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TIPA TIPO
Arquetipas (Bit Rosie)
Add date: 10.13.2026
Release date: 10.2.2026
Links:
Apple Music
Bandcamp
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Official Website
Spotify
Tidal
TikTok
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Tipa Tipo thrive on color. The brighter, the bolder, the better. When they take the stage, they sport vivid outfits: jumpsuits in neon pink or iridescent yellow or a distinctive shade of turquoise. And when they release new music, whether it’s a single or a full album, they devise a specific palette to accompany their percolating rhythms and breezy melodies. And in their music they evoke the very colors that inspired them. “Prisma”–which kicks off their second album, the scintillating Arquetipas–burbles with celebratory abandon, full of intersecting rhythms and melodies that act synesthetically. “I wanted the song to feel like the gemstones exhibit at the Natural History Museum,” says Adele Fournet, who sings, plays keyboards, writes, and co-produces. “I wanted to play with the idea of prisms and light refracting into color. Sometimes I feel like I’m walking around in a grayscale world, and I want a rainbow. That’s what we’re trying to do in Tipa Tipo and with Arquetipas.”
“I’m attracted to colors the way I’m attracted to sounds, so it feels like a personal statement in a way,” says Felipe Wurst, who sings, plays guitar, writes, and co-produces. “The kind of masculinity I learned growing up was very much muted and low-profile, so color represents a freedom from that. Like music, it introduces you to different ways of thinking about life and showing different sides of yourself.”
Arquetipas, the group’s second full-length, is an explosion of vibrant hues, luminous melodies, and lively grooves. Marrying South American and North American musical languages—cumbia, salsa, and samba, but also soft rock and New Wave—it’s a thrilling collision of sounds and personalities and ideas about how music can operate in a black-and-white world. Tipa Tipo reinvent themselves on every song, constantly pushing at the boundaries of their sound to find new gradients.“Each song has a different way of mixing sounds and colors,” says Fournet. “We’re trying to bring our entire musical world together into a single object.”
After meeting and forming a band together in Peru—where Wurst was born and raised and where Fournet was doing fieldwork in ethnomusicology—the couple moved to Brooklyn, where Tipa Tipo first came to life with the addition of drummer Jordan Leong Auber. Thanks to a series of imaginative singles and EPs and their 2024 debut album, Cintas, the trio earned high praise from Bandcamp Daily, Paste, and Peru’s Rock Achorao. KEXP praised their “intoxicating tropical yacht rock” and “spellbinding rhythms, infectious pop hooks and endless grooves.” In 2024 the couple moved to Bloomington, Indiana, where Fournet is a professor of music production and Wurst is the studio manager and one of the engineers at the legendary studio Russian Recording.
At every stop along the way they’ve picked up new ideas and new sounds, all with an ear toward making people move their bodies and their minds in equal measure. “The previous album was disco cumbia,” says Fournet. “With this one we wanted to have a little more openness in the hybridizing, bringing in different influences and even different players and not being quite so clinical about it. We tried to be more open with the parameters. What is the song asking for?” They recorded Arquetipas back in Brooklyn, camping out at two studios—Yellow Studios and Honey Jar Studios—that each informed the album in different ways. “It feels like you can hear the different studios in the different songs,” says Fournet. “I’ve heard people say the studio is another instrument or like another player in the band. We’re definitely one of those bands. The studio is always informing the sound.”
She and Wurst brought two very different approaches to these sessions. “My approach can be very structured, and Felipe’s is very oriented in groove,” says Fournet. “I also have to feel the groove, but I’m a little more about the broad strokes and finding a path forward. We meet in the middle.” She will often let the lyrical themes guide her production choices, such as on the salsa-shaded closer “Boyfriend Island” and the worried-yet-hopeful “My Country Se Come Vivo.” The latter came out of a classroom writing exercise: “I told my students they had to write a song that didn’t use any instruments playing chords in the arrangement, and I wrote this song as a demonstration for them. This was back when the protests were happening in Minnesota. Everything was so politically fraught, and it still is. But even in popular music there’s a need to be able to say what we really think.”
