What Spiegel didn’t expect was Green’s secret weapon: a Barry-White-does-Devo croon voice (as so many critics are now wont to describe as such). While goofing around in the studio late at night, they put together their first slow jam, a steamy ode to technology and ‘getting down‘ titled “Robosexual.” The song not only kicked off the project, but also set its tone. A down and dirty place for exploring sexual deviancy and playful perverseness, coupled with a burgeoning robot obsession, a high octane electro-funk pairing known as “Maximum Hedrum” was officially born.

Recorded in Prague, São Paulo, and Los Angeles, the duo’s debut benefited not only from a worldwide network, but also from plenty of time to develop. “The collaboration of so many people helped us build this,” says Green. “It took its time, but slowly got there. So many crazy places.”

Confirmation of their efforts came in the form of a blessing by funk’s alien lord and king, George Clinton (long may he reign). Clinton, a friend of Spiegel after collaborating with him on his previous project, the all-star collaboration-heavy hip-hop group called “N.A.S.A.,” invited himself into the studio on one sweltering Los Angeles-summer day resulting the birth of “Keep in Touch.” (Isaac Hayes proved to be somewhat less energetic and accommodating during a similar off-the-cuff session. His contributions were eventually scrapped.)

Shortly after, Spiegel directed a video for “Keep in Touch.” Featuring a young adult with cerebral palsy getting in touch with his sexual side…and then being arrested for dallying with a prostitute.