Starting with their self-titled debut in 2005, Winterpills have built a vibrant career with their exquisite chamber-pop songs that The Washington Post called “densely packed but hugely evocative, tiny bombs of feeling and meaning… fiendishly melodic", attracting fans from their native New England to the Netherlands and beyond. They may be one of the most exciting bands to emerge from the vibrant Northampton, Massachusetts music scene in recent years, adding another chapter to the world of ethereal indie-pop. They play haunting, delicate, dynamic, room-hushingly beautiful music with shimmering melodies and aching lyrics. Fronted by singers Philip Price and Flora Reed, they harmonize closely, often and gorgeously.

They have released five records to critical acclaim and have grown into "a band that is only becoming more essential" (The Hartford Courant). In addition to touring, Winterpills' music has been used in numerous television shows including the hit ABC show Grey’s Anatomy, Showtime's Weeds, NBC's Parenthood, and the U.K. series Skins. They have shared the stage with such notable and diverse artists as Vampire Weekend, CAKE, Grant-Lee Phillips, St. Vincent, Lisa Germano, Juana Molina, Crowded House, Fountains of Wayne, Martha Wainwright, and The Mountain Goats, as well as many others.

Their most recent CD, All My Lovely Goners stretches well beyond Winterpills’ previous boundaries on thirteen new songs that are at once identifiable, yet broader. The album embraces the hushed vocal harmonies and graceful chamber-pop sound the group has made its trademark, while pushing the quintet into new sonic realms. It’s the album Winterpills has been working toward from the start. From the group’s origins one cold winter in 2004 as a song circle for heartache, the band has truly blossomed, releasing three full-length albums — a self-titled effort in 2005, The Light Divides in 2007 and Central Chambers in 2008 — and the 2010 E.P. Tuxedo of Ashes, which Jon Pareles in The New York Times praised for “elegant arrangements” of “songs that stay haunted.”