Tristan Bechet and Christopher Pravdica are Services, a band quite unlike what you might have heard before. Formed out of the ashes of well-known noise rock/wall-of-sound outfit Flux Information Sciences (Young God Records), the duo’s staggeringly loud live shows assault the senses with a tower of discordant noise and distorted rhythm. How does a band comprised of only two people produce such a maddening amount of sound? The secret lies in a discovery made one day by Bechet, experimenting in the studio.

“I was just messing around, doing some cut-and-paste with heavy metal samples, when I decided to just fucking Turn. It. Up. And all of a sudden it was like Nahnahnahnah! and I said, ‘Man! That’s all you need!'” One energized phone call to Pravdica later, and a new project was born.

From this early catalyst of chopped-up metal samples and sparse drum machine patterns, Bechet’s forceful vocals were added (along with some manic cymbal crashing), resulting in an outlandish, yet strangely familiar, cacophony. Like a new recipe made from commonplace ingredients, the formula worked well enough to catch the ears of successful NYC dance imprint A Touch of Class, who, still reeling from the success of the Scissor Sisters, were looking for “something different” to take the label in a new direction.

And find it they did. After seeing Services perform live, ATOC approached the pair about releasing an album, resulting in the demonic full-length Your Desire is My Business. An ensuing European tour was, by all accounts, a smashing success, utilizing the now-ubiquitous blueprint of DJ set/band set/DJ set, and the partnership has only blossomed from there.

The pairing of Touch Of Class and Services, though unexpected, is strangely perfect, says Tristan. “With a normal indie label, everyone would pretty much know what to expect, but with ATOC choosing us and us choosing them, everything is skewed just that little bit off, like 90 degrees. Nobody quite knows where to put things. In a way, just that weird angle creates a certain energy, you know?”

Indeed, that premise of misplacement, of disturbance as a catalyst for growth, is a major theme in both the artistic and personal lives of the band members. Though each phrases it differently (Tristan says “disruption” while Christopher favors “destruction”), both understand and try to relay the concept that culture’s fragments are there to be used, re-used and abused.

“The birth of anything comes from the destruction of something old,” says Pravdica. “That’s always been a theme through my entire life: what happens if I break this? I want to destroy music, I want to destroy my life’ want to destroy my band but, in essence, I want to better everything.”

Adds Bechet, “That’s very constructive.”