Wurst, by contrast, often starts by finding sounds that grab his attention and grooves that move him before worrying about what the song is about. “Objetos del Pasado” started with Wurst playing drums and trying to distort the sound in the studio. When the Space Echo unit glitched, he not only kept the mistake but built the song up around it. “It created this squeezing accordion sound, so I created a vocal effect to mimic that. I always try to find some twist to tickle my brain.” The song formed organically from there, eventually revealing itself as an ode to artifacts from other times and places, whether they’re personal heirlooms or just old records. “We sound like a scratched CD on that song,” exclaims Fournet. “We actually found the sound of what we’re trying to say in the lyrics. I live for that kind of production moment.”
Fournet and Wurst have learned, over time, to give each other that space to explore, even if it makes them uncomfortable. “No Me Fui,” a gently ruminative bossa nova number, shows how much goes into balancing their musical and romantic partnership, with Wurst singing about lovers out of synch and possibly out of time: “Así encuentre la razón, tu ya me miras con nostalgia,” he sings somberly. (“Even if I find the reason, you’re still looking at me with nostalgia.”). Can he remain present tense for her, or will his color fade? “Adele and I were having some moments of tension in our relationship, and it made me wonder if we could ever solve our differences,” he says. “So I wrote this song to say, No me fui, pero me perdí. ‘I didn’t leave, I just got lost.’ I feel like a lot of my songs are about our relationship, and they let me say what I need to say to Adele. This feels more honest than just saying the words.”
That is the very nature of Tipa Tipo: the idea that music can clear away the emotional clutter and speak directly and honestly. As bright and colorful as their music sounds, their songs work in complex shades of emotion. “It’s hard to have space that isn’t impacted by everything that’s happening in the world,” says Fournet. “We often play with that duality, where we’re talking about dark material but the music is maybe more optimistic. Does it make my body move? At the end of the day it has to feel authentic to us, and honest and groovy.”
Apple Music
Bandcamp
Official Website
Spotify
Tidal
TikTok
YouTube
Tipa Tipo thrive on color. The brighter, the bolder, the better. When they take the stage, they sport vivid outfits: jumpsuits in neon pink or iridescent yellow or a distinctive shade of turquoise. And when they release new music, whether it’s a single or a full album, they devise a specific palette to accompany their percolating rhythms and breezy melodies. And in their music they evoke the very colors that inspired them. “Prisma”–which kicks off their second album, the scintillating Arquetipas–burbles with celebratory abandon, full of intersecting rhythms and melodies that act synesthetically. “I wanted the song to feel like the gemstones exhibit at the Natural History Museum,” says Adele Fournet, who sings, plays keyboards, writes, and co-produces. “I wanted to play with the idea of prisms and light refracting into color. Sometimes I feel like I’m walking around in a grayscale world, and I want a rainbow. That’s what we’re trying to do in Tipa Tipo and with Arquetipas.”
“I’m attracted to colors the way I’m attracted to sounds, so it feels like a personal statement in a way,” says Felipe Wurst, who sings, plays guitar, writes, and co-produces. “The kind of masculinity I learned growing up was very much muted and low-profile, so color represents a freedom from that. Like music, it introduces you to different ways of thinking about life and showing different sides of yourself.”
Arquetipas, the group’s second full-length, is an explosion of vibrant hues, luminous melodies, and lively grooves. Marrying South American and North American musical languages—cumbia, salsa, and samba, but also soft rock and New Wave—it’s a thrilling collision of sounds and personalities and ideas about how music can operate in a black-and-white world. Tipa Tipo reinvent themselves on every song, constantly pushing at the boundaries of their sound to find new gradients.“Each song has a different way of mixing sounds and colors,” says Fournet. “We’re trying to bring our entire musical world together into a single object.”
