Klive: The name is a phrase from a book, maybe even from an Enid Blyton Childrens book - not exactly sure. But when we were confronted with our first live performance, there was some necessity to find a name for our band, to put on the poster. At the time we wrote a lot of lyrics on childhood themes - innocence, autism and conditioning.The phrase 'in the nursery' seemed to fit well with the general ethos of the band, including the artwork and imagery we were using. It's one of those things, that after the first concert...the name 'stuck'

Klive: We have always made music for our own personal enjoyment. If it feels good, we do it. Music is my channel for self expression - I studied Fine Art at College and after 4 years had decided that music was the means for expressing my ideas into reality. Sometimes a certain project or commission can detract from the original intentions, but it is always refreshing, challenging to undertake new ventures, thereby learning more about the music making process and techniques and then applying what is learnt on a more personal level.

Nigel: I can see how new listeners may be bemused by ITN's formative years and early recording - but for those that have followed our music through the years there is a definite natural progression. Each album would not have been possible without what went before.

Klive: I'm happy living in Sheffield, but I'm also happy to travel - the band makes that possible. Every time i read a local fanzine and there are more than two prominent bands with records out Sheffield has a new movement. It's the journalists way of formatting news. The Sheffield scene is still very active, I don't get to see a lot of it personally - but a local journalist called Martin Lilleker is just about to publish his second book on the history of Sheffield bands. This one is called "Better Than Work" and charts the period from 1976 - 1984. ITN receives a whole chapter in the unfolding story.

Nigel: I've always felt that we could create the same music in any location but have never put that theory to the test. Sheffield works well for us even though we don't interact that much with other bands and artists in the area.

Nigel: We're identical twins - some people can tell us apart, others who've not know us long find it harder. We're not telepathic, we just have similar tastes and interests - which is probably why we've continued working together for so long.

Klive: You seem to have answered your own question there. I don't think anyone has to be classically trained to 'understand' and be moved by orchestral music. We both don't read music - and started out by learning the very basics on guitar to emulate bands like Joy Division.
It's always good to take on board new influences - and going to see live orchestra's perform in the early eighties had a strong effect on our sound. We had formed the band using only a marching snare drum as percussion. We added orchestral bass drums to the line-up and then tympanis after witnessing a live orchestra perform with them.

Nigel: I believe that ITN's distinct style is a direct result of the fact the can neither read or write music. We approach music in a different way, not influenced by musical theory or rules.

Nigel: Joy Division have a special place in the early history of ITN - something that we've never denied and I think they still do. You can't help but feel emotion for their work.

Klive: Jean Cocteau touches and inspires for so many reasons. The artist Joseph Beuys for the very reason that 'anyone can 'be' an artist'. Both artists inspire on varying levels.

Klive: I still like to listen to music as much as possible. A trusty iPod and iShuffle make that a daily occurence. At the moment i am sparring Nick Cave with Neil Young, whilst interjecting some Neil Finn for a bit of levity. Next week it will be Diamond Dogs/David Bowie versus Magazine. I am enjoying 'Abattoir Blues' by Nick Cave & the Bad Seeds more and more as i listen to it.

Nigel: The Aloof have always been one of those bands that I always refer back to, but also bands like Talk Talk and Lamb.

Klive: Not worship - although on our last European tour we were once labelled in a magazine as 'The Gods of the Bombastic", which we kind of liked.
From the very inception of the band we were adamant that there wouldn't be space for a conventional drum kit in our sound. I believe I've answered the reasons why we chose these particular instruments in a previous question,

Nigel: We've never attempted to associate ourselves with musical trends or fashions and have therefore never felt affiliated to any particular movement. That journalists have labeled ITN as 'industrial', 'neo-classical' or whatever is nothing to do with us. We continue to make our own form of music without compromise.
We do, however, feel eternally grateful to our audience who come from alternative and independent musical sub-cultures throughout the world.

Klive: We are constantly experimenting with sound and different ways of composition. It's good to mix up the creative process - input sounds digitally and via analogue means, but record in the digital domain.

