Our families are artistic for sure, but not too musical. Diva’s dad dabbled and cut some club white labels in the ‘90s, and my parents had an amazing record collection. But mostly I think our musical journeys came from being in artistic families and finding music as something we could have as our own.

I don’t think it was too conscious, I think we basically had written an album that referenced a lot of feelings that didn’t relate to the alter egos but instead felt it needed to come from the point of a human living in the world in 2020. There’s still a lot about us that is hidden, but there’s also a really nice feeling to not have to worry about how you present yourself through the eyes of a character and just embody yourself.

Yeah, I think so. I guess there are levels of a persona that still exist in everyone who uses social media. We’re not putting up pictures of us in bed watching Friends even though that’s what we spend 90 per cent of our life doing. Although thinking about it now, maybe we should.

I think we were referencing our rowdy antics outside of music. General yob behaviour and naughtiness. As for the music, I think it’s actually more intense than it has ever been.

Yeah, 100 per cent. We both have troubles with mental health, anxiety and depression mostly. And we became friends by helping each other through tough times. We still help each other now, and that element of escapism was something we bonded over a lot. There’s nothing we don’t know about each other, and at the moments when we are playing on stage to a sold-out show in Paris and look at each other, I feel this amazing sense of pride in her and myself that we’ve managed to do our little bit to overcome our problems and fears. Knowing someone when they are at their lowest and helping support them until they are at their highest is such an amazing feeling. To see someone who you have known and they've known you in very delicate and vulnerable situations shout into a microphone and smash a bass riff to a crowd of people is a powerful feeling.

Kurt Vile has come up a lot as he brings a very calming force with him. Recently, I’ve been listening back to William Onyeabor, Ebo Taylor and more African records as they also have a calming and spiritual feeling to them. Whenever we’ve had a few beers though, we go straight to the 2000s bangers, lots of J Lo!

I think from the get-go, we have always just switched up our sound and I think we always will. Why put limitations on creativity? We love experimenting.

We built a massive studio and filled it with all these crazy things we had found in junk shops around Bristol. Just tonnes of crazy stuff that somehow found its way into our basement. We had a whole massive shrine dedicated to Ozzy Osbourne. Was just a joke but helped build an atmosphere for sure.

There are some more electronic bits coming out, but mainly the distorted sounds run throughout the record. There’s one track that has a really heavy grunge element in it, but it’s not like a grunge song; it sounds more like what someone might try and make if someone described the sound of grunge to them rather than listening to any – if that makes any sense (laughs). But overall, I think it is a varied album but feels like our most cohesive piece of work so far.

Maybe. I think the initial draw was the escapism. I believe we would be making music even if no one was listening, and will continue to do so well after people stop. I don’t think there was a draw to being an artist but more just something we found that kept us free from the burdens of the outside world.

(Laughs) I wouldn’t say we are creatives, or even artists particularly. I think we find inspiration in each other a lot. But we’re just two people making some music; it’s not some big, life-changing art. It’s just a garage record by a couple of weirdos.