After meeting and forming a band together in Peru—where Wurst was born and raised and where Fournet was doing fieldwork in ethnomusicology—the couple moved to Brooklyn, where Tipa Tipo first came to life with the addition of drummer Jordan Leong Auber. Thanks to a series of imaginative singles and EPs and their 2024 debut album, Cintas, the trio earned high praise from Bandcamp Daily, Paste, and Peru’s Rock Achorao. KEXP praised their “intoxicating tropical yacht rock” and “spellbinding rhythms, infectious pop hooks and endless grooves.” In 2024 the couple moved to Bloomington, Indiana, where Fournet is a professor of music production and Wurst is the studio manager and one of the engineers at the legendary studio Russian Recording.
At every stop along the way they’ve picked up new ideas and new sounds, all with an ear toward making people move their bodies and their minds in equal measure. “The previous album was disco cumbia,” says Fournet. “With this one we wanted to have a little more openness in the hybridizing, bringing in different influences and even different players and not being quite so clinical about it. We tried to be more open with the parameters. What is the song asking for?” They recorded Arquetipas back in Brooklyn, camping out at two studios—Yellow Studios and Honey Jar Studios—that each informed the album in different ways. “It feels like you can hear the different studios in the different songs,” says Fournet. “I’ve heard people say the studio is another instrument or like another player in the band. We’re definitely one of those bands. The studio is always informing the sound.”
She and Wurst brought two very different approaches to these sessions. “My approach can be very structured, and Felipe’s is very oriented in groove,” says Fournet. “I also have to feel the groove, but I’m a little more about the broad strokes and finding a path forward. We meet in the middle.” She will often let the lyrical themes guide her production choices, such as on the salsa-shaded closer “Boyfriend Island” and the worried-yet-hopeful “My Country Se Come Vivo.” The latter came out of a classroom writing exercise: “I told my students they had to write a song that didn’t use any instruments playing chords in the arrangement, and I wrote this song as a demonstration for them. This was back when the protests were happening in Minnesota. Everything was so politically fraught, and it still is. But even in popular music there’s a need to be able to say what we really think.”
Wurst, by contrast, often starts by finding sounds that grab his attention and grooves that move him before worrying about what the song is about. “Objetos del Pasado” started with Wurst playing drums and trying to distort the sound in the studio. When the Space Echo unit glitched, he not only kept the mistake but built the song up around it. “It created this squeezing accordion sound, so I created a vocal effect to mimic that. I always try to find some twist to tickle my brain.” The song formed organically from there, eventually revealing itself as an ode to artifacts from other times and places, whether they’re personal heirlooms or just old records. “We sound like a scratched CD on that song,” exclaims Fournet. “We actually found the sound of what we’re trying to say in the lyrics. I live for that kind of production moment.”
Fournet and Wurst have learned, over time, to give each other that space to explore, even if it makes them uncomfortable. “No Me Fui,” a gently ruminative bossa nova number, shows how much goes into balancing their musical and romantic partnership, with Wurst singing about lovers out of synch and possibly out of time: “Así encuentre la razón, tu ya me miras con nostalgia,” he sings somberly. (“Even if I find the reason, you’re still looking at me with nostalgia.”). Can he remain present tense for her, or will his color fade? “Adele and I were having some moments of tension in our relationship, and it made me wonder if we could ever solve our differences,” he says. “So I wrote this song to say, No me fui, pero me perdí. ‘I didn’t leave, I just got lost.’ I feel like a lot of my songs are about our relationship, and they let me say what I need to say to Adele. This feels more honest than just saying the words.”
That is the very nature of Tipa Tipo: the idea that music can clear away the emotional clutter and speak directly and honestly. As bright and colorful as their music sounds, their songs work in complex shades of emotion. “It’s hard to have space that isn’t impacted by everything that’s happening in the world,” says Fournet. “We often play with that duality, where we’re talking about dark material but the music is maybe more optimistic. Does it make my body move? At the end of the day it has to feel authentic to us, and honest and groovy.”