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Black Moth Super Rainbow  

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• Pittsburgh (24)
• Los Angeles (LA) (20)
• New York (NYC) (18)
• Chicago (16)
• Austin (13)

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• Aesop Rock (31)
• The Stargazer Lilies (25)
• The Hood Internet (23)
• Oscillator Bug (19)
• Casket Girls (16)

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Essaying the pop culture that matters since 1999

Transcending Logic: An Interview with Black Moth Super Rainbow

“Black Moth Super Rainbow is not drug music,” says Tobacco, the main singer and songwriter behind one of indie rock’s trippiest sounding bands. “If you want to use it to enhance your experiences, that’s fine, but I get kind of bothered sometimes when everyone’s so quick to credit drugs for making this stuff.”

Black Moth Super Rainbow has been making its candy-colored, vocoder-filtered, Rhodes-and-synthesizer-shimmering psych since the mid-00s, emerging, appropriately enough (at least in lepidopteral terms), from another band called satanstompingcaterpillars.

The band’s third album Dandelion Gum was the break out, pulling in giddily positive reviews and, er, a bunch of drug references. I myself, writing for PopMatters , opined that “ Dandelion Gum is one of those records that makes you feel like you’re high, even when you’re not, like you’re on the verge of shambolic visions, even if you’re taking out the trash, like there’s an ineffable order to the universe, even when all signs point to chaos. ”

The association with contraband has dogged Black Moth Super Rainbow through its sprawling collaboration with the Octopus Project, its Dave Fridmann-helmed Eating Us and, now, the band’s fifth album, Cobra Juicy . Tobacco, who goes by the name of Thomas Fec in the real world, has just gotten back from a six-mile bike ride when we talk. He says that he gets more out of cycling and running and hanging out with friends than from any artificial substance. He doesn’t even take drugs.

Tobacco is fine with the idea of alternate realities. In fact, he explains his band’s use of nicknames (Seven Fields of Aphelion, Iffernaut, etc.), masks, film, and costumes as a way of creating a self-contained musical universe. “I just never wanted music to be attached to a person. I just wanted it to be its own world, with its own visuals and names,” he says.

But, Tobacco maintains, it is not a world that you need a pill, a joint or any other kind of chemical assistance to enter. “People just don’t want to use their imagination,” he says. “The easiest thing is, ‘Ah, it’s just drugs.’ Then you don’t have to think about it. But it has nothing to do with it.”

In search of the unknown sound

“I never really aspired to be a musician. It wasn’t really ever something I wanted to do or could see myself doing,” says Tobacco. “I just wanted to make what I wasn’t hearing.”

Tobacco wasn’t interested in music as a kid. He was about 15 when he began digging into the sounds around him, looking for something that just wasn’t there.

“I got tired of what was on the radio,” he says. “Then, I think my mom found me a copy of CMJ magazine. It came with a CD. So every month it was a bunch of new bands and I had never heard of a single one. Eventually, I got to the point where I had heard enough of that to go off and make my own.”

Tobacco started, as many musicians do, with a guitar and four-track. But he quickly realized that the sounds in his head weren’t going to come from a standard rock rig. “I wanted to start recreating all these great sounds from PBS when I was a kid, like One, Two, Three Contact . I just remembered all these weird synth sounds, and then Boards of Canada came along.” At about the same time, eBay was starting to take off as an online marketplace for used instruments. Synthesizers were available – and affordable – even if you were a young kid from suburban Pittsburgh.

Tobacco taught himself the rudiments of the instruments he plays – guitar, keyboards and synths – but never aimed for virtuosity. “I learn every instrument just as much as I need to. I wouldn’t call myself a multi-instrumentalist because I don’t actually know how to play any of these things,” he says. “I force myself to play what needs to get done for the recording, and then I can never remember it afterwards. “

Limitations are an important element in Tobacco’s music. He’ll switch from one instrument to another when he gets too comfortable, or when all the songs start to sound the same. Even his signature vocordered sound comes from his awareness of his own limitations.

“I’m not a singer,” he admits. “Pretty much the first Black Moth album, where my voice is on there for a few songs, that’s about as much as I can do. But with the vocorder I can get any texture, any sound. I can even make female parts. I can make all kinds of harmonies.”

A meaner moth in Cobra Juicy

Tobacco was unhappy with Black Moth Super Rainbow’s last album Eating Us . “The last one just felt really lame to me,” he says. “It was cool when I was making it, but I don’t know, by the time it was released, I was just so past it. ”

“I wanted the next one to be a little meaner,” he explains. “Not totally mean. I didn’t want it to be the same old woodsy kind of thing.”

