Tomorrow is the day The Sunset Violent will finally be out in the world, how are you feeling?

Dom: We are very excited about it. Later tonight we’ll have a listening party with a few friends but it’s still all quite surreal when it finally comes down to the album release day, and it’s always a special feeling. It marks the beginning of an exciting and active time for us. So, yes, we are pumped up and very excited. We’re just gonna have some beers and, and take a second to actually, like, I don’t know, enjoy it. 

This is the first record produced by the new Mount Kimbie. Did that feel different, writing and recording with Marc and Andrea officially on board? 

Kai: It didn’t feel completely new, as Marc and Andrea previously worked with us on Love What Survives live adaptation and tour. We performed together for several years, morphing the songs from previous albums into something quite different on stage, imbuing them with a different energy. The Sunset Violent is really the result of those years of collaborating with Marc and Andrea and performing extensively on stage. It’s been a gradual process, it didn’t happen overnight..but we feel fortunate to work with them because we have been able to develop excellent chemistry as a group –each of us brings something different and complementary to the table, Marc and Andrea have unique perspectives on music that blend well with ours, and together we’ve developed a shared language that works seamlessly for us.

I mean, over these seven years, both of you experimented and pursued your own mediums —Kai with DJing and electronic music, and Dom with producing in more classically-mainstream environments, while Andrea is a trained classical composer, and Marc has vast experience as a sound designer. What felt particularly interesting to me was the record’s cohesiveness despite coming from such a diverse set of experiences and possibly very different musical inputs. You just mentioned a shared language: How did you manage to find it?

D: We’ve been unable to get into the same room together for quite a few years, because of COVID, travel restrictions, US Visa issues, and all that kind of stuff. So there was a lot of outside interference happening. Finally, when all the outside-noise ceased, we found a moment to do a short but very focused writing session. I guess we kind of rolled the dice a little bit with it, we weren’t sure if it was going to work, we were wondering if maybe we just didn’t have anything to say together anymore, or maybe our paths weren’t crossing in a certain way anymore..so we traveled to the desert with an open mind and, as with our previous records, everything started falling into place. We both became excited about guitars as a primary focus, Kai sending me riffs and me focusing on writing lyrics and vocal melodies on top of those. We spent about five to six weeks in the desert, just churning out initial sketches and ideas without a specific goal in mind. Kai returned to England and shared with Marc and Andrea the material we produced. They rented a studio intending to refine and re-record the demos with better equipment, but the essence of the demos was lost in the process, so I would fly over for extended periods, and we’d work tirelessly on the album day in and day out. Gradually, the album took shape and gained cohesion. We brought in Andrea and Marc as needed and also worked at Press Play in South London, Andy Ramsey’s studio. These sessions were insightful. Dilip Harris served as the executive producer, guiding us with optimism and openness, curating our ideas. From there, the record neared completion.

It’s interesting that you were initially dubious that you’d be able to find a way of meeting each other again, artistically, after both have branched-out. In some ways The Sunset Violent feels close to Love What Survives but in some other ways, it goes very much beyond that and how it sonically played out. Were there elements that you consciously wanted to keep of what Mount Kimbie has been up until this point for a record that still signals a new era for the project? And, conversely, what were some things that maybe you wanted to leave out and move past?

D: We always consider the elements we want to retain from record to record. Over the years, we’ve noticed that finished pieces often have a certain characteristic that sounds like us. While we may attempt to move away from it, there are aspects that always seem to come back. With Love What Survives, I was particularly drawn to 80s influences in production, such as cold wave and post-punk aesthetics, an interest carried into our latest record. However, there was a significant shift in our approach to songwriting. Previously, I focused on production first, letting the songs emerge naturally. This time, we started with the songs themselves and made production decisions afterward. During the demo phase, we used limited equipment like the Linndrum and a Casio CZ 1000 synth. The idea was to ensure the songs stood strong on their own, with production details to be refined later. Surprisingly, the sounds we created in the desert became the backbone of the record. While we intended to replace them later, we found the simplicity of the equipment appealing. This approach resulted in a different type of record, although it still fits within our sonic journey.

