Summerhead is a band that exists in spite of itself. Coalescing almost by accident and featuring three members separated by thousands of miles, it has little in common with traditional musical groups in many respects. Born from a nearly forgotten batch of collaborative instrumentals recorded by Mike Iannatto and Nicholas Fit, the band took shape after vocalist Grey Gordon expressed an interest in singing on the tracks. In short order, the material was fleshed out, completed, and released for public consumption.

Of the record vocalist, Grey Gordon said, "There are sonic throughlines on this record that may or may not be obvious, depending on your tastes." He continues, "We’re all musical anglophiles, specifically when it comes to the 80s and 90s, and I think it comes through. Our sound is equal parts 4AD and Creation records, with a healthy dose of trip-hop thrown in. That nebulous period before shoegaze and its many offshoots became codified is a good reference point for what we’re trying to do. Curve, pre-Loveless My Bloody Valentine, and Lush are all here, but there’s also plenty of Spiritualized, Duster, and Massive Attack. On the same token, we’re not trying to retread old ground. The overall goal is a natural synthesis of many sounds that shaped our tastes, and I’m happy to say I believe we achieved that."

Due in part to the members’ years of experience in projects both similar to and on complete opposite ends of the spectrum as Summerhead, the band’s music shares the group’s overall amorphous quality. Pulling equally from Spacemen 3 and Portishead; As much influenced by Duster as they are Sneaker Pimps, the result is a distinctly post-modern sound that escapes easy categorization. The songs are evocative, atmospheric affairs with a pop nucleus that seamlessly weaves each disparate element together into a cohesive whole. Whether you call it dream pop, shoegaze, slowcore, or something else entirely is beside the point.

First pressing on Grape in Clear Color-in-Color (150 copies) & Turquoise and Light Green Marble (150 copies)