around and played me some Archive stuff and I was convinced and consumed by the spirit of rock and roll once more. I wanted the job! Would I get the job? Yes, I got the job thank fuck. The aim now is to make the best albums in the world in the next 10 years and take over the world".

ARCHIVE ROCK!!!!!!!!!!!!

DG ‘New album, new singer and soon new label. We seem to be good at this. We’ve had some bad luck, and made some bad decision, but we’re always learning. This album feels right, it’s raw and emotional, and no ones had their grubby hands on it. Craigs voice is wonderful, and he loves what he does. It feels great to be a 3 piece’.

DK ‘Nothing has disturbed this, nobody has tampered with it, nothing is going to fuck with it, cause we won’t let it, so finally you can hear Archive’