Those aged 25 plus would immediately recall Statler and Waldorf as the two grumpy (and decidedly unattractive) ‘men’ heckling the cast of The Muppets from their balcony seats. Jim Henson named these two curmudgeons after the exclusive Statler Hotel and the Waldorf-Astoria Hotel, from New York. These days, with James Henson dearly departed from this world, the names Statler and Waldorf are not only associated with Kermit the Frog, Miss Piggy or Fozzie Bear. Cruise around the internet, and the words “Statler and Waldorf” will lead you to Brisbane, Australia, where a sensational electronica duo can be found performing on stages or working in numerous studios, their music marking a new period of evolution for the genre of Australian electronica.

The ambient strains of Andronovavirus surround me as I instruct Dennis Gascoigne, aka “The Statler”, to make himself comfortable and maybe even pour himself a hefty scotch (“some trendy brand that starts with G but isn’t Glenfiddich” he tells me, as he follows my advice). “If you’re asking me to get comfortable, do you mind if I watch the soccer?” Dennis asks me. “Not at all”, I respond, hoping some juicy natter may accidentally slip from his lips as a result. None does however. Dennis’ eyes may be preoccupied by matters of the body, but his mind is as honed and astute as a German blade. “I pride myself on my command of the English language,” Dennis is saying as he sips at his scotch. I believe him.

Staring at the words AndroNovaVirus, I ask Dennis (being the keyboard fanatic I am) if the title is connected in any way with the Andromeda Alesis and Nova keyboards. “Very good,” Dennis says. “Essentially, Statler and Waldorf are paying tribute to the electronic equipment its music is based upon. It incorporates the modular Nord Novation II and Access. It’s the basis of our music – how could we possibly not acknowledge that?” There are a great many filters and vocoders in the mix for vocals as well and I ask Dennis about their presence. “I’m not a trained vocalist,” Dennis responds. “That’s not completely true!” I interrupt him, not agreeing. “Your [vocal] pitching in a live show is always excellent.” “Okay, but I’m not like Mike Skinner (The Streets) so what we try to do to compensate is give the vocals that extra edginess with the fact that it’s electronic music.” Whilst Dennis’ voice is electronically treated, the surreal wordplay and whispering vocals are persistently penetrating and as infiltrating as an English emissary. I do, however, understand Dennis’ implications, realising that Statler and Waldorf don’t consider vocals as the melodic focus, perse, but rather as one instrumental texture amongst many.

Their music has been classified by Triple J Unearthed, as “electro dance. Not breaks, house, techno, hardcore, hip hop or drum and bass but at the same time a bit of all of it.” I myself have proclaimed their music as “hypnotically minimal, obliquely rhythmic and uniquely aesthetic”. In a very early interview with Margaux Carlos, the gentlemen had asserted their music as “Dark Tech Breaks” – to at least “give people an idea what to expect”. With such influences as Underworld, Orbital, Chemical Brothers, Felix da House Cat and even The Cure, the music of Statler and Waldorf remains outstanding and truly unique. Rather than fusing techno elements to the usual pop group principle, Dennis Gascoigne and Leo Hede appear to have laid techno as the foundation, thus establishing dance as the main focal point of their sonic blueprint.

Their first EP Collusions was met with rave reviews. Extending beyond the live performance area, Collusions had intended to demonstrate the all-embracing productions skills of Statler and Waldorf. AndronovaVirus, however, “reflects what we are doing now,” Dennis states. “We were playing our live shows with an EP that didn’t capture us, so we had to release an album that best represented Statler and Waldorf. Collusions was more a taster. AndroNova is less about trying to find anything and more about what we now know.” There is a slight pause in conversation. (Later, I find out it’s because Australia has scored). Dennis’ voice returns to me again. “We’ve learnt so many new skills. It’s not really about whether we’ve grown; more so how far we have developed. We’ve always known what we’ve been capable of. Statler and Waldorf are diverse; crossing many genres. We simply wanted one cohesive album. We finally got to the point where we could not possibly move or fiddle with anything else any more. And it was finished.” He pauses again, continuing to mull over his thoughts. “The album has been a monkey on my back,” Dennis reflects. “This album has been such a project for us” (and by ‘us’, Dennis no doubt includes the production assistance of Dave Ryan alongside his partner in crime, Leo Hede). “It has been incredible. You watch it grow from a tiny small idea into a definable tangible work of art.” I hear the marvel in his voice as he relates this to me.

