Posts Tagged ‘More Riffs’

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.

AAA

Black Moth - Anatomical Venus

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Exile on Mainstream – EOM082 – 23rd June 2017

Christopher Nosnibor

So, are Tricky Lobsters anything like Scottish indie band of the 1980s, Close Lobsters? No. They may share a crustacean genus, but sonically, Rostock-based rockers Tricky Lobsters swim in very different waters indeed. They’re little known outside their native Germany, where they have a substantial following, but it’s well known that the Germans really do like their rock and that British acts who enjoy only cult status domestically are huge over there (take, for example, The Sisters of Mercy and Placebo, who regularly headline festivals there while receiving comparatively little attention back home).

Worlds Collide delivers everything you’d likely want from a proper rock album that has no pretence of being anything else. Opener ‘Bitter Man’s Fame’ sets the tone, with big, ballsy blued-based rock riffage amped up to eleven. Think Mötörhead covering 70s ZZ Top. Or perhaps the other way around: like ‘Just Got Paid’ played with gnarly aggression. And then with a big, greasy dollop of psychedelic biker attitude spat in on top.

‘Big Book’ is a quintessential heard rock tune: it’s not subtle, and it’s not especially clever, but it is big, especially in the chugging rhythm guitar and twiddly breaks department. But what separates Worlds Collide from so many albums of its ilk is just how dense it is, just how thick and up-front the guitars are, how much attack these guys bring to the performance.

They’re a proper power-trio, and it’s the thunderous rhythm section that holds it all together as they piledrive though riff-led behemoth after riff-based behemoth. The slower, quieter moments, like the reflective first section of ‘Dreamdiver’ with its picked guitar and sad-sounding strings only serve to accentuate the meaty heft of the bulk of the album’s nine cuts.

It may, on the surface, seem like rather weak summary to state that Worlds Collide is a rock album you can really rock out to, but given just how diluted and limp so much so-called rock music is these days (I’m not being an old fart: we exist in a time where PVRIS and Linkin Park are classified as rock bands. I mean… seriously), it’s refreshing to hear something as unapologetically old-school and played with energy and guts as Worlds Collide.

 

Tricky Lobsters - Worlds Collide