The Berlin Chapter: Paul Banks Unveils Secret Collaboration with Liars’ Aaron Hemphill

Interpol frontman Paul Banks has officially pulled back the curtain on a project that has been quietly gestating in the German capital for the past three years. In a revealing new interview with The Berliner, the singer and guitarist confirmed he is currently finalizing an album with a newly formed, as-yet-unnamed band that features Aaron Hemphill, formerly of the experimental rock outfit Liars.

For fans of Banks’ brooding, post-punk sensibilities, the news marks a significant departure from his primary work with Interpol. While the Interpol machine continues to churn—most recently with the release of their critically acclaimed record This Mirror Weighs A Ton—Banks’ life in Berlin has fostered a new, more intimate creative environment. The project, which Banks jokingly refers to as his "Berlin Project," stands as a testament to the city’s enduring role as a global epicenter for musical reinvention.

The Genesis of a New Sound: Facts and Collaborators

The project is far from a whimsical jam session. Banks describes it as a deliberate, three-year labor of love that has evolved alongside his transition to life as a Berlin resident. While the band currently lacks a formal label, the foundation of the music is solidified.

The lineup is a curious blend of artistic pedigree and personal connection. Beyond Hemphill—whose work with Liars defined a generation of art-punk innovation—the trio is completed by London-based musician Raife Burchell. The connection between Banks and Burchell is perhaps the most unconventional aspect of the project’s origin story: the two met in a boxing gym.

"I’ve been working on that a lot, and it’s been a big part of my music journey in Berlin," Banks noted during his conversation with The Berliner. "Hopefully, there’ll be a record out next year."

For Banks, the inclusion of Hemphill is particularly significant. The two have shared a mutual respect since 2004, when Liars toured alongside Interpol during the early, white-hot peak of the New York post-punk revival. Beyond the technical brilliance that Banks attributes to Hemphill—whom he describes as "one of the coolest guys I’ve ever seen with a guitar"—the relationship has transcended the professional. Hemphill, a long-term Berlin transplant, served as a mentor of sorts for Banks, helping him navigate the administrative and logistical hurdles of German life, from securing health insurance to understanding the nuances of the city’s social fabric.

A Chronology of Creative Diversification

Paul Banks’ career has never been defined by a single lane. Since Interpol broke into the mainstream with the seminal 2002 album Turn on the Bright Lights, Banks has consistently sought outlets to explore textures outside the band’s signature dark-wave aesthetic.

2009: The Julian Plenti Era

Banks’ first major foray into solo territory came under the moniker "Julian Plenti." His debut album, Julian Plenti Is… Skyscraper, allowed him to showcase a more theatrical, song-oriented side of his writing, distancing himself from the rigid, driving rhythms of Interpol.

2012: The Self-Titled Return

By 2012, the "Julian Plenti" moniker was retired in favor of his own name. The release of the album Banks marked a more direct, introspective phase of his solo career. It was a record that felt deeply personal, stripped of the pressure that comes with the "Interpol" brand.

2020: The Muzz Supergroup

The formation of Muzz—a trio featuring producer Josh Kaufman and The Walkmen’s Matt Barrick—proved that Banks thrived in collaborative, low-pressure environments. The project’s 2020 self-titled debut was lauded for its nuanced arrangements and experimental folk-rock leanings, solidifying Banks’ reputation as a versatile collaborator who can adapt his voice to various sonic landscapes.

2024–2025: The Berlin Transition

Having officially moved to Berlin, Banks began the long-term process of building his current project. This era is defined by a shift from the high-octane environment of New York City to the more atmospheric, introspective, and "urban-injected" culture of Berlin.

Berlin as a Crucible: An Urban Injection

Banks’ move to Berlin has not just provided a setting for his new band; it has fundamentally altered his creative process. While the heavy lifting of Interpol’s This Mirror Weighs A Ton was done in New York, the lyrical refinement occurred entirely in Germany.

"I do a lot of lyric-writing in Berlin; refining a lot of the nebulous ideas that we jammed," Banks explained. He admits that his perception of the city has evolved. Initially drawn to the edgy, Mad Max-esque aesthetic of the early 2000s, he now finds himself in a quieter, more domestic pocket of the city.

"Now I’m not really plugged in to that Berghain-y hipster aspect of it and where I live is more young families," he says. "But it still gives me that urban injection. It still feels like enough of a cultural hub that I get the inspiration of fashion and young people."

This "urban injection" appears to be the primary fuel for his latest output. By removing himself from the immediate, high-pressure orbit of the American music industry, Banks has created a vacuum that he is now filling with sounds born from his surroundings in Berlin—a city that continues to demand excellence from those who choose to call it home.

Supporting Data: The State of the Industry

The music industry has shifted dramatically toward the "side-project" model in recent years, with artists frequently leveraging collaborative efforts to sustain creative momentum during gaps in their primary band’s touring cycles.

• The Collaborative Shift: Industry data suggests that artists who engage in multi-project careers often see increased longevity. By pivoting to new collaborators like Hemphill, Banks avoids the creative stagnation that can plague long-running bands.
• Economic Realities: The recent cancellation of Interpol’s December shows at Olympia London, attributed to "unforeseen planning issues," underscores the volatility of the current touring market. For artists, having multiple revenue streams and creative outlets—like a new, independent record—is increasingly vital to maintaining a sustainable career in an era of unpredictable tour logistics.
• Critical Reception: The success of This Mirror Weighs A Ton, which NME described as a "no-skips" record and arguably the band’s most consistent work since Antics, proves that Banks’ extracurricular activities have not diluted his focus. On the contrary, the "experimental effort" injected into Interpol’s latest work appears to be bolstered by his diverse side projects.

Implications: What to Expect Next

The primary implication of this announcement is that Paul Banks is entering a new, prolific phase of his career. By partnering with a figure as respected as Aaron Hemphill, he signals a commitment to a sound that will likely be more experimental than his mainstream work.

Furthermore, the lack of a current record label suggests that the trio is retaining complete creative control. This is a significant move for an artist of Banks’ stature, who could easily secure a major-label deal. By keeping the project independent, they ensure that the output remains untainted by commercial mandates.

As fans await the official debut, the buzz surrounding the project serves as a reminder of the power of the "Berlin scene." Whether this project results in a single EP or a multi-album cycle, the collaboration between the post-punk icon and the experimental pioneer is undoubtedly one of the most anticipated developments in indie music for the coming year.

For now, the project remains a "Berlin Project"—a work in progress that encapsulates the evolution of a musician who, despite decades of success, remains hungry for the challenge of the unknown.