Posts Tagged ‘Riffs’

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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Southern Lord – 29th September 2017

Christopher Nosnibor

The arrival of this album in my inbox gave me pause for thought. Their debut album, the brilliantly-titled Iron Balls of Steel was a full five years ago. I reviewed it, and raved about it. And I realise I’ve been doing this for quite a while now. Over that time, bands – great bands, shit bands, mediocre and forgettable bands – have come and gone. And now, Loincloth, whom I praised for their ‘megalithic chunks of undecorated, heads-down behemoth guitar riffage and earth-shuddering rhythms hewn from colossal slabs of basalt’, are entering the catalogue of bands gone.

The press release includes the following statement: “Loincloth is no longer a live band, so this record is our final offering not only to the great horned one below, but to the committed ladies and gentlemen of the Cloth.” Still, what a sign-off. Never mind the ladies and gentlemen of the Cloth: the nine shuddering riffcentric sonic barrages that form Psalm Of The Morbid Whore are terrifyingly heavy, dingy and gut-churning enough to leave the listener close to touching cloth. As such, while their departure is sad news, the delivery of this awe-inspiring musical gift is a cause to rejoice for those who like their shit heavy.

The press release pitches Psalm Of The Morbid Whore as ‘packing nine new instrumental passages of white-knuckled twists, and by-the-throat percussion, into a half-hour’.  But this fails to convey, even slightly, the grungey riffs which jolt and jar, shuddering through a stop/start chug of thick distortion. Between the blastbeats and thunderous culminations of bass and rhythm guitar twist sinewy lead guitar lines that spread and unfurl like foliage spreading in a mystical forest. Also emerging from the swamps are fleeting moments of prog-hued illumination.

It also overlooks the progression between Psalm Of The Morbid Whore and its predecessor. While the tracks are, on the whole, short, there are a number of longer workouts, with the final cut, ‘Ibex (To Burn in Hell Is To Refine)’ running to almost eight minutes (twice the length of the lengthiest piece on Iron Balls). And, significantly, the tone has shifted, from the slightly jokey or flippant-sounding ‘Underwear Bomb’, ‘Shark Dancer’ and ‘The Moistener’ of the debut the to the subterranean savagery of religious / pagan coloured titles like ‘Necro Fucking Satanae’, ‘Pentecost Dissident’, ‘Bestial Infernal’. Psalm Of The Morbid Whore is dense, dark, and heavy, and while in some respects less claustrophobic than its predecessor, it feels more focused, less metal, more grunge, and also more groove orientated.

But most importantly, Psalm Of The Morbid Whore retains the dirty, unpolished primitivism worthy of a band named Loincloth.

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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