It feels like a very warm record, at least to me, which I think is characteristic of Mount Kimbie’s sound. I’d say that, after revisiting your entire catalog, I find a consistent warmth and melancholy in our sound, accompanied by a tenderness underlying it all –But maybe it’s just my personal interpretation. Did you ever think about what defines your style and sound, after 15 years of career, or are you really not that much preoccupied with it?

K: I don’t think we consciously think about style in that way. It emerges from the decisions we make, sure, but it’s not pre-planned. You’re right about the feeling of tenderness in our music; it seems to come through regardless of our intentions. Generally, when you’re working on something, feeling surprised or even slightly embarrassed about what comes out can be a sign that you’re expressing your true self. It’s like you don’t have a choice in what you put out; certain pieces just resonate on a deeper level. It’s akin to describing your personality or appearance—it’s something that develops naturally over time.

Yeah, I get it, It’s something you can’t really control, in a way. And were there, particularly from a lyrical standpoint, any specific influences shaping the songs? Did you aim for an overarching narrative, or were you going for more of a freeform approach?

D: It was definitely more freeform. Each song and instrumental piece inspired something different, I let the music dictate the direction, while drawing inspiration from short stories, something I’ve been obsessing over lately. One particular influence was the lyrics of “Where Is My Mind” by the Pixies. I always loved the song, but never paid much attention to the lyrics until I read an interview where they described a scene of scuba diving in the Caribbean. There was something about the simplicity and playfulness of describing a scene that resonated with me. It helped me realize that I was overthinking my approach and inspired me to be more playful with my words. Naturally, many of the more emotional lyrics are more personal, reflecting the struggle to find happiness and maintain stability in life, touching on aspects of my upbringing and personal growth. Overall I’d say I went for vivid imagery and painting a picture with as few words as possible.

Another interesting narrative element are the visuals accompanying each single release. You’ve always collaborated with various artists across different mediums, including past collaborations with Tom Shannon, or the ever-evolving collaboration with Frank & Tyrone Lebon. Are visual elements an integral part of the Mount Kimbie world-building and storytelling? 

D: Every visual project we’ve undertaken has involved placing our trust in talented artists we believe in. The directors we collaborate with are highly accomplished and have a wealth of incredible work behind them. Duncan [Loudon], the Lebon brothers, are deeply embedded in a network of creative individuals they trust. Tegen [Williams], who worked on the “Fishbrain” visual, and Duncan, who created our latest “Shipwreck“ visual, are examples of this. We have full confidence in their abilities, knowing whatever they produce will be exceptional. Tegen, in particular, had to work under tight deadlines, yet managed to produce incredible work with intricate charcoal drawings. She brought her own unique vision to the project, taking it in directions we had never imagined. This is precisely what we hope for from the creative collaborators we engage with—a fresh perspective and interpretation of our ideas.

K: The beauty of working with smaller budgets is that the quality of each person’s contribution becomes more apparent. Great work doesn’t necessarily require a large budget; it stems from good ideas. While ample funding can sometimes compensate for a lack of creativity, without good ideas, you’re at a disadvantage. Everyone we collaborate with is motivated by a genuine interest in the work rather than financial gain. We typically work until we feel we’ve created something compelling, then reflect on the overarching themes of the project: Through conversations with our collaborators, we uncover surprising elements that enrich the story.

And how are you guys approaching the upcoming tour? Prepping something special?

D: I mean, in a similar vein with what we’ve been doing with the videos, we’re collaborating with Duncan on something special for the stage. We’ve just finished four weeks of rehearsals as a band, and we recently did a pretty terrifying live session two days ago. It was our first time performing live as a five-piece, playing the new songs, and it went really well. It was a high-pressure situation, but we came through. We’re always focused on the music, but we also have this exciting project with Duncan that I won’t spoil.

K: Shipwreck’s video itself was a result of our discussions with Duncan about stage design. We’ve been closely working together on stage setups, tackling budget constraints and logistical limitations.. And I gotta say we’ve arrived at an exciting concept that we’re eager to bring on the road –It complements the music and the album’s themes well. You can find some hints in the Shipwreck video, as both are part of the same conversation.

The way you approach things feels extremely personal yet open..

D: It’s like having a good conversation with a friend –Sometimes, you allow yourself to realise things that have been there all along. For us it’s always been like that: You need to have a back-and-forth for things to reveal themselves.