Nigel: Top 5 essentials - Logic Pro 7, Apple Mac computers, Electro Harmonix Big Muff, Yamaha WX7 & HTS 200 marching snare drum.

Nigel: Both methods are equally rewarding and valid ways of being creatively inspired.

Nigel: Q has not recorded with ITN since 1993 and has not performed live since 2000. We now have a new drummer David Clarkson who will be performing with us in Greece. ITN is essentially the twins, with Dolores & David providing studio and live work as and when needed.

Nigel: Since starting the Optical Music Series we've attempted to alternate album projects between soundtrack and studio releases - so ITN is still very active. To be honest there has not been the time to work on a third Les Jumeaux album. Having finished the recent long term project 'Electric Edwardians' we are now starting work on the next ITN studio album - and yes there will be a concept but we're not sure what just yet! It will undoubtedly make itself clear.

Nigel: Things change.

Klive: Well it has worked well in the past and continues to do so. I guess
we should get Dolores to add something herself, but unfortunately she
is in China at the moment - that's the way it works....multi-lingual
and multi-global.

Klive: We know all too well the wide spectrum of uses for our music. From the more general presence on film trailers and commercials to the more intimate moments at weddings and funerals. Moments sat in a tranquil bar in a far off land to the crunching beats of a nightclub sound system. Times when nothing else can drag you from the depths of despair to music therapy groups. Music touches us all on such a personal level - it's a constant, daily companion and to have have our music chosen is
a great honour.

Nigel: It's be fascinating and humbling to receive correspondence from individuals who are creatively inspired by our music - to have that beneficial effect is amazing.

Nigel: I've not come across Scripta Manent before, but having done a quick search it looks a very interesting subject. The concept behind Anatomy of a Poet is all about the self destructive nature of creative individuals. It is also a homage to romantic writers and poets. The subject matter is therefore both tragic and illuminating.

Klive: We were very fortunate with the choice of Poets/Poems on 'Anatomy of a Poet'. When we recorded Colin Wilson at his home in Cornwall, he picked passages from his favourite 'Romantic' poets, such as the ones you mention. His library was, and is, very extensive, running to tens of thousands of books, many housed in seperate cabins within the garden grounds. We had initially played him the musical recordings and he instinctively chose the poems that were a) his favourites , but b) had the right metre and tempo for the songs. I suppose we do this with a lot of the spoken word used in our recordings, the timbre, tone and meaning are all brought into the equation as to 'why' and 'what' we work wit.

Nigel: Colin Wilson's contribution was magical, giving the album its central thread and continuity. James Mason has one of the most distinctive voices I've heard, closely followed by Richard Burton.

Klive: We are but a rock revolving.....quite amazing that we perceive and have achieved so much as a human race.

Klive: I think this quote relates to the use of the mind. Being able to overcome problems purely by thought. Colin Wilson's books are a life long assessment of this notion.

Nigel: I can appreciate your interest - but to analyse and explain would be to de-mystify the material and the subject. And it's not that I have the definitive explanation - we all have so many different perceptions and interpretations of music, that's what makes it so personal for the individual listener.

Klive: That's Gertrude Stein who wrote about a rose - she said that she wrote "as if the fact of writing something were continually becoming true and completing itself, not as if it were leading to something." In a similar vein, when we write and compose our music, we try not 'dissect' its reasoning too much. That would destroy the process.

Nigel: And the final outcome.

Klive: The last Optical Music Series project we worked on was different in many ways. 'Electric Edwardians', the films of Mitchell and Kenyon, portray the Edwardian period in England during 1900-1913. We wrote music for more than 30, two-minute films. Creating the music was very
challenging. What at first seemed restrictive was turned into something beautifully focused.

Klive: I'm sure everyone has 'teenage' bands that they remember fondly. The passing of time enhances the fond memories - its the 'best of' / 'greatest hits' syndrome - everything condensed that make it all the more appealling....call it 'nostalgia'. I still go and see bands like 'The Buzzcocks' and 'The Vibrators' perform live when they pass through Sheffield - it's good for the soul.