Hailing from a shapeless nimbus of abstract, Gum Takes Tooth are a freakish entity of unmeasurable force. Experimental, assuming uncertainty as a principle to live by, just as Heisenberg told, the London duo absorb and digest the complex. A synth-prurience emerges, a rhythmic tachycardia surfaces – GTT knocks on the door of Milhões de Festa next July 26th with Baba Yaga’s Hut endorsement. First, the interview with PA’.

Classic question: for those who haven’t heard GTT, how would you describe the band’s entrails? Is there a simplistic way to do it, or talking about it is as complex as creating?

It’s easiest for us to answer: what the hell do we know? Yes, it’s a very hard one to describe. It’s like a primordial ooze shot through with glimpses of a future where things haven’t gone to plan.

The latter question mentions complexity and GTT’s music appears at first hand rather difficult. It manages many layers and stuff simultaneously, that we can’t really say what matters the most when scaling everything: rock or electronic. Maybe both weigh the same. Correct?

You’re absolutely correct – both weigh in the same. We love the incredible scope of using electronic sounds, sounds which have a connection with the sounds outside music; to the mechanized world of our own creation that we inhabit, the unlimited frequency range of the natural world, but the visceral human-ness of rock music is crucial.  Both can communicate at a primal level, and that’s what’s most important to us. We’re not a cerebral band. We kick out the jams, motherfucker.

How did you start GTT? How do you begin a project like this? How can you communicate these music ideas with each other?

The music we make just happens. We never plan anything before we start writing, or if we do the result is usually far from our intentions. It’s not a measured process. We started with plugging in an old drum synth that was designed to make disco tom sounds, like in “Ring My Bell”, that was triggered by a live acoustic drum kit and messed around. We found we could play strange unplanned melodies that don’t fit in with the western 12-step scale, or any others that we know of. We took this idea and have been expanding on it ever since, ever exploring, finding new ways to turn up to 11, and down to -11. Pressure and vacuum.

Do drugs have a major role when creating (first) and playing live (second)?

Expanded consciousness, on open mind – yes, drugs – no. If you can’t achieve or at least aren’t searching for these without drugs then drugs aren’t necessarily going to help and can creatively put you at a situation of even further reduced horizons. They can considerably promote synesthesia (spontaneously visualizing sound) though, but for me at least this is just a natural part of focused listening without added chemical stimulus.

When on stage, is GTT a band that can easily start to deconstruct songs and then jamming immediately brand new sections from out of nowhere?

Most of our songs have, at very least, large sections that we jam out and improvisation to some degree, although there’s probably more deliberate structure than there might seem. That’s good though. We don’t want our music to come across as dead, over-rehearsed, frozen. We’re a live band. Our music is made by humans playing instruments, no matter what technology we use. We run on lower brain functions when we play.

You’re from London and there’s so much happening over there that I must ask this: do you live in London since day one? Do you consider the city to have a role on your music – expanding boundaries, meeting new people, listening to new records?

We’ve both lived here for over 10 years and I guess the sheer breadth of music that is happening here is bound to have an influence, but then again we’ve all lived in the era of infinite access for a while now and I meet enough people living in pretty rural outposts who are more up to the minute and have equally broad listening tastes as us. I guess one thing to say about living in a big international city like London is that there’s just necessarily more momentum to energize events catering to extremely niche or way-out tastes. That’s always good. The bigger the support for the underground the better, no matter what the cultural medium.

Will you bring extra members to play in Portugal? Would you rather perform on daylight or late night?

We’ve played with extra members in the past but are focused on us a duo at the moment. What Tom and I do is totally and intrinsically intermeshed, that’s what GTT is. Anything we do separately isn’tGTT. That said who are the protagonists of any performance? It wouldn’t be a performance without an audience and they are always an active part of the dynamic of any event. The sound engineer has a creative contribution. If everything works together amazing things happen. Night time is always a better time for more physically inclined music though. That’s the most natural time for us.

Milhões de Festa is known to have this super chilly summer vibe, where you can fly from grindcore to African experimental music in a blink of an eye. Did you already have a glance on this year’s lineup? Anything you wanna see? Will you stay for the whole weekend?

It’s a total dream lineup so I don’t want to miss anything. Definitely looking forward to Islam Chipsy, The Cosmic Dead,Anthroprophh, Bad Guys, and Goblin [they have cancelled in the meantime :( bummer -ed] are always a must.  But really, pretty much everything on the bill is unbelievably awesome.

When hearing “White Fear” from “Mirrors Fold”, I have this gut feeling I could pick up the bass and jam with you on stage. Would you take the risk? Not specifically with me, but can something like this take place?

You know, of course I want to say let’s blast our brains into space dust together!, but as I mentioned earlier we actually have a very specific trajectory that we want to take people on and unless we really know the musician in question then we keep it tight between the two of us. But then again, we’re not tight ass individuals. On the night who knows, we might just say fuck it, welcome on board. So see you there on bass then, amigo.