Mothership II, the aptly-titled second full-length and Ripple Music debut from Dallas heavy rocking trio Mothership, is available today. You can hear the complete thing on Ripple‘s Bandcamp if you’re so inclined, but given the opportunity to do so, I also wanted to feature a track from the record since it demonstrates so clearly how guitarist/vocalist Kelley Juett, bassist/vocalist Kyle Juett and drummer Judge Smith have progressed since their 2012 self-titled debut (review here), which Ripple also released last year.
If the power trio have moved forward from their first record — and I’ll point to the Floydisms of opener “Celestial Prophet” and later instrumental “Tami Massif” and the masterful use of tempo shifts on “Priestess of the Moon,” the progressive edge of “Holy Massacre” and the grand stoner epic closer “Serpents Throne” (not to be confused with Philadelphia-based instrumental outfit Serpent Throne) as evidence that they have — then it’s evolution hard won. The Juetts and Smith have spent a goodly portion of the last two years road-dogging back and forth across the country, even venturing to Europe for the first time this past summer to play the Freak Valley festival and elsewhere. Their time on tour has fed into their confidence in their performance and their command of songwriting, so that “Astromancer” seems to offer payoff where The Sword never quite did and “Centauromachy” touches on classic metal chugging with the smoothness of tone and atmosphere — Wo Fat guitarist/vocalist Kent Stump, who also helmed the debut, recorded Mothership II at his band’s Crystal Clear Studios in Dallas — that only heavy rock swagger can provide. And Mothership II is not short on swagger. Whether it’s the swing in Smith‘s crash or the interplay of Kelley‘s shred-ready guitar and Kyle‘s bass, Mothership are locked in and they sound like they know it.
The album is also two-sided both in the vinyl A/B sense and in terms of the songwriting. While “Priestess of the Moon,” “Astromancer” and “Centauromachy” tell stonerly tales of monsters and outer space, Mothership also get down with a fair bit of classic rock sleaze to break things up. Side A’s “Shanghai Surprise” and side B’s “Hot Smoke and Heavy Blues” — not to mention the borderline-creepy CD bonus track “Good Morning Little School Girl” — feed into a dudely heavy rock trope of long-standing. Though “Holy Massacre” doesn’t necessarily represent this lyrical aspect of Mothership II – something I’ll argue works in its favor — the song’s fluidity, natural tonality, live feel and high-octane delivery speak to many of the strengths at work across the album, and that’s not to mention the strength of the hook at play in its chorus. A bluesy chug emerges as it builds to its stomping apex, and Mothership shift tempo so smoothly that before you know it, you’re being carried off to the next movement.
If you haven’t heard it yet, take a listen to “Holy Massacre” below to get a taste for some of Mothership II‘s finest heavy. Hope you enjoy:
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Mothership‘s Mothership II is out now on Ripple Music in Europe and North America. They’ll play their official release show Nov. 21 at Lola‘s Saloon in Ft. Worth, TX. More info at the links.