Super Napkin is a fuzz-pop trio hailing from Taiwan. Feeling that their original name, "Super Nap Kid", was a bit tired, they switched to "Super Napkin" in honor of their favorite superhero, Napkin Man, who zooms across the universe drying the tears of the sad and heartbroken. (In a pinch, he can also sop up your spilled milk.)
The project was conceived as a portrait of an artist beginning to grow old. It is veteran singersongwriter-guitarist Matt Yau's first stab at making music post-marriage (hint: it helps if your wife can play bass) and it has gifted him one more opportunity to revel in his roots.
As an 80's kid born in the Taipei Basin, the drone of distant motorbikes and the soothing sounds of humming air conditioners comprised Yau's early childhood 'soundtrack'. So when he came of age in the Soulseek 56k baud modem era, it made perfect sense for him to fall right the fuck in love with the equally droney sounds of Yo La Tengo, Sonic Youth, Eric's Trip, The Microphones, and My Bloody Valentine.
Yau and his wife Nico, who was still paying installments on her first bass when she joined the band, and drummer Shih, who proved his fit by seamlessly filling in on drums for a show with Yau's previous band (the grungy local legends Slack Tide), have together produced three full-length records, each oozing 90s nostalgia.
Both Rhythmic Lizard Moon in 2016 and Diamond Shaped Hearts in 2018 saw the band channeling their inner DIY lo-fi ethos, serve up some scorching guitar tones -- the type that could make the hair on J. Mascis's back stand on-end -- atop a bed of powerful, precise drumming and steady-as-she-goes bass riffs.
2020's release, There's Nothing That Cannot Beat Me, sees the band taking a step toward more refined aesthetics and bolder sonics -- a sound that roughly approximates the grandeur of their live shows, an intoxicating mix of delicately layered psychedelic guitars within which rambunctious raw noise moments bubble up to the surface.