I wanted Super Gone World to be called anything other than what it is. The name is too "on the nose" for the global dumpster fire going on as this is released. I wrote like 200 other album titles, nearly all starting with the word "super," like any good Supercontinuum release:

Superconvicted Warlord
Supreme Homonuclear Weapon
Superemotional Dynamite Remberer
Supernatural Apocalyptic Event
Supertoxic superheavy metal
Superversalism
Superscum You've Been Dreaming ov Forever
Supervillianous
Super Gone Hole

As you can see, diminishing returns were really setting in, although I really want to use something with "homonuclear" in it in the future.

These songs started from hardware experiments, mostly. And early on I felt two musical directions happening. One was what I called "SCUM RAVE" and the other was "SISSY GABBER."

SCUM RAVE was a music/feeling that was punchy, probably danceable, sickening, like literally sickening, yellow-green (555 nm), and slightly deranged sounding. It was more like a fast techno with some lo-fi bits and grit, and some catchy leads. "Superumbilical" was the first song that kind of sounded like this to me. "Flamers" started to go that way a little bit, but not so much.

Next, SISSY GABBER was an impulse I had after going to ADE in 2023 (Amsterdam Dance Event). I went to Gabberland. It was nearly all white people, who, to me mostly looked straight, and some kinda tough, (even though I saw a good handful of gay gabbers there). After returning back home to make some music, I was like, I am feeling something that has danceable spastic rhythms that are both fast and slow, and queer. SISSY GABBER felt like something emotionally like vogueing and hakken dancing, but is neither. These were just the sensory webs. I did a whole bunch of Sissy Gabber live drum machine freakouts, mostly like 200 bpm things. "Sissy Gabber" on this record is one of them edited down.

The rest of the songs, well, I'll let you discover them, as they were a joy and sometimes a pain to make or mix. (Okay, I will mention that "Topped Bons" comes from an item at Cinnabon that I saw, and I was like, they didn't ask a gay.) I hope you find the sonic journey from start to end refreshing, as there are a couple different styles on this record.

Incredibly big thanks to Sacerdos for being a solid support during the mastering process and Thomas DeLaney for his amazing artwork which fully brings this record to life!  

AMAZING CREDITS:
Tracks produced and mixed by Supercontinuum
Album artwork by Thomas DeLaney
All tracks mastered by Sacerdos Vigilia
Queen of Sissy manipulated vocals originally Dale Balenseifen 

Topped Bons, Part 2

Supercontinuum