INTERPOL

Interpol began in New York in 1997, when guitarist Daniel Kessler recruited bassist Carlos Dengler and singer/guitarist Paul Banks to form a band. In 2002, with Sam Fogarino on drums, the band signed to Matador records and released Turn On The Bright Lights, which made it to 10th position on NME’s list of 2002’s top releases and Pitchfork named it the year’s #1 album.

Over the next decade and a half Interpol would go on to wide critical and commercial acclaim, with five subsequent high charting records on the Billboard 200; earning rave reviews across the map from Rolling Stone to TIME; performing on late night television shows including the Late Late show with David Letterman and Conan and playing major festivals like Coachella and Glastonbury and headlining Mexico’s Corona Capital.

The band (Banks, Kessler and Fogarino) have just finished recording their latest studio album with legendary production duo Flood & Moulder, due for release through Matador Records, worldwide, in 2022.

Tycho — the Grammy-nominated electronic music project led by primary composer Scott Hansen — unveils a wholly new iteration of sound with the release of their fifth studio album, Weather, via Mom + Pop Music x Ninja Tune.

The highly anticipated release follows 2016’s Epoch and diverges markedly from Tycho’s previous output with the introduction of vocal led tracks, while still maintaining the foundation of Hansen’s signature sound. New collaborator Hannah Cottrell, aka Saint Sinner, lends her voice to multiple tracks on the record and will join Tycho’s live band for the Weather World Tour.

“When setting out to record Weather, I wanted to finally fulfill what had been a vision of mine since the beginning: to incorporate the most organic instrument of all, the human voice,” says Hansen. “I met Hannah Cottrell, and the vocal component of the album immediately came into focus. Her vision folded effortlessly into mine and her voice integrated seamlessly into the sonic landscape, opening new spaces for me as a songwriter and producer.”

In many ways, Weather is the culmination of Tycho’s career as a whole – each prior step taken with intention to land on this new creative ground. The past 13 years have seen Tycho evolve from a part-time solo project of a graphic designer into a massively successful and world touring live band.

Longtime collaborators Zac Brown (bass/guitar) and Rory O’Connor (drums) along with touring member Billy Kim (keyboards/guitar/bass) will join Hansen on the Weather World Tour. Saint Sinner will also join the live band on all dates as the first touring vocalist with Tycho. Weather intends to reveal a more human side to the live show with the new energy of a vocalist.

Matthew Dear is a shapeshifter, oscillating seamlessly between DJ, dance-music producer, and experimental pop auteur. He is a founding artist on both Ghostly International and its dancefloor offshoot, Spectral Sound. He writes, produces, and mixes all of his work. He’s had remixes commissioned by The XX, Charlotte Gainsbourg, Spoon, Hot Chip, The Postal Service, and Chemical Brothers; he’s made mixes for DJ Kicks, Get Physical’s Body Language, and Fabric mix series. He maintains four aliases (Audion, False, Jabberjaw, and Matthew Dear), each with its own style and distinct visual identity. He straddles multiple musical worlds and belongs to none, now nearly 20 years into his kaleidoscopic career, with five albums and two dozen EPs plus millions of miles in the rearview of his biography.

Dear’s 2003 full-length debut, Leave Luck to Heaven, is a suite of sparse, wickedly funky house laced with Dear’s deep, distinctive vocals, and includes the much-loved single “Dog Days” (voted one of Pitchfork’s Top 100 Songs of the Decade). The record was met with rapturous acclaim from both the dance-music establishment and the critical press, including a four-star review in Rolling Stone. The 2007 follow-up, Asa Breed, is a considerable departure from Heaven’s dancefloor excursions, incorporating the polyrhythms of Afrobeat, the irreverent pop sensibilities of Brian Eno, and the austere beauty of Krautrock. More four-stars reviews followed, and Dear subsequently began touring with a live three-piece band, Matthew Dear’s Big Hands, in which Dear acted as frontman, commanding the stage with a Bryan Ferry-like swagger and a gentleman’s grace.

2010 saw the release of Dear’s watershed third album, Black City, a darkly playful sound-world that envelops the listener like the arms of a malevolent lover. Black City was met with near-unanimous critical praise, earning top marks from Mojo, Uncut, Q, URB, and the Village Voice, ending up on countless year-end lists, and earning Pitchfork’s coveted Best New Music nod. A worldwide tour followed, in which Dear and a newly expanded band continued to hone their live chops with vicious focus, as well as a remix EP in 2011 and a run of live dates with Interpol.

In 2012, Dear released Beams, a collection of weird and wild rhythm-driven pop songs. Equal parts optimistic and uneasy, it was both a drastic departure from and a worthy successor to Black City’s gothic masterwork. “A forward-looking moment that also serves as the closing on the latest chapter in Dear’s evolution,” said Resident Advisor in their 4.0/5 review. Over the next five years, Dear would tour internationally with Depeche Mode and Hot Chip, DJ and release music under his Audion alias, and embrace a life of studio tinkering and family time back home. He also accepted a lecturing position at the University of Michigan School of Music and explored creative partnerships with General Electric (a music experiment sampling thousands of their machines, bundled by BitTorrent) and Microsoft (a Cannes Lions award-winning installation called DELQA, premiered at New Museum).

In the summer of 2017, he shared two slyly different singles under his own name: the moody, urgent “Modafinil Blues” and the buoyant, blithe, Tegan and Sara-featuring “Bad Ones.” Next came a tour with MGMT and the announcement of Bunny — his fifth full-length released October 2018 — which follows both modes, among others, parading down a rabbit hole of unhinged phrasings, dreams, and interludes. A dual vision of avant-pop; an artistic reckoning from a 21st-century polymath; persona splintered, paradox paraphrased, a riddle rendered. Bunny further confirms that Dear occupies a rarified corner of the musical universe: no longer tethered to any one genre, respected by his peers, and blessed with a bottomless well of creative energy.