Just passing their first year as band, UK rockers Hot Moth have just released debut EP Small Fires. It is an introduction which simply demands attention, three slices of alternative rock woven with just as potent essences of math and punk rock. A further progressive intent does songs and release no harm either, another vibrant texture in a sound which is yet to find its true individuality but has little problem, on the evidence of Small Fires, in making a memorable impression on ears and enjoyment.
Hailing from Brighton, Hot Moth is made up of vocalist/bassist Matt Sparkes also of The Farrah Joy Quartet, guitarist Matt Metcalfe, and drummer Freddie Hills who also hits the skins for another great band from the town, The Slytones. Formed March 2015, Hot Moth has drawn comparisons to the likes of Biffy Clyro, Oceansize, Reuben, and Mars Volta, which listening to Small Fires is often easily understandable. Creating captivating roars equipped with hungry riffs, anthemic rhythms, and strong vocal enticement, the band also has a subtlety to their sound which sees them able to almost serenade the imagination one moment and creatively bully it in the next.
The release opens with Rhino and an initial scaly lure of riffs which soon opens up into a formidable but inviting collusion of rowdy rhythms and sonic enterprise. The entrance of Sparkes’ excellent vocals and expression brings a momentary mellowing which quickly builds again into the same feisty proposal the song leaped in on. Ebbs and flows in intensity skilfully continue as the track provokes and entices with increasing prowess. There is a touch of Freeze the Atlantic to the song, a grittier snarl which works well with the melodically fiery textures that combine with Hills’ dynamic and addictive rhythms.
The impressive start continues with I Miss The Missed, a slightly less energetic proposal in many ways yet makes up for it with the emotive suggestiveness of vocals and melodies. There are plenty of dynamic crescendos involved in the track’s landscape though, evocative eruptions around the tenacious and agile enterprise of Hills and the melancholic tone of Sparkes’ bass. As with the first, there is an instinctive catchiness which permeates everything from the growly swing of the bass to the crisp beats and the potent weave of imagination shared by Metcalfe’s strings. Closing on a boisterous finale, the excellent track leaves a want for more as it makes way for EP closer Levelling The Tales.
A funk infested slice of metal aggravation and melodic infectiousness, the final track is a fiercely beguiling adventure playing like a blend of Reuben and I Plead Irony with the progressive touch of Porcupine Tree. Once more contagion soaks every unpredictable twist and rousing turn with a tapestry of flavours and energies in tow. It is a union of imagination and resourcefulness creating the EP’s best track as it completes a thrilling first listen to a band with the potential to make great strides within the UK rock scene. Available as a name your price download, Small Fires is one extremely easy proposition to recommend.
The Small Fires EP is out now @ https://hotmothmusic.bandcamp.com/album/small-fires-ep
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Pete RingMaster 13/04/2016
Copyright RingMaster: MyFreeCopyright
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The potent expanse of diversity within the album is soon beginning to reveal itself with What If. From vocals to sound, it carries a rockabilly meets melodic rock ingenuity which simply seduces as the track, with the bass on the front foot, prowls ears. Hooks litter every lure of the song’s invitation whilst a virulence of emotive and creative dexterity infests the imagination and psyche. As its predecessor, the track is aural gold and an unstoppable manipulation of the body and listener participation, much as Not The Face which follows straight after. It too is quickly in command, its buoyant infectiousness aligned to imposing aggression and anthemic tenacity with a Billy Talent like resourcefulness to it all.
The band’s sound is often and understandably tagged as art-rock but as opener Feel At Ease quickly reveals that barely hints at the evolving brews of grunge, stoner, punk, noise, and many other rock ‘n’ roll spices woven together in the EP’s individual exploits. The first song is an immediate throaty groan of heavy bass, discord deranged guitar, and jabbing beats. It is an almost menacingly brewed lure which never flinches as the spoken delivery of LoSardo opens up a just as pungent narrative. Fresh predatory air hits all areas before the song opens out into a catchy and melodically tempting chorus, its appearance another trigger as the song returns to its stalking but with a hungrier and livelier nature. We would suggest as this and all songs play, each listener will find their own references and hints to compare songs with, and here, thoughts of early Squeeze, Split Enz, and just a touch of Pere Ubu nudge these thoughts.
feisty intent makes an opening gambit before the passions. Eager guitars stroke the ear initially to awaken attention and once joined by the throaty snarl of the bass and the crisp punches of Arnold, the song provides an honest and striking piece of alternative rock enticement, ridden by the strong vocal tones and delivery of Jordan. It is maybe not the most spectacular start, the album reining in that treat until…well its successor, but it is a pleasing and bracing introduction.