Hailing from Pittsburgh, Pennsylvania, the members of Black Moth Super Rainbow show a mastery of mystery melody and synthesizers that put you into a state of head bobbing bliss as you float through the seventeen tracks on their 2007 release Dandelion Gum.
My first experience with this band was in December of 2007. Surprisingly, they were the openers to Long Island hip-hop heavy weight Aesop Rock. Their chest thumping drum and bass rhythms took over their show and locked my body into a fixated trance of motion. They were one of the few openers that I have seen in all of my live music experiences that would later become one of my favorite bands.
While they have recently re-released their first record, Falling Through A Field, with a few extra b-sides, the Pittsburgh band’s new album, Dandelion Gum is by far their best effort to date. All of the band’s third studio album’s 17 tracks are drum and base heavy, much like their live shows. Yet where these songs shine is through their ability to melodically blend an array of synthesized sounds and vocals into progressive and at times, damn catchy tunes.
“Sun Lips” reflects their ability to flow the beat into a catchy melody that mellows the soul, while songs like “Opener Forever Heavy,” “Melt Me,” and “Caterpillar House” exemplify that fast passed groovy side of Super Rainbow that also draws in elements of the Flaming Lips, which they supported on their 2007 tour. One of the last tracks on this acid trip of an album, “Lost Picking Flowers in the Woods,” starts off with an intro that summons the essence of Ray Charles and moves right into what BMSR does best with a bass thumping electro dance beat coupled with a ghostly voice that is too a signature BMSR move.
Ant not to go unmentioned is the album’s unique eye-catching cover art. On all their records, and posters for that matter, Black Moth Super Rainbow offer original throwbacks to the days of Warhol with elements of modern pop and street art. This emphasis on album art is a true rarity in music these days. These images that essentially follow the band, bring a visual aspect to the music, a nostalgic move that is reminiscent of the days of LPs when the cover art really mattered.
The tracks on Dandelion Gum flow seamlessly from one into the other, and while they are short at less than three minutes, you’ll hardly notice. After all, your mind will likely be lost in the back woods of Pennsylvania on a psychedelic musical frolic through the meadows of Appalachia.