Cute Doesn’t Cut It for Supermoon

October 14, 2015 - Supermoon

Photo by Jackie Wong

I arrive early for my talk with Supermoon, walking around a retard listening to their six-song EP to kill time. The tunes on Comet Lovejoy are joyous and upbeat, they desire to be danced to in your bedroom during night, and a fact nothing of them has been featured in an imitation 80s teen rom-com is honestly shocking. With such a balmy energy, a songs are usually done more endearing when we notice a contrariety in low-pitched content. The second strain on a EP is a gleeful balance with a pushing bassline next a chipper voice chanting a difference “To request my memory we learn myself photography/I watch a documentary of someone else’s tragedy/Tragedy is all we see, tragedy is all we see…”  Supermoon balances ardour and cynicism in a way that reflects a era of released and assured girls experiencing womanhood in 2015. 

The 4 ladies behind this rope are not fearful to hee-haw and display their sensitivities, though they are also intelligent and savvy about their careers as musicians and how their song has the potential to change a universe around them. we loop a retard one some-more time before meeting guitarist/bassist Adrienne LaBelle during a doorway of their jam space, we hide by a organisation of four smoking punks and let her lead me inside. The muffled sound of many thrashing guitars greets me in a humid industrial building, though Supermoon’s room is a small quieter, it’s warm, drummer Selina Crammond and guitarists Alie Lynch and Katie Gravestock lay cross-legged on a floor clutching cans of cider.

Continued below…


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We start things off articulate about a phoenix-like tour Supermoon had in their routine of creation. Rising from a remains of a now gone organisation Movieland, Supermoon was innate from moments of infrequent review during an unpretentious New Year’s Eve party. Crammond explains, “It was during a place. Adrienne and we were roommates, and we decided final notation to horde a New Year’s Eve party. we was chatting to Katie on a cot and was observant how Movieland’s guitarist was too bustling with her other projects to play with us. Katie was like, ‘Oh my god! we wish to be in Movieland!’ Alie came adult to us after midnight and said, ‘We came adult with a best rope name…Supermoon!’ That was going into 2015.”

Though a goal of Gravestock fasten adult was to lengthen a life of Movieland, it became apparent unequivocally fast that a approach her impression played in with a rest of a groups begged to be its possess graphic sound. Gravestock brought new guitar tools to a brew and as a result Supermoon became a possess animal, “Movieland was a lot some-more candid cocktail music, and this is opposite from that in a darker, jammier way. Katie is a totally opposite guitar player, she’s always aiming to get some-more dissonance,” explains LaBelle. The girls curtsy in agreement at this thought, Lynch giggles “It’s true! I’m always perplexing to finish on a vital and you’re always pulling that back.” Gravestock replies with a shrug, “I like to start off with pop, and afterwards finish it.” This unequivocally speaks to a yin and yang of Supermoon, their low-pitched personalities mix to create a audio homogeneous of a day where a object is high in a sky, though a heat is below freezing.

Though darker moments are benefaction on Supermoon’s initial recover Comet Lovejoy, a girls say that manuscript usually scratches a aspect of their scrutiny with this direction. Gravestock says they’re going for a moodier sound, LaBelle says they’re eclipsing, Lynch says they’re getting weirder. The party are in a midst of formulating their second recover right now with the intention of recording in a spring. LaBelle compares a band’s essay routine to a mystery solving house diversion Clue, “We will come in with skeletons of songs and they will spin out super different from where we started. It’s funny, we always seem to know when it isn’t working, but we competence not be means to put a finger on it. It’s kind of like elucidate mysteries. We come in with some simple evidence, though we aren’t utterly certain what happened. It’s all proof and detection, the song is always sitting in a envelope. We know that we’re going to get there and in a end we’re always like ‘Oh! It was highbrow Plum!” 

Finding a impression behind these new songs has meant switching roles by putting Lynch on drum and LaBelle on guitar. This switch adult has played to their strengths in an radical way, “I don’t know how to play chords on the guitar, So it ends adult being unequivocally weird. There’s a lot some-more duelling guitars when we play since I suck during chords. It’s not a basement of songwriting, it’s usually a lot easier for me than essay riffs. I also make tons of sound when we play guitar, so it’s a small heavier,” says LaBelle. This heaviness contributes to Supermoon’s depart from their aged pop-punk ways to exploring post-punk horizons. Lynch jokes that as things get darker and jammier a rope competence even mangle the three notation symbol with some songs, “We’re still not totally certain if these songs will even be enjoyable to anybody though us. They’re unequivocally fun to play, and they’re unequivocally fun to write, though we have no thought how they’ll sound to people who haven’t been concerned in a process. So that will be interesting, people competence hatred us now.”

