You and long time production partner Jondi are working on a new production entitled "Al-Bom". Tell us a little about the album and how it's going.

It seems to be going well, we are working on it every single day. I actually bought a car so I can go to and from the studio (laughs) just to work on the album. The cool thing about it is we haven't ever gone and written any of our previous albums…. they've all been collections of singles. This time around we've changed it up and said that at a certain point we're going to start writing music for an album…and we're going to right it and when we're done then the album is done. It's been kind of a cool process. We're taking what we do normally in a progressive house world, and we've even experimented with distilling it down to pop arrangements and things like that…there's going to be more vocal work than you've seen from any of the singles. We're collaborating with four different songwriters right now for lyrics and lyrical melodies. It's kind of an ambitious project…I'd say it's going well. We've got fourteen first draft tracks in the bag. We wrote about forty sketches for tracks in about three weeks, and about eleven of those first draft tracks are from those. We've actually been learning a lot about music along the way and discovering a lot about ourselves. It's almost like I hope the project never ends, but I'm hoping to finish it by the end of September just for practical reasons.

Your past and recent productions have been getting full support from the likes of Sasha, John Digweed, and Anthony Pappa. Do you feel this stable support from these top jocks has had a direct effect on a wider range of support?

Definitely yes! It is important if you are going to some place to DJ that they know about your music because that's maybe why they'll come to see you. The unanimous answer really is that "I never heard of you guys until I picked up John Digweed's Bedrock compilation [which featured Jondi and Spesh's "We Are Connected"]." Another way of getting at this answer is that we were toiling away in San Francisco doing whatever it was that we did musically, and it wasn't until John Digweed played the track on an Essential Mix that the next day we got a bunch of phone calls, emails, etc., etc. Those guys have a lot of pull so we're really interested in being inside their record boxes.

You're on the road now headlining a few events. Do you see much difference in the crowd response between the various cities?

Not yet. It really depends on the night and the culture and the competition on that night etc. So I totally have not been able to figure that out. I can't figure it out in my hometown let alone anyone else's. The flip side of that is my residency in San Francisco (Qool) has gotten me to the point where I'm completely spoiled. I think that they're the best crowd that I've encountered so far. So I'm hitting the road like a spoiled brat right off the bat.

You and partner Jondi are throwing several Looq parties of your own --- Qool Happy Hour, Looq Hard, Qool Saturdays --- how successful are the nights at home?

The nights at home are pretty successful. We've gone through a massive swelling of the club scene crowd in San Francisco due to the whole .com thing. In San Francisco the .com boom has gone away and the club scene has actually had to shrink a bit back down to normal proportions. So I think everyone has felt some of that in San Francisco. But not to be too local here I think the vibe and the numbers are through the roof at all three events for us. I think we are really lucky because we never really set out to be promoters. We just set out to find venues where we could just play our music and let our musical agenda be heard. And the people actually showed up and filled the dance floors and lined up outside the clubs, so we feel pretty blessed.

Do you feel that the club scene as a whole is dying down in the U.S.?

I think that we are in a temporary ebb, but that there is going to be more flow. But then America could quickly lose interest in clubs. They've been an institution in Britain for a few years now. But in America what I'm afraid might happen is that we'll have a vibrant club scene for a few years and then there will be something akin to the disco sucks movement and everything will implode. Then again, in other countries around the world this music has been so completely persistent and so infectious and has crossed so many cultural barriers it just never ceases to amaze me. So, I think we're in for a long ride whatever it is.

How significant was your chosen quest mix on John Digweed's KissFM show?

It was pretty darn significant, but I didn't intend for it to be significant. I just intended to send him a CD so I could go play in his club if I ever got to England. A few months after I sent the mix to him somebody called me at 5PM in San Francisco and told me that I was on the air in London at that very moment. The reason I had no idea is that every conversation that I've had with John has been yelling at each other through our earplugs in a nightclub. The conversation that we had about signing "We Are Connected" was done that way. Some information transpired on a cocktail napkin. In Miami he said something about "blah, blah, blah….KissFM…blah, blah, blah" and I thought it was because he played one of our singles on his mix KissFM. Now I guess, "blah, blah, blah" meant "I'm going to air your mix on my show."

You have had several notable tracks out this year such as "Grip Tape" with Brian Stillwater on Mechanism, and recent collaboration with Jerry Bonham entitled "Ghost On You" on Renaissance, as well as your own Looq Label. How did such an array of remix work first come about?

It goes back to the networking thing. Toby from Sog got in touch with us…Chris Gainer from Sumsonic…just various people came out of the woodwork that identified with our sound. We haven't really pursued it or sold ourselves very well at all. The Stillwater collaboration came into being when he said he was going to be in San Francisco and wanted to do a track with us. He did it twice. Two tracks came about called the "Grip Tape EP"…we were doing a lot of skateboarding at the time.

Tell us a little bit about the new "Momu" project.

That's a project between Jondi and Mark Musselman --- one of our residents at Qool. It's more of a breaks-focused thing. Those guys totally rock it! I'm totally into their stuff. It's fun seeing what they come up with together. They are doing a lot of remixes right now and they are talking to several labels about signing some tracks. Jondi is definitely the type of guy who needs several outlets for whatever he's doing. He's also written a screenplay this year [as well as some other projects]. He's definitely sort of a hobbyist….a rather intense one.

Can we expect any solo productions from Spesh in the future?

Probably not. I'm pretty much into working with Jondi. That's the way it has always been with me. I was a DJ first and then a producer with Jondi. The extent of my solo production is writing melodies on my laptop when I'm going to and from somewhere. But I always bring the laptop back to the studio and we work on stuff together. I think the partnership works because we pay attention to different stuff and we both have sensitivities in different areas. We're pretty musically codependent in a way.