We’re pleased to bring you the premiere of Mob Terror’s new album Superstimulus (listen below), which is officially released today, April 27th, through Financial Ruin and Dead Tank Records. You can purchase the album here.
Sam Gasparre and Alex Kulick of Mob Terror commented:
“Putting out Superstimulus feels like a weight lifted off our shoulders. There was such a long time between Sam and Aidan starting the band to the difficulties in finding our footing to Alex joining and now having a record in our hands. So it’s been incubating for quite a while. We tend to be meticulous about everything and because of this the music inevitably develops organically. There’s a great deal of effort put into making it all sound natural and integrated so that the depth of feeling isn’t lost. From the artwork, to the lyrics, to playing live we try to have one be enveloped by this ‘depth of feeling.’ To use a space to create something tangible. We’re already stretching these ideas out with the new music we’ve been working on and are looking forward to testing them out on the road.
14 minutes of music that strangely feels much longer than it is. The music falls apart and melts constantly, similar to the vibe of the album cover Pap (Pap Souleye Fall) constructed. The songs can shift what’s happening on a dime at any moment. What might seem like a mass of noise is actually an ensemble of carefully considered parts, highly controlled chaos. We’re often using broken down, simple material and recycling it in clever ways to try and keep momentum and surprise while trying to evoke some subtle sense of familiarity. Groove and repetition is everywhere but the sounds never settle into a singular place. Fragmented, refracted, dissociated. There are pieces of a lot of different styles in the music: Noise rock, Grindcore, Punk, Experimental Rock of all kinds, all the heavy music that tries to incorporate unfamiliar sounds and approaches.
The artwork, like the music, came about organically. Pap Souleye Fall is a mutual friend of ours and an incredible artists. The only suggestions that I gave were that whatever it was should be pink and look like it was melting. It progressed naturally from there, with me and Pap driving around town gathering whatever we could find. Everything was intuitive and over the course of a couple weeks he had made a giant sculpture in an overgrown abandoned lot which he then photographed from as many angles as possible. The final image is a very small section of the end result. Pap is on another level.
The lyrics deal with our relationship and responsibility to place in a time of increasing disassociation. Some are indirect like ‘Flushed’ or ‘Ursula H’x.’ The intention being to create a sense of space (like a dream or memory) and feeling into it. More akin to poetry or ‘The Dreams’ by Delia Derbyshire. Some are direct like ‘New Orleans Underwater.’ To have a deep relationship with a place and to see it be mistreated and fear for it’s future. What responsibilities are owed to the places we care for?”
Top photo by Erin Fitzpatrick