Kate Moths

We are pleased to announce the release of Kate Moths‘ debut, “Reverse Earth After Birth”, due out on July 21, 2017 on cassette, digital and all streaming services. The Milwaukee-based four piece is comprised of members of Soup Moat, Spur, Partisan, Volunteer and The Barrettes. Stylistically drawing on some of most memorable moments of 90s underground guitar rock, Kate Moths are not an easily pigeonholed act. Elements of everyone from Cap’n Jazz to Sebadoh to Julie Doiron to The Microphones can be heard in their sound, with some reference points being more obvious than others. Rather than a simple rehash, though, Kate Moths‘ creativity starts with the lineup-dual guitars, drums and cello. No bass? No bass.

Obviously a bass-less band is hardly anything new in 2017, but the lacking a strong rhythmic foundation is always of concern in this scenario. Needless to say, the absence of bass guitar and the addition of cello makes for an interesting take on the style. Surely, there are moments of straight ahead rhythmic focus, but the inventive work of cellist Crystal Rausch tends to be far more flexible and multi-purposed than one would think. At times rhythmic, at times textural, at times noisy, Rausch‘s playing is arguably the main facet that sets Kate Moths apart from both their influences and contemporaries. Take the intro to “Lawns” – that’s not guitar you’re hearing, that’s cello.

Vocalist Charlie Hoehnen‘s delivery evokes the sound of 90s midwestern emo – raw and honest in a way that fits perfectly with the music surrounding it, like on opener “Heart of the New Riot”. Whereas the midwestern emo acts of the mid 90s had a more narrow lyrical focus, Hoehnen’s lyrical approach incorporates a level of self awareness and abstraction that is largely absent in that genre. This isn’t heart-on-sleeve confessionalism; its far more observational, mature and varied.

The duelling guitars of him and guitarist Kevin DeMars are highly angular but also melodic, at times driving the songs into a manageable frenzy, exemplified greatly on “Read the Death Sentence”. Drummer Scott Emmerich stays focused and serves the song first, providing a strong rhythmic backbone on “Nerves”. All of these elements work together to create a singular sound that is equal parts colorful, driving and intricate.

Triple Eye is proud to announce the release of this upcoming release, broadening what you’ve come to expect from us.