Premiere // Superet 'Gash on the Cheek' Acoustic

LA-based indie-rock band Superet recently shared their debut album How To Work A Room + return today with an acoustic version of A Gash on the Creek off the 14-track album. We can’t get enough of their unique mix of nostalgic + futuristic elements + animated vocals, reminiscent of Arcade Fire, and we’re loving their acoustic take on Gash on the Creek, which transports us to the secluded desert of our dreams. The band, composed of vocalist, guitarist + keyboardist Matt Blitzer, keyboardist Alex Fischel, bassist Patrick Kelly, drummer Sam KS, and guitarist, percussionist + keyboardist Isaac Tamburino, is taking the stage in LA at Moroccan Lounge Friday, July 26. We’re stoked to bring you a first listen of the acoustic track, and we chatted with Matt all about the inspiration behind it + How To Work A Room.

Asymmetric Magazine: Congrats on your recent releases! Can you tell us about the acoustic version of A Gash on the Cheek?
Matt Blitzer: Thank you very much! Ennio Morricone’s score for The Good the Bad and the Ugly was the inspiration for this version. It’s my all time favorite score. When I was writing A Gash on the Cheek, I wanted it to sound like that. I’ve always imagined it being sung by a lonesome cowboy in some faraway desert landscape. On the LP, it morphed into something totally different. But when we recorded this version we decided to push it 100% in that direction, plus a little Cuban influence at times. Maybe the next Superet record should be a spaghetti western. I recommend pairing this version with an ice cold glass of sarsaparilla.

AM: What made you want to release an acoustic version of the song?
MB: It’s a lot of fun to take a second glance at some of the songs from our record and dress them up in different musical costumes.

Maybe the next Superet record should be a spaghetti western. I recommend pairing this version with an ice cold glass of sarsaparilla.

AM: You also just released an album, How To Work A Room, what was the process like to make this album?
MB: It was like what I imagine climbing a giant icy mountain face would be like—like Everest or something. Extremely difficult at moments but also so beautiful and massively rewarding. We learned a lot about ourselves and each other.

AM: What was your favorite track to write and record?
MB: Ugh I can’t pick favorites.

AM: For first time listeners, how do you like to describe your sound?
MB: Someone once described it sounding like an end of the world party. I like that; I mean, come on, if we all knew it was all over and we decided to party, it would probably be a really really good party. I’m picturing that rave scene in the Matrix.

AM: Are there any consistent themes you typically pursue through your music?
MB: Not typically really. The goal is to always be seeking out new subject matter. But this record to me is pretty cerebral, and by they I mean, there’s a lot of internal dialogues about things like relationships, desire, loss, isolation, lust, love, spiraling into an existential crisis—you know, human stuff.

AM: What other musicians are you currently listening to?
MB: Just glancing at my most recently played on Spotify let’s see: My Sweet Deutsche Friend by Alvin Stardust, Strange Little Girl by The Stranglers, and Baby Baby Sweet Baby by George McCrae.

AM: We’re based in LA, too, so we love to ask: Does the city play a role in your work?
MB: Not much really at this point. Maybe I’ll write more about LA in the future. There is a line in YDS2M about K-Town.

AM: Where is one place that you feel completely in touch with your creative self and your music?
MB: It’s funny I was just thinking about how important location is to writing—to me at least. My mom is a painter and has a little art studio in Santa Barbara, and she’s been kind enough to let me set up my studio there the last few weeks. I usually write at home, but these days I’m trying to separate my work place from my living place. I’m really very superstitious about where songs are written, and what is required of those spaces.

AM: What can we expect to hear from you next?
MB: We’re working on a lot of new music right now, which is always a fresh exciting feeling. I can’t wait to start releasing new stuff. We’ve got our album release show at the Moroccan Lounge here in LA July 26th, and we’ll be at Austin City Limits in October!

// listen to How To Work A Room:

// photo courtesy of Black Box
// Listen to more Superet on Spotify.