Stream the debut album from White Moth here!
No matter the lineup, or the number of folks adding beats and electronics to the dark cacophony, Loren clearly carries the most weight, and you’ll find plenty of threads linking White Moth to his other work(s): He’s expanding a central aesthetic/showing us another angle in an overall musical landscape. - Stereogum
White Moth keep the same ambient textures of Pyramids but rush into a melding of electra-hardcore and black metal... it's a dark symphony truly unafraid of where it's leading. - Noisecreep
The story of the White Moth began 15 years ago. In a REM cycle, maybe, or a lucid moment of acute mental unrest. It was immediately obvious that the Moth was unhindered by those supersensory barriers that (seem to) cleave the disparate planes of consciousness. For all R. Loren knew, the Moth could occupy any or all of the dimensions, separately or at once. It was simultaneously an insect, a metaphor; a homing beacon with which to navigate the imperatives of the cosmic subconscious. So Loren followed the Moth through the cycles, the planes, the patterns; to the far-flung corners of ephemeral cognizance and lingering, substantive reality.
At some point during June of 2009, the Moth led back to something that resembled the beginning—the first flower, the stirrings of artistic impulse. To a cluster of tangled roots that formed the basis of a highly specific musical inspiration. To Alec Empire of Atari Teenage Riot. To Shelby Cinca of Frodus. To Lydia Lunch. The journey continued unabated, charting a course through the faraway locales occupied by kindred spirits like Colin Marston (Krallice), Ashley Scott Jones (Treasure Fingers, Evol Intent), Sam Hillmer (Zs), Jacob Kirkegaard (Touch Records), Christoph Heeman (H.N.A.S.), Dälek, C. Rogers, John Gossard (Weakling/Asunder) and [artwork by] Chet W. Scott (Blood Of The Black Owl/Glass Throat Recordings).
All of whom lent their considerable talents to White Moth’s self-titled debut.
And so it follows: Fast on the feathered heels of his Sailors With Wax Wings project, Pyramids mastermind R. Loren steps across the fold with something completely unlike his previous work. Well, maybe not completely unlike. The sonic linchpins are there, albeit in trance states of perpetual metamorphosis. In this case: frenzied breakbeats, whirring black metal guitars, gaping celestial caverns and hair-trigger hyper-melodies, all punctuated by cavalcades of digitized psychic terror, saxophone jags and dense sheets of whipsaw electronics. The White Moth spans idioms and screeches across margins; it loops and dives, wheels and cranes. Generally (but not exclusively) at top fucking speed.
All told, White Moth is a sonic experience that not only demands but somehow compels total immersion. Meanwhile, the Moth itself - the beacon, the metaphor - continues on its journey through the vapor.
White Moth enlists the collaborative musicianship of:
R. Loren
vocals, textures
C. Rogers
vocals
Ashley Scott Jones (Treasure Fingers, Evol Intent)
beats, electronics
Colin Marston (Krallice)
guitar, bass
Sam Hillmer (Zs)
saxophone
Jacob Kirkegaard (Touch Records)
processed field recording
Christoph Heemann (H.N.A.S.)
guitar, piano, electronics, percussion, moog
Lydia Lunch
vocals
Dälek
vocals
Alec Empire (Atari Teenage Riot)
vocals, tr 808, linndrum, roland jupiter 8, roland rs-202, arp solina, arp 2600, minimoog
Shelby Cinca (Frodus)
vocals
John Gossard (Weakling, Asunder)
vocals
Chet W. Scott (Blood Of The Black Owl, Glass Throat Records)
artwork and design
Stream White Moth's debut album here!
Tracklisting:
1. There was a man with tongue of wood
2. Two women, knitting
3. The sea was blue meadow
4. Shoot the clock
5. You texas, dark star
6. Blood and torn grass
7. Smiles warm red light
8. To the cathedral
Watch studio footage of Frodus' Shelby Cinca recording material for White Moth's debut album here!
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