Review Summary: Condemned To Success
Sophomore albums are always challenging for artists. Just as they start feeling comfortable in their own shoes they are then dauntingly expected to deliver goods that raise the bar on their debut. For a band such as Black Moth this is a particularly difficult task considering their debut album The Killing Jar recognized them as one of the best new riff machines to come out of the UK in years. Thankfully the doomy rockers from Leeds have expelled any forms of doubt.
If you’re unfamiliar with this quintet you’d be in for a surprise, instead of a wailing air raid Ozzy impersonator against the backdrop of Sabbath-esque grooves you get the rather more polished tones of Harriet Bevan. They are indeed polished yet still powerful; like someone taming thunder. Bevan has the kind of voice that those who reject female fronted bands must have a heart of granite not to be impressed by. It becomes apparent that far from being merely a machine for an undoubted talent, Black Moth is a true team with all members contributing significantly to the album as a whole.
'Tumbleweave' awakens the album with an immediate swaggering groove that continues throughout the song but its Harriet Bevan’s simplistic chorus that proves to be one of the finest hooks on the album. A flurry of thrashy grooves and exotic solo’s adjacent to Bevan’s soaring vocals bring the song to a sensational close. ...And this is just the opener!
Condemned To Hope incorporates a 110% rock ‘n’ roll approach to the album. Black Sabbath play an integral inspiration to Black Moth and the untouchable Sabbath grooves can be found in tracks such as the vicious 'Room 13', and drummer Dom McCready has evidently been taking notes from Bill Ward with the chugging thunder on 'The Undead King Of Rock ‘n’ Roll'. Reminiscent of Electric Wizard yet with a touch of southern for fans of Orange Goblin, other inspirations are found in the docile drones and the dragged out tenors of 'The Last Maze', telling tales of acid trips and impending doom. Cheery stuff.
Black Moth manipulates their tempo to sound heavy whether they play fast of slow. Tracks like 'Set yourself Alight' and 'Slumber With The Worm' escalate to be relentlessly fast with overdrive solos from axemen Jim Swainston and Nico Carew on top of a zero tolerance tone from Bevan compared against slower tracks: 'Red Ink' and 'Stinkhorn'; whereby a milk float could out run the aforesaid tempos. This delicate approach allows them to effortlessly focus on screeching solos and for bassist David Vachon to create a cowed yet evil depth. Keeping with the albums’ theme, the title track proves to be the most sinister song on the album. From the soaring, desperate vocals of Bevan to the squealing dual guitar hooks and rolling drumming, Black Moth leaves you once again gnawing for more.
A perfect sophomore to a perfect debut. See you in the Mothpit.
