Black Moth Super Rainbow - Panic Blooms

If listening to Tobacco's solo efforts is like being punched in the face in a dark alley then listening to Black Moth Super Rainbow is like making out with a sentient blob of syrupy smoke at the other end of that same alley. The title of this album, Panic Blooms, fits perfectly; even though some things here are chaotic and downright terrifying, it all unfolds so slowly that it can be viewed in great detail, which brings a sense of clarity to the catastrophe.

As is usually the case with Thomas Fec's music, everything sounds broken or slightly melted, like this album was recorded onto a cassette which was then left out in the rain then the sun then the rain. All the vocals are provided by a robot with emphysema. This album must be experienced on good speakers/headphones in order to hear every distortion and mutation perfectly.*

First and foremost, "Baby's In The Void" is overwhelmingly beautiful, prepare to weep. The bright rips of sound on "We Might Come Back" are horrifyingly comforting or comfortably horrifying, like the name of the track. Is it meant to be "We Might Come Back To Kill You And Burn Your House Down" or "We Might Come Back As Beings Of Pure Light After We Pass From This World"? Or both? "We Might Come Back As Being Of Pure Light After We Pass From This World To Kill You And Burn Your House Down". These are not normal questions. "Sunset Curses" is absolutely glorious and "Bad Fuckin' Times" is for honey-covered intercourse in the future. The title track, "Harmlessly", "Backwash" and "New Breeze" are also standouts.

Tobacco is perfect listening for punching holes in the space time continuum while BMSR is for a slow, sun-smeared train ride. If you find the former too scary, then let the latter be your gateway drug. Also, heroin. BMSR and heroin.

 
* I mean...all albums should be, but this one in particular.