The Drums - Me And The Moon (Matthew Dear Remix) music video

THE DRUMS ( thedrums.com/ )

Jonathan Pierce and Jacob Graham met at summer camp when they were children and have been best friends ever since. Soon after their initial meeting, they formed Goat Explosion and toured extensively in North America during their teenage years. Around 2003, Jonathan and Adam Kessler formed Elkland. In the meantime, Jacob formed a band called HORSE SHOES (Shelflife Records). Jonathan ultimately decided to take a few years off from writing music after becoming disillusioned with the music business and parted ways with Elkland in 2005.

Jacob and Jonathan started a band. The Drums were formed in late 2006. Relocating to New York, The Drums added former Elkland guitarist Adam Kessler on second guitar and NYC born drummer Connor Hanwick (formerly of lo-fi teen pop duo Cape Of No Hope) to the line up and set up a month long residency at a small club on the lower east side of Manhattan.

As of September 2010, guitarist Adam Kessler has left the band.
http://wearethedrums.com

MATTHEW DEAR ( http://www.matthewdear.com/ )

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 The Chemical Brothers; he's made mixes for the Fabric mix series and Get Physical's Body Language. 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 Ghostly 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. Dear's 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 (Q and Mojo magazines), and Dear subsequently began touring with a live three-piece band, Matthew Dear's Big Hands, in which he acted as frontman, commanding the stage with a Bryan Ferry-like swagger and a gentleman's grace.

Today, Matthew Dear finds himself in a unique position. His highly anticipated fourth album, 2010's Black City, is the culmination of years of hard work and experimentation, a darkly playful sound-world that envelops the listener like the arms of a malevolent lover. After over a decade of exploring pop's outer limits, Matthew Dear now inhabits a rarefied 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.