If Black Moth Super Rainbow goes down in history as this decade’s acid eating purveyors of electronic shenanigans, then the band’s biography should include plenty of coverage of how the members themselves possessed talent beyond the walls of analog synthesizers and retrobotic vocoders.
The footnotes should point to the band members’ side-projects as proof, and one of the first examples should be Ryan Graveface’s part-time gig under the Dreamend moniker. Aside from the wiggy title, which falls in-line with BMSR’s own blotter-fueled imagery, there is little that compares to Graveface’s more recognized work and even less that will have you worrying about that fact.
Check it if you don’t believe me, but Black Moth Super Rainbow‘s “Forever Heavy” (MP3) is one of my most spun tracks according to Last FM. The song, from their previous effort Dandelion Gum, is a trippy and memorable blend of old school analog synths fronted by primitive robotic vocoder.
“Born On The Day The Sun Didn’t Rise” is similar to “Forever Heavy” in the sense that it too is the lead off track to their full length—this time it’s their latest entitled Eating Us—and it’s infectiously similar to that ’07 gem.
I have a feeling that it too will become a popular track and show similar high numbers to my spin totals, particularly after this summer is over.
Hailing from rural Pennsylvania and sporting one of the weirdest band names since The Flaming Lips (a band they’re opening for this fall), Black Moth Super Rainbow has quietly made a few retro-minded instrumental albums over the past five years. Dandelion Gun, their latest, continues with their psychedelic soundscapes while managing to make a more lasting impression than the last few Air albums combined.
Their secret is two-fold: memorable melodies created on instruments (and recording studios, for that matter) that are no less than a quarter-century old. The instrument of choice ends up being a variety of pawn-shop synthesizers underneath a dated vocoder. This strategy makes deciphering the vocals (when they’re present) nearly impossible and, because it’s used so frequently, there’s a chance that a listener can grow fatigued of the gimmick while sober and/or long periods of listening.
Anybody else notice that Forkast has recently become skimpier with the mp3s? They’ve been pointing to a lot more imeem streams than mp3 downloads.
Maybe that’s fine. I rarely keep free mp3s from the web; I play them once or twice, and if I really like it I’ll either buy or download the album. Unless it’s something that I know I’m only going to like the single, like “Crazy” or “Ring the Alarm” or “Young Folks.” So maybe streaming is okay as long as we’re always on the internet (which we are).
Anyway, some recent good stuff from Forkast after the jump…