Danny McFadden meets the sexiest men on Radio 1, Mint Royale

WHEN Pete Tong make Mint Royales top 20 hit, Sexiest Man In Jamaica, an 'Essential New Tune' before its championing through his series of BBC-aired trailers, Neil Claxton and Chris Baker - the creative Mancunian twosome behind Mint Royale - new things were on a roll.

"That was the real turning point for us," notes Claxton - the quick-fire, more geek chic of the pair. "I don't think that he was even aware that we existed before Sexiest Man and he's since been interested enough to investigate the rest of the new album too. I mean, we had our supporters but, with Sir Pete Tong at the helm, we now had this single that was just sweeping through everyone at Radio 1."

"Yeah, like salmonella," adds a decidedly deadpan Baker.

Only its vital qualities were more viral than bacterial. Undoubtedly infectious, it swiftly earned a 'Single of the Week' accolade from Bolton lass Sara Cox, before the big-boned Chris Moyles uncovered the cut's novelty potential via his own Halifax ad-style re-vocalisation and subsequently created a malformed Sexiest Man that was, just perhaps, as humorous as genocide.

"The worst parody he's managed yet," observes Claxton rather generously.

But the original's appetite whetting, Prince Buster-led strains represents just one small aspect the duo's soon-come Dancehall Places long-player. The feel-good ethno-strut of last year's Show Me is present and correct (featuring just one of many guest cameos, in this case, Pos from De La Soul) while the phasers-on-stun action of '54', the psychedelic Muddy Waters of future single, Blue Song and the blissful strum of Princess (boasting an on-form contribution from Doves' Jez Williams) all contribute to a wonderfully disparate set.

"We were never going to be a source of 'Ibiza record' after 'Ibiza record'," asserts Baker.

"We didn't even consciously set out to make 'a dance album'," chips in Claxton. "The key to any decent record is to have some diversity. And unlike those guitar bands who are more constrained by their instruments, the electronic base means that we can move in any number of directions."

"It was the song-based material that we'd begun exploring while recording (debut album) On The Ropes that actually became the starting block for Dancehall Places," says Baker. "But it's the more uptempo side that has altered the most."
Ah, yes. While now substantially more house-orientated in their dancefloor outlook, there was a time, not so long ago, where Mint Royale were shaping up as Norman and Zoe's in-house band. Sure, they could have been belting out heavyweight breaks and carboot samples for Woody's christening, but time moves on.

"I know that the whole 'big beat' thing became an albatross for a lot of acts." reckons Neil. "But we weren't from Brighton. Being in Manchester, we never felt part of that scene and have found it much easier to continually move on with our music."
Meantime Alpinestars - the twosome's former labelmates at Faith & Hope - have also undergone a more major reinvention - subsequently grabbing a major deal. So, had Mint Royale considered such a radically different approach to court that same interest?

"Oh, it is often assumed that the grass is always greener," Neil observes. "And in some ways I'm sure it is, but other times those new pastures are never going to be quite as vibrant. For us, it's actually been pretty interesting watching them take the plunge.

"But I don't think of the Alpinestars 2002 as being that same act that were on Faith & Hope a few years back. Their music has altered so much between their albums. And, yes, I know that ours has too - but it's not a mutation, it's more a progression."

Dancehall Places is out now through Faith & Hope. Mint Royale will also be regular guests at Faith & Hope's relaunched Art + Science monthly at Elemental from September 27.

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