The purest a band can aim for is to present their milieu as a time capsule from the morning of. April Magazine deals deep in the hypnagogic charm of their surroundings. Since the 2018 release of “Shirley Don’t”— a sneaky classic that first turned ears outside their SF Bay Area home— the band has stirred out a handful of cryptic indie pop recordings nestled in warm aerosol hiss and scrappy hand-drawn cover art. Music that glints in the far back of an urban daydream where guitars could be bells, bells could be voices, and voices hardly find use in words. If The Ceiling Were A Kite is a document of things losing definition and time gone slack.

The songs on If The Ceiling Were A Kite were recorded over a span of about two years, after Peter, Mike and Kati started playing together around a four track cassette player in Peter’s bedroom. Other kindred spirits like Julia Waves, Ian Collins, Anthony Comstock OBC, Zach Vito, and eventually David Diaz joined in on some of the recordings and live shows adding to the collective ‘whatever works’ ethos of April Magazine.

Michael Ramos has been a fixture of San Francisco's vibrant indie pop scene, cropping up in Flowertown, Cindy, Sad Eyed Beatniks, and early versions of April Magazine, all while maintaining his mysterious persona as Tony Jay. Beginning as a recording project in 2006 and becoming a live band in 2017, Tony Jay has released a myriad of records on labels such as Slumberland records and Galaxy Train. The single 'Perfect Worlds' perfectly captures their lofi bedroom sound, where you can hear the influence of Japanese psych folk bands like Nagisa Ni Te blend with Galaxie 500 and the 60's pop of the Shangri La's.