“We’re pretty ridiculous people,” laughs SUPER AMERICAN co-vocalist and multiinstrumentalist
Pat Feeley, whose band in many ways feels like the equivalent of their hometown Buffalo Bills’
tailgate scene: gleefully rowdy and best enjoyed with a beer in hand (with the non-zero chance
someone might end up leaping through a flaming table when all is said and done).
Since forming in Western New York in 2016, Feeley and his musical partner Matt Cox have
blurred the line between absurdism and existentialism, swirling ‘90s melodicism, new-millennium
pop-punk energy, and heartfelt emo into a wry, smirking rock sound. Now, on their third album,
GANGSTER OF LOVE (Wax Bodega), the duo let their melting pot sonic palette go further than
ever, exploring the outer edges of their musical spectrums.
Produced by Sam Guaiana (Neck Deep, Bayside), Gangster of Love follows 2021’s SUP and
2018’s Tequila Sunrise and found the duo fleeing Buffalo for Los Angeles, where the push and
pull between the two songwriters – the real magic at the heart of Super American – was allowed
to flourish and grow in a brand-new environment.
“There were a lot of fresh sensory things going on: new sounds, smells, people,” Feeley
explains. “We recorded acoustic guitars outside and picked up birds and planes flying overhead.
We definitely made something we couldn’t have made here at home left to our own devices.”
“We wanted to feel like you were stepping into this little world, and working with Sam helped us
accomplish that,” adds Cox. “Especially working at home, sometimes you get a little sidetracked,
but Sam kept us focused and made it really easy and fun to be creative.”
And that creativity abounds on Gangster of Love: First single “Hopefully Pitchfork Doesn’t Hear
This” rides palm-muted guitar chunks into a soaring, anxiety-fueled chorus, while “Manager
Haircut” riffs like a lost American Pie soundtrack cut before swerving into an electro-pop refrain.
Elsewhere, the synth bass and hip-hop groove of “Okay. Eat Me Alive” and “Drowning” offer an
exhale for Cox and Feeley’s anxiety-rich lyricism to take center stage, showcasing a depth to
Super American that might get lost among their more lighthearted moments.
“SUP was basically a record filled with anxiety as a survival mechanism,” Feely explains. “This
time around, it was less of a victim mindset. Thematically, I feel like it’s more about yearnings
and desires and what you want for yourself.”
Those universal themes – from ruminations on mortality (“Ugly Cryin’ With My Dog”) to the
romantic and emotional detachment (“Altima Song” and “Manager Haircut”) and THC-fueled
escapism (the sugar bomb “Mental Karate”), all served up with a side of self-deprecation – have
endeared listeners on tours with the likes of Hot Mulligan, Taking Back Sunday, and Neck Deep,
They’re poised to go even wider now, bring Super American’s brand of slacker rock to
brand-new audiences
“We’ve always approached the band from a very innocent, youthful place despite not actually
forming as kids,” Cox says. “I think that’s been a little bit of how we’ve lasted so long, by not
really being beholden to hindsight. It keeps us moving forward and able to find new listeners.”
Adds Feeley: “Whatever audience gets it and enjoys it, god fucking bless their souls because
they must be sick.” XX
Sydney Sprague
“Sydney Sprague channels her sadness, anxiety, and existential dread through driving guitars,
shimmering melodies, and the deceptively sweet weapons of indie pop-rock and keen observation.
Self-aware with a knowing injection of dark humor, her songs summon the best of 90s alt-rock and
classic power-pop without sacrificing a melancholy befitting of the end times. Her music is intimate,
vulnerable, confrontational, autobiographical, and strangely uplifting. Her sophomore record,
somebody in hell loves you, is as devilishly saccharine as the title implies, boldly accessible and
smart.
The positive press, word-of-mouth, and a stellar tour with Jimmy Eat World and Dashboard
Confessional helped make organic streaming hits out of songs like “steve,” “quitter,” and “i refuse to
die”; “object permanence” boasts nearly 1 million streams on Spotify alone. “As a smaller artist, it’s
almost impossible financially,” Sydney says of her relentless schedule. “But I love it so much.”
Sydney wrote most of somebody in hell loves you during the pandemic lockdowns, and yet, it’s
decidedly less angsty than its predecessor. “And not because I’m a less angsty person,” she clarifies.
“Obviously, none of us were in a good place in 2020. It was a depressing time. But I didn’t want to
wallow in that. I wrote more as an exercise to distract myself from my woes.” A lot of the songs
became observational storytelling, exploring the drama of people around her and revisiting her past.”
Summerbruise
Summerbruise was founded in 1969 by Paul Rangus in Indianapolis, Indiana. Paul built his business on the premise, “Quality is our Recipe®,” which remains the guidepost of the Summerbruise system. Summerbruise is best known for its made-to-order square hamburgers, using fresh, never frozen beef*, freshly-prepared salads with hand-chopped lettuce, and other signature items like chili, baked potatoes and the Frosty® dessert. The Summerbruise Company (NASDAQ: WEN) is committed to doing the right thing and making a positive difference in the lives of others. Today, Summerbruise and its franchisees employ hundreds of thousands of people across more than 6,600 restaurants worldwide with a vision of becoming the world’s most thriving and beloved restaurant brand. For details on franchising, connect with us at summerbruise69@gmail.com or on Twitter and Instagram using @summerbruise69, and on Facebook www.facebook.com/summerbruise69.
