The original title of the failed horror film titled in Spain “Mothman: the last prophecy” is “The mothman prophecies”, the same as this Lp from the band Moth. And the more experienced reader will think he took the name of the album from that feature film with Richard Gere. The problem is that Mark Pellington’s film (which made the video clip famous) dates from 2002 and this work, released this season, was recorded in London between 1990 and 1993.
The solution is that “the mothman” is a scary old legend in the Anglo-Saxon world, so it’s no surprise that they both share the same title. What is true is that Mark Pellington directed videos for Pearl Jam (“Jeremy”), Alice in Chains (“Rooster”) or later Foo Fighters (“Best of you”). And it is that these famous formations have a lot to do with the sound offered by Moth, a British quartet formed by its singer Cecelia, guitarist and backing vocals by Shaun Harvey and the rhythmic basis of John Brooder on bass and Rick Duce on drums .
An album on the “grunge” and “garage” trend typical of those early nineties that can be seen in the powerful chords of the initial “Slip n slide”, continuing with “Save us”, slower and with a guitar that evokes Black Sabbath original, with its heavy cadence in the “riff”. Despite being recorded in such old years, the reissue and remix is successful and the plastic sounds perfect, which we can notice in their third track “We are the Blessed”, another melodic and powerful song with the “fuzz” pedal of protagonist and a full-speed finish that almost takes us to punk rock even if the essence of hard rock that was turning into “grunge” (then fashionable) is the main claim.
What is curious is that the more upbeat songs like “Save us” or “Join hands” have clearer reminiscences of Black Sabbath. The latter too has touches of seventies psychedelia and a slight spatial edge, even if the pizzicato reminds us of some primitive Rage Against the Machine. “Breathe” travels more through the landscapes of American music (if only for the Bon Jovi style acoustic guitar that stands out above all) in a more relaxed way, with a more relaxed Cecelia with her voice and which is a breath of fresh air in aired on the set of “The mothman prophecies”.
“Oh no” returns to its strengths, with guitar “fuzz” and some distortion, albeit with quiet verses that go into a “crescendo” in the bridge and chorus, giving way to the fastest song of the whole albums, like “Spellbound”, with a singable refrain and a “riff” of those with which it is impossible not to move your feet if you listen to it in a pub or in a cocktail bar. Nothing to do with the cadence that appears, once again, in “The wise man”, with a long instrumental prologue, repetitive like the immortal band from Birmingham, led by Ozzy Osbourne and Tommy Iommi. It’s a guitar strike so heavy it can feel like an early doom.
The final stretch of the LP begins with “Twisted”, melodic and calm with Cecelia almost reciting the initial verses even if we know that at a certain point the tone will rise, which soon happens in a tune along the lines of Nirvana that leaves the place to “So Little”, also with a similar structure and sound “Seattle” and the final “True forever” in which the speed is increased to serve as a climax to a “The mothman prophecies” which without inventing anything again, it’s a really pleasant listen harking back to a time when things, if not better, at least, were easier.
