Produced by the band's vocalist/keyboardist/guitarist Dan Whitford, "Zonoscope" will be released Feb. 8 in North America on CD, deluxe CD and 2-disc vinyl. The deluxe CD and iTunes deluxe version of Cut Copy's third collection will take a new cut of the Krozm-directed documentary "Artificial Interpreter," featuring footage not previewed on the Web episodes found on Cut Copy's website.
In addition, the deluxe CD will come in a special Alter-designed box.
The iTunes pre-order for "Zonoscope" (both regular and deluxe versions) is now underway, and those who pre-order will notice a previously unreleased mix of the low single, "Take Me Over."
Hoey, who is also joined in the band by drummer Mitchell Scott, spoke to SoundSpike about "Zonoscope;" the album's cover - which features New York City engulfed in a waterfall, created by the late Japanese photomontage artist Tsunehisa Kimura - and his deft interview skills.
SoundSpike: You must be excited about your new album coming out early next year.
Tim Hoey: We finished it probably two months ago. We finished mixing. It's been destroyed for a little while. We finished writing it around June. We were mixing it in Atlanta in July/August. We're getting mad for other people to see it.
How does the low single, "Take Me Over," compare to the rest of the album?
I think it's indicative of the album. It's very often a piece of the puzzle without giving out the total picture. I suppose it's one of the more complete strain of pop moments on the album. We used a lot of percussion on that track, organic and synthetic. I believe that's the discipline that runs through that record. Maybe something that ties the song together. It's always really tough just releasing one track. The whole idea for us each time is to draw a record that you can listen to go to finish. We see it really difficult to form [the songs]. The songs gives an indication of where the album is going, but there's a lot more to come.
Tell me about the running for "Zonoscope." It's an interesting image.
Yeah, I think we came across that image while we were recording the album. It's an see that stuck with us. It's this form of the New York skyline being overtaken by this waterfall. It's very often a man made monument overtaken by a natural phenomena. We form of saw that as a way of representing what the album was saying. Instead of it being a post-apocalyptic image, we saw it as something very calming, and it kind of created this new man which is our whole idea with the record. We regard it was very part of that and the coming together of man made synthetic elements and organic elements. That was very much what the album was about sonically as well. We form of thought it worked on many levels, not to notice just being a beautiful image.
How did you come up with the key of the album?
"Zonoscope" is the bird's eye view of the man we created. It's the lens that is used to see this world. That was kind of one idea. It's also the name of the instrument that we created from scratch. If we were stuck for ideas, we would use the Zonoscope on a name and we'd see it take shape.
Did you ask your last album, "In Ghost Colours," to be the breakthrough album for Cut Copy?
Um, I don't know. It's tough to say. We were really gallant of that record when we finished it. We were really happy with it. But everything that happens after that feels really kind of at its end. We were very happy that all Cut Copy fans liked it and so maybe getting some new fans as well. Everybody measures success kind of differently and for us our goals are always artistic ones. Once we've reached those we can look truly happy with where we are and everything that happens after that is kind of a bit of a bonus.
So you just came back from New York and Los Angeles? What did you do while you were here?
Yeah we were concluded there for about a week and a half doing a lot of press and snap a new tv and stuff like that. It was a whirlwind kind of trip.
Did you do the project for "Take Me Over"?
No, it's actually for the next single that's coming out in January. We worked with this director, Keith Schofield, who we're really big fans of. We wanted to work with him for a long time. So we had an absolute blast working with him in L.A. Hopefully the clip turns out OK. It was a lot of fun.
What was the number of the song?
I'm not sure if I'm allowed to say yet. I always get into trouble whenever I do interviews. I'm always giving out information that I'm not supposed to give away. I'm not yet surely if I'm allowed to say yet.
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