Super American

“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 Credit Ellie Carty @ellierosephotog 6

Sydney Sprague

Sydney Sprague is making music for the end of the world.

The 30-year-old singer/songwriter, now a resident of Phoenix, Arizona, was encouraged by her parents to pursue songwriting early-on. She spent her formative years daydreaming alone in her room (decorated lovingly with Britney Spears and *NSYNC posters) and unknowingly incubating a talent that would ultimately lead to her future music career.

Backed by familiar-yet-surprising hooks and hard-hitting, topical lyrics, Sprague’s songwriting continues to evolve. With eyes on contemporaries like her 90’s idols, notably Avril Lavigne, she flawlessly carries that same fire, creativity, and wit into her 2021 release – maybe i will see you at the end of the world.

Sprague knew exactly who she wanted to produce her next record: Sam Rosson (Death Cab For Cutie, Mac Miller, Pedro the Lion) at Hall of Justice (Seattle, WA). The album creates a world of Sprague’s own creation: Every detail, down to the apocalyptic artwork, was deliberately painted so that the disparate parts become most vibrant when viewed as a whole.

Though not birthed in 2020’s quarantine, the album goes a long way towards helping listeners deal with our new reality. That’s because Sprague can only be authentic: “maybe i will see you at the end of the world is my bucket list all checked off. It was my life goal to make this album at this studio with these people, and now that it’s done, and in your hands/ears – I can breathe easy.”

Sprague announced that she had signed with Rude Records in October 2020. With an exciting team by her side she released two singles – “i refuse to die” and “steve” – both of which received a sweeping of support from the press, notably landing features in Substream, Refinery29, NPR, UPROXX, GIG GOER, Alternative Press, Rock Sound, and Phoenix New Times.

ToneDeaf praised Sprague’s outspoken lyrics and mature sound, declaring that the record is perfect “for those in the mood for some introspective indie rock by someone who isn’t afraid of speaking out” and calling ‘steve’ “your next must-listen.”

Sydney Sprague’s debut LP – maybe i will see you at the end of the world – dropped February 26th on Rude Records.



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