Tobacco went into the studio and started recording a series of songs that got the tentative title Psychic Love Damage . But by early in 2012, he announced that he had scrapped the whole set. ” Psychic Love Damage was coming out like the Black Moth album that you would expect,” Tobacco says. “It was like Eating Us Part 2 or Dandelion Gum Part 2 . When I got to the point where I was pretty much finished, and I was pretty much expecting to put it out, I thought ‘I just can’t. I can’t imagine supporting that on tour for a year.”

Tobacco started over. He used more guitar this time, filtering the sound through pedals and effects so that it sounded like a synthesizer. He came up with the giant, abrasive riff that starts “Hairspray Heart” and built a song out of it. He changed the modules on his synth to extract different sounds. He became fascinated with vocal harmonies. And finally, when Cobra Juicy was done, he gave it time to sink in. He knew he didn’t want to make the same mistake he had with Eating Us , where he rushed completion and ended up touring a record he didn’t love. When I talk to him, on the eve of an extended U.S. tour, he sounds satisfied with it, ready to take the new songs out on the road with a five-piece band.

I ask him what makes the difference between the new songs that he’s happy with and the older ones that didn’t make the cut — the old question of what exactly it is that makes a great song. “I think for me a great song has always been a song that transcends any formula. It’s so much nuance and so many ideas that are so complex and yet so deceivingly simple,” he says. And, as you might have predicted given his reluctance to sound like anyone else, even himself, it has to be authentic and original. “You can try to be whoever, but you’ll never ever get it because you’re not them and you can’t understand what it is that makes their process. It’s almost like existence. You can’t explain it. You’ll never be able to explain it. It defies logic or formula.”

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Thursday Sept 19

Black moth super rainbow, taraka larson (of prince rama).

$20 / Doors at 7:30

If you haven't panicked lately, you're either blissfully ignorant or have gone completely clear. For the rest of us attempting to navigate the political, economical, and cultural carnage, Edvard Munch's "The Scream" succinctly captures the statue of psychic dislocation. Or N.W.A.'s "The Panic Zone." Or Black Moth Super Rainbow's Panic Blooms , the latest disorienting dystopian masterpiece from the experimental pop arsonists that haunt the black-leaved Pennsylvania woods. For the last decade, BMSR and frontman TOBACCO have explored the periphery of evil and extreme color, alternating between absurdly bright beauty and the slashed throat sinister. A sound impossible to replicate, as though it burst fully-formed from a paisley-painted fire hydrant stationed in hell. They combine the aesthetically gorgeous with the hideously ugly to create a psychedelic uneasiness usually only seen in old oil paintings. What if Goya or Bosch made ravaged vocoder pop? Or a neo-impressionist painter committed himself to creating slow woozy earworms so iridian and vivid you'd think he sliced off an ear in the process. So maybe this is why Panic Blooms is slightly startling. Never before has TOBACCO been so raw or direct in his lyrics. It’s a fucked up and bleeding account of depression and the shadow side of human frailty, full of gorgeous warped melodies that exist as their own genre, somewhere between late 90s Warp Records, dub, and chopped and screwed codeine drip. It’s not drug music, it’s dragged music, oozing through the muck of the present moment, past mutating the present, demon melodies filtered through the vain search for light.--> This is why Pitchfork claimed BMSR mastered the balance between the grotesque and beautiful. Spin hailed their "consistently great records of mind-altering, sugar-coated, vocoder-heavy psychedelic pop." Stereogum saluted their "excellent haze." Encoded in a syrupy fog, TOBACCO's lines stab with more ferocity than ever before. From the first track, the knives are out and slashing with chimerical violent imagery: mouths bleeding from razor blades stashed in tangerines and the ominous sensation of feeling haunted. There are sunset curses and diseased plants, sunburn fevers and doomsday downgrades, pink apocalyptic suns and sinister omens. It's reminiscent of the phrase used to describe surrealism: as beautiful as the chance encounter of a sewing machine and an umbrella on an operating table. Here we are in 2018, inhabiting a tumorous wasteland with singed nerves and synapses fried from scrolling for far too long. This is what the fear sounds like in its most pristine form. The floral bloom and the toxic wilt, the sound of dreams and nightmares reaching détente, a ride through the void, where the fumes offer all the anesthetic you need.

Take Metro! Black Cat is located just three blocks from the U Street/Cardozo Metro Station. Website designed by Alec Bourgeois , illustration by Lucio Schiavon © 2010 Circle I Productions