Rob Swift: It is, we got rock groups on there, we got MC's and DJ's. It's a well-rounded album. Is there a natural progression through the set for the listener? Rob Swift: Yes, it's like a journey through different styles of hiphop. We have a track called 'Journey into Sound' with Kenny Mohammed, a guy who does human beatbox. Then, as the album goes on you'll hear a track with a rock group like Linkin Park. There's a track with The Beat Junkies: 'X-ecution of a Bumrush. So there are a variety of different styles for people to get into.

How does the album differ from your debut 'X-Pressions'?

Rob Swift: We've all grown a great deal as DJ's. 'X-Pressions' was also done on an independent label, whereas we are now signed to a major label. Therefore we have more access to resources and connections. It is basically the next level of recording. Do you feel that being signed to a major label validates the art of turntablism? Rob Swift: I believe it validates the art of DJ'ing as a whole. People are now really beginning to take us seriously as musicians, not simply DJ's.

If I was taking the stance, maybe from a classical background, that the turntable is not an instrument, how would you convince me?

Rob Swift: I would tell you that pretty much anything could be turned into an instrument. As long as you are dealing with measures, octaves, tones and tempo's you can create music with anything. You can use a trashcan as a percussive devise, so If you are open-minded about it there are no boundaries. The norm may be to look at the guitar, the violin or the bass as an instrument, but the turntable essentially deals with sound and therefore it can be used as an instrument. That's how all the other instruments were born, through the same process. People who actually see us perform will realise first hand why we believe that

What can you, as artists, do to ensure that turntablism does not become a fad, exploited by the media?

Rob Swift: It is important to emphasise well roundedness. Some DJ's get into the scene and only work on the most technical areas of scratching and beat-juggling, and they forget that is important to know who to blend music and know how to rock a party. Your record collection needs to extend further that just battle breaks, once we are able to instil those qualities of what it is to a DJ in those new to the game, we will not have to worry about it being a fad.

What methods would you use to achieve that?

Rob Swift: Just talking about it, other DJ's on our level talking and sharing their views, because people listen to us. If you tell a DJ: 'Yo - just learn how to scratch, it's not important to learn how to blend' - then you are truly educating them.

Are there many hiphop artists in New York working with community projects or in schools?

Rob Swift: I have done some of that, I actually met DJ Precision at a school where I was teaching DJ skills, and he has since become affiliated with the crew. There are a few who are able to take the time out to teach and educate.

Are there many female DJ's in the US?

Rob Swift: Cuttin' Candy from 5th Platoon is one, Jazzy Joyce, Coco Chanel. As long as you are a dope DJ, it doesn't really matter if you're male of female.

If you were programming your ideal club event, and had a carte-blanche to book anyone you want, who would you choose?

Rob Swift: Grandmixer DST, DJ Cash Money and D-Styles. MC's: Kool G Rap, Rakim and KRS One

Are you working on any more solo projects? (Rob Swift has released two solo projects: The Ablist (Asphodel, 1999) and Soulful Fruit (Stones Throw, 1997)

Rob Swift: I have actually just finished a new album called 'Sound Event'. That will be released on a label called 'Tablturns'. It should be released this summer. It features Supernatural, Large Professor, a band called Dujeous, Good Time, who has been on previous solo stuff of mine. Also a new guy named Lee, plus DJ Klever and Radar, it should be a dope album