THEIR name is Bond, just Bond – and with their halter tops, sequined midriffs and dewy good looks, they could double as Bond Girls.They’ve been called “the Spice Girls of classical music” – though just how “classical” they are is debatable.

With their string arrangement of two violins, viola and cello – albeit electrified – they make highly produced, eclectic music: part techno, part salsa, part gypsy. Their music is all new – not a Beethoven opus in the bunch.

When their debut album, “Born,” bowed last fall in the U.K., it hit No. 2 on the classical charts. But a week later, the chart’s compilers yanked it from the classical list because it had a dance beat. There’s even been talk that the album cover originally featured the foursome nude.

The Post recently caught up with the neoclassical quartet – Australians Haylie Ecker (first violin) and Tania Davis (viola), Wales’ Eos Chater (second violin) and England’s Gay-Yee Westerhoff (cello) at Manhattan’s Hudson Hotel. Considering they’d been up since 4 a.m. that day making the rounds to launch their CD here, they were surprisingly lively.

Q. Are you all in your 20s?

Haylie: Actually, I’m in my 40s. At least, that’s how old I feel today.

Tania: It’s all Botox, really.

Q. What are you, really – musically speaking?

Eos: It’s music without boundaries . . . The whole thing about being Bond is doing new stuff. I don’t think we’re ever going to be performing Brahms and Mozart, ’cause that’s not what we’re about.

Q. Were you upset when your album was dropped from the classical charts?

Gay-Yee: Yeah, at first. We were surprised. They said we weren’t classical enough, and yet there’s things like “Pavarotti and Friends” – Savage Garden and Aqua – and film scores like “Titanic” on there. It’s so contradictory. A string quartet belongs to a classical medium. But in the end, they did us a huge favor. They sort of catapulted us into the public eye.

Haylie: The irony is, we’re actually performing with Pavarotti and Friends – and we’re the opening act of the classical Brit awards at Royal Albert Hall.

Q. You play with dance beats. What would Brahms say?

Haylie: I don’t know. He’s not around anymore. He’s dead.

Tania: I read that Brahms played piano in a brothel when he was 12, so it would take a lot to shock him.

Gay-Yee: More than a naked picture, certainly.

Q. Speaking of naked – what’s this about posing nude for your album cover?

(Sighs and giggles.)

Eos: We did a photo shoot for The Daily Mail and because the album was called “Born,” we thought we’d sit like this. (Arms folded around her chest.)

Haylie: We weren’t really naked; we were in white body suits. But then we thought, people will get the wrong idea. It’s not the right image.

Tania: Meanwhile, a tabloid in Britain found the picture and it’s everywhere. Oh, well.

Q. How much is your success due to your looks?

Gay-Yee: Obviously, the visual part is the first point of contact. But it’s the music that counts. You can’t perform live and get by just on looks alone . . .

Eos: I bet if we were four 50-year-old men, it wouldn’t even be an issue.

Haylie: It would be if they were wearing sequins.

Q. Ten years from now, will you still be performing in halters and sequins?

Gay-Yee:We might go grunge by then – or wear overalls with babies on our back. Actually, we’re packin’ in the sequins.

Haylie: The good things about sequins is that if they get dirty, you can’t tell.

Tania: That’s the great thing about unnatural fabrics.