It would be too easy to label Supergloo a part of the 2-piece guitar & drum contingent; they share some similarities – powerful songs built on simple rock foundations – yet Supergloo can rightly claim their own musical niche, not the least of which being their use of rhythmic experimentation as the icing on the cake for their more obvious blues-rock roots.
Yet Supergloo are by no means just a blues-rock trio, on their debut album ‘Living Stereo’ they team up with LA producer Danny Saber whose British influence – stints as bassist and producer of UK band Black Grape – have clearly tempted the band away from its rock & roll comfort zone and into a more Beck-like territory (co-producer Adam Moseley’s experience with Beck on Odelay and Guero might have something to do with that) as evidenced on such rhythmically assured tracks like 'Carburetor', 'High' and the also lyrically brilliant 'China'.
A native of Montreal, Canada, guitarist and songwriter Rob Andrew formed the band in London, England where they recorded basic tracks for Living Stereo before packing up and moving mid-stream to LA to work on the album with Saber and Adam Moseley. Abandoning London for Los Angeles, Andrew re-stocked the band with local bass player Dan Lutz and drummer Bryan Head.
A new 3 song EP – due for release in January 2013 – was recorded at LA’s EastWest studios and captures the quick evolution of the band.
Again – like on Living Stereo – Supergloo prove that primal rhythm and raw energy are the essence of the band’s sound. Whether reinventing a blues classic like ‘Schoolgirl’ or 'Deliverer' from the 'Three' EP, or on the 'Wild Thing' inspired ‘Sugar Pain’, it's hard to clearly define the Supergloo style, and therein lies part of their charm.
There's a sixties vibe like on 'Truth', but on most songs the influence shows itself more in the songwriting style as opposed to the arrangements or sound. Andrew and the band clearly have a knack for merging seemingly odd bedfellows and making it work, while never looking for a safety net by reinventing the past. It's 60's or 70's, but it's not.
More than anything else though, Supergloo just sound like a whole lotta fun – like on 'Hesitate' when Andrew boasts “I drive a hundred dollar car with a thousand watt stereo". You get the feeling these guys just want to let loose and play, and listening to Supergloo it's easy to imagine how good they must be live since a lot of the album's tracks definitely 'feel' that way.
Throughout the album it’s clear the band have opted for feel over detail at every opportunity, the result being an album bursting with confidence, where the band’s unbridled energy and bold imperfections underscore the album’s strongest moments.