Matthew Dear

MATTHEW DEAR (Ghostly International, Spectral Sound / US)

デトロイトを拠点に活躍する鬼才、MATTHEW DEAR(マシュー・ディア)。世界的に著名なレーベル<Gohstly International>とそのダンスフロアオフシュート<Spectral Sound>の設立者としても知られる彼は、“Matthew Dear”の他に、フロアライクな”Audion”、スピリチュアル系の”False”、ハウス系”Jabberjaw”の4つの名義を使い分け、テクノシーンのみならずハウス界でも大ヒットを連発している稀代のDJ/プロデューサーであり、リミキサーとしても、The Chemical BrothersやThe XX、Charlotte Gainsbourg、Spoon、Hot Chip、The Postal Serviceらの作品を手がけている。さらに、エクスペリメンタルなポップアーティスト、3ピースライブバンド”Matthew Dears Big Hands”のリーダーとしての顔も持つなど、マルチな才能を発揮し続けているシーン随一の才人だ。米国の次世代ベストテクノアーティストとして名を馳せ、これまでに5枚のアルバムを発表。そのどれもがPitchforkやRolling Stone、NY Timesなどの有力メディアで高評価を獲得。XLR8Rでは「Artist of the Year」に輝き、CMJ RPM Chartでは13週連続チャートインの快挙を果たし、Pitchforkの「Top 100 Songs of the Decade」にも選出される。また革新的なDJパフォーマンスにも定評があり、Get Physicalの『Body Language』や名門ミックスシリーズ『Fabric』、そして今年2月には!K7の看板シリーズ『DJ-Kicks』にも登場して世界中で絶賛された。ジャンルに囚われず常に新たな傑作をクリエイトしてきた時代の寵児、MATTHEW DEAR。実に6年ぶりとなる貴重な来日公演を絶対にお見逃しなく。


Depending on whom you ask, Matthew Dear is a DJ, a dance-music producer, an experimental pop artist, a bandleader. He co-founded both Ghostly International and its dancefloor offshoot, Spectral Sound. He’s had remixes commissioned by The XX, Charlotte Gainsbourg, Spoon, Hot Chip, The Postal Service, and Chemical Brothers; he’s made mixes for Get Physicals 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 and he’s just hitting his stride.

Matthew 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 Heavens 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 Dears 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. Matthew Dear’s latest full-length, 2012’s Beams, is both a drastic departure from and worthy successor to Black City’s gothic masterwork. A suite of weird, wild, and queasily optimistic rhythm-driven pop songs, Beams is the latest chapter in the continuing evolution of one of music’s most fascinating minds. After over a decade of exploring pops outer limits, Matthew Dear now inhabits 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. Now is Matthew Dear’s moment, and it sounds like nothing else.