From Super Doppler

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Fresh off the release of their new Matthew E. White produced album 'Moonlight Anthems' and an album release tour that spanned the entire continental United States, Super Doppler hit the ground running in 2017. Bridging melodic psychedelic pop with country-funk grooves, twangy dueling guitars, and a proclivity for layered vocal harmonies and horn drenched arrangements, Super Doppler's 'Moonlight Anthems' offers a unique blend of retro-inspired rock n roll.

All born and raised in Norfolk, VA, Super Doppler began their journey as a loose collective of high school friends with a common interest in late nights and loud music. Desperate to escape the impending reality of the 9 to 5 workday, the group decided to hit the open road and play for anyone willing to listen. No matter how dark the basement or lonely the bar, it was here in the farthest fringes of the music industry that these ragtag renegades would make their stand.

4 years and 500+ shows later, the band has released their new album 'Moonlight Anthems', their debut record under the "Super Doppler" moniker. Produced by fellow Virginia wunderkind Matthew E. White of Spacebomb Records, 'Moonlight Anthems' showcases the shared retro influences of the six-piece band; more importantly, a group of high school friends turned bandmates that includes two sets of brothers, Michael and Bryan Adkins (guitar and drums, respectively), and fraternal twins, Neal and Cole Friedman (keyboards and bass, respectively), alongside long-time comrades Harry Slater (guitar) and Tyler West (percussion).

Though democracy has been the downfall of many a band, for Super Doppler, it’s the defining feature of their sound. There is no single frontman, no one songwriter. While the kernels of most tracks begin with ideas from Neal, Michael, or Harry, the eclectic finished products are almost always the results of melodies and riffs run through the spin cycle of six wildly creative minds.

'Moonlight Anthems' opener “There, There” sets the record’s tone perfectly, with bouncing piano, swirling organ, and psychedelic guitar all coming together in a chipper, harmony-rich earworm that seamlessly blends the sounds of the British invasion with sunny southern California. “Moonlight Anthems” and “You Only See Me (At Night)” channel the funky Americana of Big Pink, while “We Are Doing Fine” and “Here Comes The King” recall The Fab Four at their most playful, and “You Should Know” and “Happiness” take cues from the rich vocal layering of bands like CSNY and the Beach Boys. On “The Clap,” high-tempo R&B meets southern rock, and prog influences creep into the breezy soul of “Condition.” Far from feeling scattered, though, the ornately detailed arrangements and lush orchestrations enable the songs to play out as a remarkably cohesive collection. Pressing play on each track is like opening the door to another room in an eccentrically curated mansion; it’s impossible to predict what you’ll find, but every discovery is more fantastic than the last.

“It’d be difficult for anyone to pinpoint a specific musical identity or pigeonhole what we do into a set genre,” reflects Michael. “With us, the diversity is the point.”