Editor's info:
Black Moth Super Rainbow's approach has worked well. Setting out to produce a record using vintage analog and electronic instruments from the 1970s, their sound leaves one with a warm nostalgia. Perhaps some listeners, like myself, may be reminded of the synthesized soundtracks that accompanied early 80s PBS programming. Everyone has some distant memory that only needs the right combination of Yamaha monos, Korg vocoders, and cat octaves to be reactivated.
Black Moth Super Rainbow are mostly instrumental, calling to mind the traditions of post-rock, prog-rock, krautrock, and other such concocted movements. While their influences are likely drawn from such periods, as well as more current artists, it is difficult to nestle the band comfortably into any such a category.

In addition to evoking warm and fuzzy feelings, Falling Through A Field emits a strange vibe. A contradiction between the distant, shadowy melodies and light, earthy sound of the vintage instruments adds an air of mystery, setting this record apart from its contemporaries. The forest imagery artwork on Falling Through A Field is also hard to ignore. Perhaps Black Moth were born and raised in the woods and are descended from the tree-headed beasts which adorn the CD. Judging by the sound of things, it wouldn't surprise me.

Black Moth Super Rainbow's shortcoming comes from the awkward vocals, which neither generate tension nor work to accentuate the album's pleasant vibe. It's a tendency to add vocals that flattens songs such as "I Think It Is Beautiful That You are 25b Colors Too" with lyrics such as, "I don't want to live through winter/I can't stand to see everything ending". Nevertheless, any way you look at it, Falling Through A Field is a captivating listen. Forest people nuzzle up and cover yourselves with moths.