Spunk Discography
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Artist Links
http://www.blackmothsuperrainbow.com
http://www.myspace.com/blackmothsuperrainbow
Video
Biography
After a year of eerie, stilted silence, the sun shines and the shadows reappear. Black Moth Super Rainbow has crept from the forests and cities to make ‘Eating Us’, their dark bubblegum freakout for 2009. The first fully hi-fi BMSR record, ‘Eating Us’ adds space and dimension to the band’s sticky, off-kilter melodies.
The modern musical unit known as Black Moth Super Rainbow first emerged from an obscure Pennsylvania forest glen in 2003 to relay a somewhat confounding sound with ‘Falling Through a Field’. Over the next few years, that peculiar sound developed, and the cult of BMSR began. With the release of their naturally-sweetened, candy-coated, and acclaimed 2007 treat, ‘Dandelion Gum’, a number of curious listeners bent their ears and adjusted their listening habits to incorporate Black Moth Super Rainbow’s oddly creepy and off-beat sweet audio plyings. A string of tours supporting big brothers Flaming Lips and Aesop Rock positioned the oft-camera shy outfit in front of thousands of brand new sonically adventurous music enthusiasts who weren’t necessarily prepared for the eccentric visuals of BMSR’s surreal live show, but would hopefully emerge changed, and be better off for it.
Their new full-length presentation for 2009 ‘Eating Us’ promises to up the ante on the fidelity and melodies that BMSR have become known for. Here, the merry cryptic band has added some new flavors to their already well-established rainbow of sounds, with even more dense layers of lushly complex orchestration, intensely rhythmic drumming from a live, human drummer, vocoder vocals that are anything but robotic, and thick, undulating bass tones. ‘Eating Us’ marks the first time BMSR has ventured into a modern recording studio, being partially tracked and fully produced by Dave Fridmann (The Flaming Lips, MGMT, Weezer) at Tarbox Studios, who was the only choice of producer for notedly anti-studio BMSR quasi-frontman Tobacco. Only Fridmann’s hands and ears were trusted to keep the freaked out wiggles and hairy candies fully in-tact, while also expanding them in a more realistic space.
This music agreeably dwells in contradiction; the songs contained herein have a feel both earnestly nostalgic, and hauntingly futuristic. Should the robots working in our factories, vacuuming our floors, and operating our gaming consoles choose to rise up and revolt, ‘Eating Us’ could, perhaps, be used to serve as the first indication that our beloved machines had begun to understand the subtle complexities of human emotion.
