“We hunger for a bit of mystery and glamour to return to music.”

About Diamond Vampires I know nothing. The interview was conducted via email, the .jpg they sent me no more than a sleeve design. Writes one anonymous member: “There's nothing more boring to us than discovering the musicians you love are mere mortals with supermarket clubcards.”

Diamond Vampires deal in a slow, hypnotic disco that plays the long game with your senses: “The appeal of a faster beat is visceral, a gut reaction that can wear away after time, but a slow BPM cuts deeper, creeps up on you. Nothing gets you moving despite yourself like a slow BPM.”

Unsigned and with a sub-aquatic profile: six delicious slices of carnivorous sex on their Myspace and an accompanying wonderful Night Operations mix is all the audio you can get. What has been winning over devotees on blogs like 20 Jazz Funk Greats, however, is a real knack for night-burning atmospherics that pushes to the side the sometimes nerdy-synth fanboyness of the genre. “Analogue purists? No, not even slightly, all of our music is put together on a couple of Mac laptops! We like the idea of using modern technology to create something we hope has a feeling of timelessness about it.”

Friday Nights begins with a snatch of dialogue from some film, a street scene, a man, a woman pursuing some vague courtship. It sounds old, well, vintage, I’m thinking Midnight Cowboy. You know the way due to recording quality, linguistic changes or even what goes into the water, voices from different eras sound different? You just know when something’s old. This is old like that.

People are going to feel cinematic hearing this music: “When making music we tend to think of it in terms of soundtracking something, evoking a certain feeling in a similar way that movies evoke a feeling.” As well as Vangelis, it's easy to make the connection to Giallo, Goblin and even further into the midnight realms of exploit-horror.

“In terms of horror we prefer things with a certain elegance, something that builds an atmosphere.  Early Romero couldn't be more perfect: Season of the Witch is fantastic, a tale of suburban witchcraft with a feminist slant. Martin is a beautifully made, harrowing vampire movie. Both films feel surreal and slightly detached, almost like you're dreaming them. For sheer glamour it's hard to beat Daughters of Darkness.”

The gorgeously desolate sweep of Decades, all elegant vocoder and choice chord changes is up their with Delia and Gavin’s 2005 Days of Mars as about as regal post-Moroder electronics has got. No wonder the mysterious fiends are reluctant to get pigeonholed with current Italo/slo trends: “Italo is slightly tricky as it's become a bit of a blanket term for so many different styles of music. We're probably happier saying that we are influenced by disco in general.”