“Any favourite tracks from the album?” I ask. Dennis’ answer is immediate ”[I am] 10 Ninjas is the standout on the album for me.” “What?” I interrupt, “Track 11?” “Yeh,” he affirms. I start to laugh like a crazy person. “Sorry,” I apologise “it’s only that the track came on just as you were speaking about it.” Dennis laughs at the incongruity. “There you go,” he remarks. “It’s predestined. Even now, after thousands of hours working on that track, I still like the sound. There were so many different components that made up this track. I really enjoyed writing it. To see it on wave is magnificent.” When I approach ‘The Waldorf’ for his opinion on his favourite track, I am taken aback when Leo says: ”[I Am] 10 Ninjas is such an anomaly. It really is one of those tunes that you will look back and remember how it all came together.” I shake my head at the quirk. “How does it all start with your writing?” “When I write, it all starts with a feel; a mood,” Leo says, stroking his whiskered chin. “Really, there isn’t a formula as such. If an idea comes to mind, we simply write it down. I’m more into the beats side of things anyway,” Leo states. “Dennis is the vocals, keys and production monster.”

To hear Leo, one would think he has hardly any part in the electronica duo. Dennis, however, is very quick to point out that Leo is indeed a significant contributor towards their music. “There’s the two of us after all!” Dennis laughs. Whilst Leo may be too humble to acknowledge his input, S&W audiences are more than aware of his momentum. When Dennis and Leo assume the stage, the modesty and self-effacing nature of these two gentlemen are immediately replaced by the feverish garb of ‘rock stars’. The interaction between Statler and Waldorf and their audiences are as intimate as two lovers – both helplessly caught up by each other. I have seen Statler and Waldorf perform to different crowds – from teenagers, to fans, to unsuspecting punters – and each time, the response is enthusiastic. Such is the testimony to their live performance. And the brilliance of their production talents captures much of the essence from their live performance on their new album – as intended. “It’s more what the music ends up with,’ Dennis offers in explanation of the process. “I have a story to tell. I follow the idea. Whatever comes to mind first up, ends up as it was planned. You see, I don’t find any spirituality in music or art. It’s not like that for me. It simply exists as an entity.” I realise Dennis is at a loss to explain his musical perspective to someone who unites music with the divine. “The CD was such a slow and lengthy process, but I’m very happy with the direction Statler and Waldorf have taken. There’s a lot going right.”

With the prospects of a tour coming along very soon, the future certainly appears on the up for the two humble gentlemen. “2005 has been an exciting year,” Dennis admits. “We had the Parklife Festival and Earthcore” (and from all reports, both sets of crowds were overwhelmed by their energy and musicality), “the clip for Duck for Cover was shot at The Empire. We moved studios. Leo and I also took some time out from S&W to set up Spook [a project involving Chanel Cole and Daniel Bell] and the Spook album Dusk Sessions was also released around the same time as AndroNova. I see Spook balancing my S&W side: Spook is ‘simmer’. It’s intimate – produced to seduce. Whereas Statler and Waldorf is energy and movement – a boiling point. Now, with the tour coming up, I will really be taken out of my comfort zone.” I hear the clink of ice as he sips at his scotch. “How will you be with the tour?” I ask him, more curious from the perspective as a friend than for the sake of the interview. Dennis sighs: “It will be mentally taxing. I’m a homebody – you know, I need my eight hours of sleep, like cuddling my pillows and all that. But we will make the most of the experience. I’ll do things I don’t get to do when I’m home [in Brisbane]. Who knows? I’ll take my guitar with me though!” “Will you miss Brisbane?” I have a difficult time keeping the envy at bay. “You know what they say – absence makes the heart grow fonder!” Dennis jokes. “But, I love our local community. I almost resent that it’s not bigger; it’s so small and exclusive. I’d love to see Brisbane be a tad more adventurous; to grow and for more people to be involved. But really…” he pauses, “when you’re on the stage and you see the faces of people you know in the crowd, or they know us, the momentum is huge. That’s the perk. We find ourselves putting more force into the show, simply because our friends’ encouragement propels us. I have to say, when everyone turned up to the clip – it was the best feeling.” I nod in agreement, having being one of the fortunate many involved with the clip.

“I know you both love performing – it’s apparent from the first moment you guys are on the stage.” I tell him. “I like to think I’m fairly balanced,” Dennis says, his tone a bit more animated. “See, everyone thinks spontaneity is interesting. But unexpected spontaneity from a person who is not spontaneous is far more interesting. I’m sure there are plenty of people out there who don’t understand my passion for performance. They may assume I’m this quiet ordinary guy. But when I’m on the stage, everything else just fades into the background. It’s all about the moment. Even if you’re fucking up – the incredible thing is making the fuck up a part of the moment. The Golden Rule to performance – Make it seem like you mean it.”

Statler: Hmm, that last number was a real show-stopper
Waldorf: Too bad it didn’t stop this show!

‘AndroNovaVirus’ is out now through Freefall Records/MRA.