Supercell Mothership

Supercell Mothership are self-described “post-genre.” Even without a listen, I'd be inclined to believe it since they're gigging with my favorite New World Ancients, a band who straddles genres like an adonis. But listen I did, and tried to nail them down.

And entertaining it was, as I analyzed the two advanced singles, concluding that a “psychedelic rock” label could stick given the guitar of “Golden Flower,” which brought to mind “Venus in Furs” as it deliberately induced daze through plodding paces. Relevant here, Supercell had been kind enough to admit to a few influences, one of them being the Black Angels, who are not only psych-rock, but named after a Velvet Underground song. Add to this Supercell's layered chorus vocals (“Golden Flower”), permeating keyboard arrangements (“Circles”), and a song-stopping middle section injecting space through lovingly off-kilter riffs (“Golden Flower”) – and Supercell clearly descend from Cale, Reed & Co.

In assembling the puzzle though, I ran across a few pieces belonging to another set. The guitar angles wouldn't sound out of place in Interpol/Strokes-era NYC, and the tone/effect recall the spacious guitar work of The xx. So too with the keys: a tone/setting befitting the best of indie music. But at times (“Circles”), the vocals shade to the mainstream rock stylings of Salvatore Paul "Sully" Erna, who is per se awesome, but persona non grata in the hipster circles frequented by the Interpol/xx/Strokes of the world.

All this could confuse the indie press monolith (itself, the new mainstream). But here, where indie still means something, it's the fans who decide. And decide we will. Loudly. As Supercell Mothership psych-rock us from the Cole's stage on January 17th. (Yeah, I said it ... psychedelic rock.) - Chicago Indie Music Live