BRIEF HISTORY

Originally formed in Manaus, Supercolisor drew praise from the public and specialized media with the debut album Paranormal Songs (2012), making way for the group in the vast Brazilian indie music scene. The album allowed the band an extensive touring throughout Brazil during the following two years, captivating attentive ears.

Zen Total do Ocidente (2015), finished in New York City alongside mixer Daniel Schlett (Bob Dylan, Modest Mouse, Iggy Pop), broadened the band's horizons, reinforcing a strong reception by the audience and critic. Both albums were mastered by New Jersey-based engineer Joe Lambert (Animal Collective, Dirty Projectors, Deerhunter). Since then, more touring and big changes: the band now lives in São Paulo, and the current lineup, besides manauara founders Ian Fonseca (vocals, piano) and Natan Fonseca (drums), includes parisian Jérôme Gras (bass) and florianopolitano Henrique Meyer (guitar).

Until the end of 2019, the band kept an intense concert routine. With the global pandemic, touring stopped and a new album began to take shape, being gradually released through singles accompanied by brand new video clips in 2020. That set the ground for the full arrival in February of the following year.
 

THE NEW ALBUM  

Viagem ao Fim da Noite (2021) was produced by Ian Fonseca and Jérôme Gras and comes with an abundant national-indie-star guest list: Tuyo, Mauricio Pereira, Leo Fressato and Victor Meira add depth to the band's sonic scope. The album was mixed and mastered by Bruno Giorgi (Lenine, Mombojó, Baleia) and had the collaboration of artists from different aesthetic languages ​​in its 7 video clips which brought extra narrative concepts and interpretive layers to the material, turning the album into a sort of collective celebration by overlapping music with other arts: painting, film collage, acting and dance.

Soundwise, Supercolisor keeps expanding its urban-mood music with wildly varied influences that go from Caetano Veloso to Radiohead. The band reaffirms Brazilian popular repertoire tradition, using it as a central reference for Fonseca and Gras’ meticulous writing. Their songs allow a vast range of listening experiences, pleasant to the unsuspecting music lover and rewarding to the audiophile; in both cases probably a good call soundtrack for days lacking more poetry and catharsis.

— Izabela Costa