Posts Tagged ‘Candlelight Records’

Following their storming performance at Desertfest, a run of European shows with L7, plus a one-off appearance with stoner rock legends Sleep, Black Moth show no signs of stopping in 2018 as they share a new video for ‘Pig Man’ ahead of their UK tour with Corrosion of Conformity, Orange Goblin and Fireball Ministry.

Directed by Ged Murphy/Rob Hoey and filmed by Louis Caulfield, vocalist Harriet Hyde comments on the meaning behind the track:-

‘In my endless fascination with human sexuality, I came across a brilliant book called Perv by Jesse Bering which celebrates how we’re all sexual deviants in our own unique and colourful ways. In reading it, however, one particular story stood out for its horror and absurdity…

‘Most people know of the atrocities committed towards women in 17th century New England in the Salem Witch Hunts. Deranged rumours circulated that they cut off men’s penises, bewitched them and kept them as pets! To this day, women are ‘slut-shamed’ and outcast for possessing their own innate power and sexuality.

‘A lesser known story is that of the ‘Pig Man’ hunts that obsessed the congregations of New Haven. The poor dears in their infinite repression managed to convince themselves that certain men were secretly in league with the Devil to impregnate barnyard animals. The offspring would be Satan’s children walking the earth, wreaking destruction in their orderly Christian society. It seems the arrival of a deformed pig foetus was enough to incriminate the farmhand for ‘buggery’ and lead to his brutal execution. In a sick, paranoid society, no-one is safe.’

Watch ‘Pig Man’ here:

Tour dates with Corrosion of Conformity / Orange Goblin / Fireball Ministry

Oct. 26 – Engine Rooms – Southampton 
Oct. 27 – The Institute – Birmingham 
Oct. 28 – Rock City – Nottingham 
Oct. 30 – The Ritz – Manchester

Nov. 01 – Garage – Glasgow 
Nov. 02 – The Plug – Sheffield 
Nov. 03 – Cardiff University Great Hall – Cardiff 
Nov. 04 – The Forum – London

Black Moth Trees

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Candlelight Records – 23rd February 2018

Christopher Nosnibor

Having caught Black Moth live early on, before the release of their debut, I’m in a position to attest just how far they’ve come and how much they’ve grown. And third album, Anatomical Venus shows their trajectory continues upwards and outwards: with each release, they’re bigger, and simply more.

If debut The Killing Jar was a rock-solid heavy rock album that revelled in the vintage riffery of Sabbath and its successor, Condemned to Hope was the sound of a band coming into their own and filing out their songs with heavier, denser chuggage, Anatomical Venues combines the strongest elements of its predecessors and brings an even harder, heavier edge, while at the same time bristling with even sharper hooks and stronger vocal melodies.

‘Buried Hoards’ blends grunge and goth to forge a dark grandeur, while the six-and-a-half-minute ‘Severed Grace’ finds Harriet bring a certain sneer and tantalisingly teasing edge to her delivery, which weaves its way around a serpentine lead guitar and super-dense bass throb. And across the album, Back Moth bring groove galore. Anatomical Venus leans toward the quicker tempo: ‘A Lovers Hate’ is less Sabbath and more Motörhead, a punk attitude informing the driving guitar-based assault. Compositionally, it’s stripped-back and simple, something that’s been core to Black Moth’s work from the outset: namely, that the riff is king. Front and centre, the riff. Simple, but effective, four chord workouts lie at the heart of most of the songs. In the world of both rock and pop, less is invariably more. Back Moth know this and exploit it well.

There’s no substitute for a beefy bit of guitar you can get your head down to. Not that they lack technical prowess: the solos are killer, but never overlong or excessively flamboyant. There’s simply no fat to be found on Anatomical Venus.

The album’s last track, ‘Pig Man’, lands somewhere between Lydia Lunch and Melvins, with a churning sludge metal riff and a sassy, semi-spoken verse… and noise. Cathartic, chaotic noise building to a climactic crescendo.

Black Moth’s strength has always been their knack for solid, hard rock that fundamentally plays to the rules – by which I mean, their focus has been quality over innovation. This is actually an admirable quality, because they’re a band who grasp what makes rock music rock. But Anatomical Venus sees the band extend their horizons, without losing sight of any of the qualities that made them in the first place. And in bringing everything all together, and making it tighter, tauter, and as dense and heavy as ever, Black Moth have delivered their strongest, most focused album to date.

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Black Moth - Anatomical Venus

Having recently announced that their new album Anatomical Venus will be released early next year, Black Moth have shared the first single from the record in the form of the psychedelic video for ‘Moonbow’, directed by Ben Foley (Foley previously worked with BM on their spectacularly kinky ‘Looner’ clip, 2015).

Vocalist Harriet Hyde comments:

‘It is an ode and an offering to the moon herself, in the hope that she will shine her silver blessings on Mothic ventures to follow. Ben Foley’s directorial work with us has gone from Looner to Lunar. His deft creative touch on ‘Moonbow’ drags the viewer with us through a psychedelic neon dreamscape – an intoxicating experience of lunar worship’

While their first 2 albums were released by New Heavy Sounds, Black Moth will have their latest / third studio album issued worldwide via Candlelight Records on February 23rd 2018, the result of an alliance between Candlelight and NHS.

Produced by Andy Hawkins (Hawk Eyes, Maximo Park) with Russ Russell (Napalm Death, Dimmu Borgir) handling the mix, this 10-track affair sees the Leeds / London outfit – vocalist Harriet Hyde, guitarists Jim Swainston & Federica Gialanze’, bassist Dave Vachon and drummer Dom McCready –  further honing the various elements of their sound to make the hooks more barbed and the focus more collective.

Lead single ‘Moonbow’ provides the first taste of things to come, successfully combining wide-eyed wonder with true metallic weight, the whole thing supported by the aforementioned clip that delivers from the off in both intensity and colour. Watch the video here:

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