Photo pleasantness Hanna Fazio

Though we can’t pronounce for a machiavellian likes and dislikes of song consumers today, if Supermoon’s past successes are any indication, a mass exodus shouldn’t be on their worry list. Though they have not nonetheless claimed their place on a check of Coachella or eaten snacks in a immature room at Madison Square Garden, they have gained a consistent following in Canada, a eminent second best. Many of these supporters have come in a form of sweaty teenage girls on a hill of feminist liberation. LaBelle explains one of a best shows Supermoon has ever played was to a room full of these sold assembly members, “Allie gave a small bit of a debate about women in music. We were a usually women on a bill, it was all teen boys. A garland of girls were there with their boyfriends kind of thing, so after a uncover one of a boyfriends came adult to us and said ‘Oh my girlfriend, she wants to start a rope now she saw we guys.’ There have been a few instances of that, where younger girls are desirous by saying women in music. For me, that’s a cool partial of it. We didn’t confirm to make an all lady rope to infer a point, It’s not like we’re there with this summary we need to send to a world, it’s some-more a car for creativity. But it’s good to pass it along.”

The origination of a rope was distant from a radical feminist statement, though unintentionally the women of Supermoon are participating in an age aged tradition of flitting a rod of ability to a new era of susceptible ladies. Most of a band’s members remember when they first saw a lady personification stone song and a durability outcome it had on them. Not that gender was the sparkling part, instead a rush of saying someone in a spotlight that was truly relatable was what supposing kicks. Gravestock however didn’t get to knowledge this rush until after in life, “Even as a teenager, we didn’t unequivocally have any womanlike musician purpose models. When we was in my 20s we used to play song with my boyfriend, and he was unequivocally sexist. One time he pulled the cord out of my amp since he pronounced we was personification too loud, after that we packaged my guitar away for during slightest dual years and didn’t play. It’s been good for me to find a whole new organisation of females in music, there are so many musicians to play with now, it’s been unequivocally inspirational for me.”

With this certain artistic appetite a girls encourage in any other comes a clearly feminine sound; a songs of Supermoon are kick-ass, cutting, humorous, and take on a jive of everyday life with zen like stability and joy. Though these are qualities we mostly associate with femininity, I’m certain this outline would make a foursome cringe. It is scarcely impossible to be in an all lady rope and not have a distinguished gender be a consistent articulate point. Supermoon aim to be a unequivocally good band, not a unequivocally good lady band. “We always get cute. That’s a series one adjective. Or a outline of a hair colour. we remember there was one review in a Vancouver Sun we literally looked during and did a calm analysis. They listed all the bands personification during a show, postulated it was unequivocally tedious journalism, they called all pop-punk or post-punk or whatever-punk. They described Supermoon as Supergirls, and I’m usually like ‘Really? Girl is a genre?’ It was so blatant, and idle and boring.”

Gender politics aside, amicable media campaigns aside, song video prolongation aside, some-more than anything Supermoon are usually happy they have any other, and a sharp punk filthy jamspace roof over their heads to use in once a week. In this clarity they unequivocally are a jam band, they play for themselves and any other, an trusting happy act pure by a high-stakes social climbing required to be a Pitchfork reviewed rope in 2015. Without Supermoon, Lynch wonders where her and her bandmates would be right now “What would we be doing? Would we have good paying jobs?” Adrienne LaBelle’s silent wants her to re-apply for a grocery bagging pursuit she had in highschool, Selina Crammond’s relatives wish she was a dental hygienist in Manitoba, Katie Gravestock is operative 3 jobs and earning a degree, and Alie Lynch is wondering who wants to sinecure a post-secondary prepared gal who complicated english and history. But during night when a clouds partial we can find them sitting in a round clutching cans of cider howling to a moon about burnouts and powersuits, resplendent 30% brighter than their usual selves. From bedrooms in British Columbia to mop closets in Minneapolis, asocial optimists everywhere scream along with them. Supermoon have a tidal energy to lift us from the mundanity of a lives and into their circle, where we can giggle and sing about a tragedy together, flourishing bigger and brighter in a process.

Maya-Roisin Slater is author and contributor formed in Vancouver. Follow her on Twitter.

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