Mind Noise Network
Black Moth - Condemned To Hope
By Daniel King - Posted on 18/09/2014
Yorkshire based five piece Black Moth have just released their second album Condemned To Hope. If you're unfamiliar with them a lazy description could be that they're somewhere near what a Taylor Momsen fronted, Sabbath/Rival Sons hybrid would sound like. Over the past few years they have risen through the ranks of the Leeds underground scene and are about to embark on a headline UK tour in support of this release.
Condemned To Hope carries on with the style and atmosphere that debut album The Killing Jar showcased for the most part. There is a bit more variation in style through this album though, which is something that the first lacked slightly. There's a couple of slower paced songs that plod along a little, but there are some riff fueled beasts in here too.
Album opener, Tumbleweave, gives the big start that is needed to really make a mark with albums these days (lets face it, people have short attention spans). Kicking straight into a 'Sabbath Bloody Sabbath' style riff it grabs your attention straight away. Harriet Bevan's vocals are strong in this one, but the use of what sounds like a 'double echo' in the chorus does start to drag pretty quickly. Not that it really matters though, a decent solo towards the end ensures that the opener remains a good track. Set Yourself Alight is up next. This one picks the tempo up and throws some seriously catchy riffs in to the mix. The chorus is really strong here too, showing off what Harriet can do without all of the effects. All together, when you add in a little bass solo, you get one of the highlights of the album here.
Track three, Looner, has a real Pixies feel to it. There seems to be some inspiration from their 'quiet/loud/quiet' technique (see here for an example of this style) although it is a more aggressive version of it. This is another strong track and with feedback fuelled guitars it starts the variation in style that is on show throughout. Again the vocals are strong and, with three tracks down, everything is going pretty damn well. Up next is The Undead King Of Rock 'N' Roll, though. This track starts off with a strong riff, but doesn't build on it. The track feels like it polds along a bit and never really gets going. Though, It does pick up a little bit towards the end, but it's too late for this track by then.
The Last Maze follows in much the same suit. An initial return to the Sabbath-esque riffs is a bit of a red herring as the track doesn't do much else. This is probably the least engaging track on the album and, if I'm being honest, the band sound a little bored on it too. Ending the track by providing 45 seconds of feedback wasn't the best move either.
Not to worry though, White Lies gets the album going again though. The pace picks up, the bass gets you nodding your head and the more indie style guitars give an interesting dimension to the track. A solid solo and engaging vocals make this song another strong song and a welcome return to form. Following it is Red Ink. A strange song that slows the pace down again and despite not having much in the way of standout elements, still comes across well. A decent track overall that shows a bit more of the vocal range that Harriet has to offer.
Room 13 has a darker feel to it and despite the strong riff and big vocals, this a track that flies by. Stinkhorn, winner of strangest name on the album, is reminiscent of Badmotorfinger era Soundgarden throughout. This isn't a bad thing at all and sounds like it's exactly what the band were going for. Plus, breaking for some Sabbath style solos towards the end isn't a bad thing either. Slumber With The Worm plods along until around the midway point where the pace is increased and it plods a little faster. Not a bad track overall and musically it is tight. Closing, and also title, track Condemned To Hope picks the pace again. The vocals on show are haunting in parts but excellent throughout and the guitars are again Soundgarden-esque during the main body of the song and unique during the instrumental section. But this is no Soundgarden song, this is as much a Black Moth song as you're likely to find and is the perfect end to the album.
Overall, this is a great second album. There are a couple of weak tracks, but the beginning and end are so strong that you barely remember they even existed. This album is probably more accessible than The Killing Jar and showcases the talents and creativity of the band. There are some big riffs on show here and the raw sound is still there, despite having better production than their debut. Keep an eye on these guys. They could be about to hit the big time with this one.
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1/20
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