The Big Room专辑介绍
“我们的一、二月都住在那里，”Marion回忆道，“那里非常的安静怡人，让我们能专心的录音，和市中心吵杂的录音室相比，那里要好太多了。”
在录音的那段日子中，有一个杰出的小型爵士乐团与M2M作伴，其中的团员包括Tom "T-Bone" Wolk (贝斯、空心/电子吉他、风琴、合成乐器)、Jimi K. Bones (电子/空心吉他)、与Kenny Aronoff (鼓、打击乐器).。
“录音的过程是很令人讶异的。”Marit说，“我们在头六天中就完成了十一首歌曲，我们在录音室以现场演唱的方式，录下了所有基本的音轨，就像以前披头四录音的方法：一、二、三、四，开始录！这种方式真的很酷，因为我们有机会捕捉到现场的气氛与活力，这些是当下许多专辑中所缺乏的。现在，很多音乐都已经被计算机化，大家都希望自己的音乐很完美，因此忘记了音乐本身就蕴藏了一股活力。”
《The Big Room》专辑的目标，是营造出一种以自然吉他乐音为主的流行音乐，听起来让人不由得想起Joni Mitchell、Sheryl Crow与Jewel，以及另类歌手Counting Crows与Travis，他们都是M2M在音乐上的灵感来源。
“现在，这种音乐似乎是流行的趋势。”Marit说，“我想，人们开始回归60与70年代的音乐了。”
“虽然我们的音乐永远也不属于摇滚一类，”Marion表示，“但是我们将一直谱写流行歌曲，我们喜欢称它们为『有机流行音乐』。”
除了"Jennifer"与"Don't"等八首由M2M自己谱写的歌曲之外，这两位大女孩在到达录音室时，还带了许多额外创作好的旋律与歌词，为了将她们的构想成形，她们旋即开始与Bralower与Peter Zizzo合作（他们两人就是打造M2M首张专辑中热门单曲"Don't Say You Love Me"的幕后功臣），结果，他们联手成就了该张专辑十一首作品中的另外三首。
透过这张专辑，M2M的歌曲捕捉到情窦初开的感觉，无论是小情侣天旋地转的迷恋，或是眼中容不下一粒砂的嫉妒之情。
“我们的歌曲都是在描写爱情，因为我们只有十七、十八岁，在我们的脑海中，大部份的时间都是在想这件事。”Marit说，“但是，我们的歌曲并不是肤浅的描写『我爱你，你也爱我吗？』之类的东西，它们更深入了一点。”
“这些歌曲都是我们的经验之谈，或是我们的想法。”Marion说，“这张专辑多半是描写爱情，但是也有一些是描写嫉妒心，或是我们看待这个世界的方法，它和以前的作品有所不同，但还是有M2M的风格。”
"Everything"是支迷人的单曲，也是M2M最杰出的作品，它具感染性的流行旋律，描绘出后青少年时期爱情的苦涩，那种又期待又怕受伤害的感觉。
“这是我们的疯狂作品之一，”Marion说，“它描写了和一个烂男人之间的一段恋情，当你回想一切时，会发现这个男人破坏了所有事情。”
“基本上，它是描写男朋友没有打电话来，女孩子觉得要发疯的心情。”Marit说，“你明明知道自己应该忘了他，但是这个男人对你有种种的吸引力，让你就是不想放手，所以这种感觉逼得你发狂！”
这首歌中的男主角是一个真实的人吗？
“或许吧！”Marion笑着说。
除了扣人心弦的旋律、精心安排的编曲之外，M2M甜美融洽的合音、以及风格浓烈的歌词，让《The Big Room》专辑更具有可听性。这张专辑成形的过程，就像这两个大女孩一样，是非常的自然，她们共生共存、相辅相成的关系，为她们的音乐注入了热情与纯净。
“我们的音乐都是自然而成的，”Marion说，“我们只做自己喜爱的音乐，从没有考虑市场的走向。”Marit也表示：“现在的人满脑子都是赚钱，他们忘记了音乐的本身才是最重要的，只愿意做一些不会赔钱的流行音乐。但是我们之所以踏入乐坛，完全是因为我们想用自己的音乐与人们沟通！”
From the very cover of M2M's second album, The Big Room, it's clear that our little girls have matured. On their first album, they were just girls -- they looked like young girls on the cover and they made music that was sweet and innocent, the sound of pre-teens making polished pop. In an age of tarted-up, sexually-charged teen pop, that kite didn't fly, even if the music on their debut was rather charming. Still, one of the rules of pop is that it needs to sell, and if it doesn't, a change is gonna come -- something that is crystal clear on The Big Room. The duo still look young, but they're looking worldly on the cover, with lots of makeup, crimped hair, fairly low-cut tops. Open it up, and Marit looks like a worldlier Jessica Simpson while Marion, in her tight "Fabulous" tank top, seems like a tamer Eliza Dushku. Neither are as trampy as Willa Ford, but after the deliberately sweet charms of the debut, the marketing feels nearly as shameless. Fortunately, the music proves that M2M still has considerable charms -- charms that have even grown, actually. This isn't as girly as the first album but, contrary to the photos, this is hardly sex-centric teen pop either. Actually, it sounds like the work of Jewel's accomplished younger sisters, girls that can sing and write melodies, given producers and backing bands that can turn it into rather irresistible mainstream pop. But there's a problem with that statement: it gives the impression that Marion and Marit are simply the puppets of their producers, pretty faces selling ready-made songs, and that's not really the case. Marion Raven has a writing credit on every song here, writing three herself; Marit Larsen has no less than eight credits here. Unlike the teen popsters most critics defame for not writing their own songs (a debatable criteria for artistic merit in any case), M2M write their own songs, and they write well. No, they don't push boundaries and sometimes their lyrics betray their age, but as crafted songs, they're as winning and melodic as Jewel's best work, and this is a more consistent album than anything she's done outside of This Way. It's a lush, sweet, engaging album, one that works as well upon close listening as it does as background music -- which is what mainstream, adult-oriented pop should do. If M2M needs to play up their good looks to sell an album this pleasing, so be it. This is an album that deserves to find its audience, even through tactics as blatant as that.