When Gulfer guitarist and vocalist Vincent Ford sets out to write a song, the words often come before the music–and even then, the overarching meaning isn’t always clear until the song is complete. “Neighbours”–a frenzied and raucous one-off rife with technical flourishes–is no different. Ford says that the song was written specifically about processing his experiences with a loved one diagnosed with schizophrenia, but that he only realized when the song was done. Between its noodly, punchy transitions–a signature staple of the band’s songwriting–Ford explores what it must have been like to live with schizophrenia and not know it. Musically, “Neighbours” speaks to this mentally debilitating experience with tact and precision: frantic, stop-on-a-dime passages set a punkish, animated backdrop for Ford’s ruminations, giving him an appropriate setting to unpack his and his loved one’s experiences. more info→
↓ ↓ ↓ ordersupernowhere juxtapose entrancing midtempo composition with slithery, arpeggiating melodies backed with melodic drumming. Bassist and singer Meredith Davey is at the forefront of most songs with her lilted voice that seems to glide effortlessly over the syncopated phrasings of her bandmates Kurt Pacing (guitar, vocals) and Matt Anderson (drums), with Pacing occasionally taking over vocal leads with a delicate, hushed voice that further enriches supernowhere’s atmospheric articulations. more info →
On music discovery:
When writing about a song or album, the convention is to use the present tense. A piece of music, although representative of and influenced by the era in which it was created, is ultimately always experienced in ~the present~. We built this website while pondering ways that we could, at every turn, focus on discovery by bringing music we released years ago relevantly back into the present, challenging how we collectively talk and think about “new” music. Discovering new music is exciting, but so is discovering music that’s simply
new to you.
It’s our hope that you'll enjoy digitally crate digging through this online home of ours, finding and connecting with the 231 albums we’ve released with 139 artists from all around the world over the last 15 years. Directly below are a few of our favorites to get you started.
However you’ve found yourself here presently, thanks so much for stopping by! We couldn’t do this without your support and enthusiasm.
Olivia Kaplan's debut full-length album, Tonight Turns To Nothing, speaks to a generation of people that have been forced to find balance amidst devastation and absurdity. In 11 songs, she reflects on the pitfalls of modern intimacy and her own personal defeats with a measured self-awareness, melancholy and wit. The songs were written and recorded during the off hours of her side-hustle as a waitress in Los Angeles and made in the garage studio of the album’s producer and her band-mate, Adam Gunther. more info →
Songwriter Kevin Doxsey explains feeling completely uninhibited during the writing process for Lunarette’s newest single “Tangerine Spritz”, a bubblegum trip-hop one-off that stands in intriguing contrast from the rest of the band’s nascent catalog. Singer Jackie Mendoza‘s enchanting voice guides the song with flavorful imagery, conjuring thoughts of youthful innocence and hot summer nights spent with friends in the city. The depth of production reflects these conjurations with a cosmopolitan darkness—a diversity of synth sounds and auxiliary percussion fill out the unique, almost maximal composition, flashing dynamically like an urban oasis. “Tangerine Spritz” feels ambitious with its pop-focused production, and undeniably catchy in its rhythmic adventurousness. more info →
Produced by A Great Big Pile of Leaves and recorded primarily at their home studio, new album Pono was mixed by touring guitarist Matthew Weber at Gradwell House Recording and mastered by Dave Downham (Beach Slang, Into It. Over It.). With eight years between releases, the band recalls how the recording process of Pono felt like they were making their first record, adding “we worked at our own pace with no preconceived notion of what it needed to be.”
Drawing on influences of jazz improvisation, minimalist composition, and punk rock ethos, the Boston-based band Really From dismiss traditional genre and formulae in favor of explorative, indie rock amalgamations. Since 2014, their ever-evolving sound has incorporated stylistic touchstones from math rock to ambient, exploring themes of place, self, and culture through a dialect entirely their own. more info →
Just like our catalog, our playlists cover a lot of sonic ground. Check them out on apple music spotify