Mothman, The Man – Where’s Your Head?: Album review

By John Barlass on 8th May 2024 • ( Leave a comment )

Falmouth ensemble Mothman, The Man take us on a romp through psych, prog, metal and more on their second album – and even manage to take in a Spaghetti Western…!

Release Date: 19^th April 2024

Label: Krautpop Records

Formats: Vinyl / Digital

Falmouth-based psych/stoner/garage ensemble, Mothman, The Man describe themselves as: “An odd-squad collective of sonic sorcerers and aural warlocks trained in the ancient art of rock and/or roll” and, believe it or not, that’s as good a description as anything I could come up with. Give the band’s new album, Where’s Your Head? a listen and I’m sure that you’ll agree. The band – Connor Childs (rhythm guitar and vocals), Charlie Ward (bass), Lewis Gadsby (keyboards and synth), Billy Mattock (drums and backing vocals) and Finley Kelly (lead guitar) met at Falmouth University in 2019-20, where they were all – except Lewis – studying Music. Where’s Your Head? is the band’s second album and it follows hot on the heels of their 2023 debut, 1000 Eyes.

Where’s Your Head? is an intriguing album; eclectic in the extreme, it’s a veritable romp through the genres that takes in psych, doom, prog, alt-rock, funk and metal – frequently all in the same song – and yet the band, and their music, never seems to take itself too seriously. Humour is never far below the surface and the combination of musical styles, coupled with that self-effacing quality, has resulted in an album, not without its challenges, that is stimulating and enjoyable.

The non-musical interests of Connor Childs, the band’s principal songwriter, are copiously reflected in the subject matter of the songs. Cryptids, mythological creatures and folklore all provide lyrical inspiration, but it doesn’t stop there. There’s also references to unrequited love, a positive approach to death and the challenges of living an aspirational lifestyle on a limited income. In coming up with the songs, Childs immersed himself in “a world of psychedelic doom and stoner influences,” and there’s no doubt that these influences stand out, but their impact is softened by what Childs describes as “pretty goofy, story-led tracks that are more inspired by the silliness of Mr Bungle’s self-titled records and some of Zappa’s stuff.”

And all of that is evident right from the outset. The title track – the album’s opener – is spacy and grungy, yet tight and under full control. The vocals – mostly spoken word – are distant and echo-y and the advice is clearly conveyed: “Enjoy, but please don’t take too seriously.” The choppy, fuzzy Too Long is a fascinating slice of dystopian doo-wop that threatens, yet somehow resists, spilling over into metal magnificence and the cacophonous riffing is the perfect accompaniment to Connor’s agonized vocals.

Lead single, Gigantopithecus, is chunky and – almost – poppy. Lewis’s synth weaves around the grinding guitars and Connor’s vocals sound like they’re coming from another dimension. Then – an early album highlight: The Light is slow, ponderous and refreshingly accessible. It’s probably the closest the album comes to classic heavy metal, an impression that’s offset by Connor’s psychedelic vocals, and the whole affair is topped-off by an enticing, chiming guitar solo.

The two halves of the album are linked by Lepidoptera (Interlude), a dramatic soundscape of, slightly unearthly, synth and guitar which leads into the deliciously funky Aural Lyceum, another of the album’s standout tracks. Charlie’s bass is busy, Billy’s drumbeat is sharp and economical and Lewis’s synth swishes and swirls to provide the backing to eastern-themed keyboard licks and an incongruous, yet strangely appropriate, guitar break that is almost Beefheartian. I like it!

The eclectic capability of Mothman, The Man is never more evident than on Not Owned, a track that combines dreamy psychedelia with melodic pop and grows into something that is almost anthemic. Connor’s other-worldly vocals are almost drenched by the lush layers of chiming guitars, swirling synths and a drum part that gets just about everywhere.

But, without doubt, the album’s most curious – and hilarious – track has to be the Spaghetti Western movie pastiche, Cult of Bone Pt.2 – The Odyssey Of Clive Gatorkill. It comes complete with spoof western-movie narration and an Ennio Morricone-styled musical theme; and the story…? Sheriff Clive Gatorkill – the subject of the song – kills an alligator then travels north to engage in a gunfight with a cowboy cult member, whilst the backing morphs from Morricone to psychedelic riffage. I’m not sure how the fight ended, and whether the Sheriff survived, but it’s an engagingly daft story.

And that just leaves us with Mother Leeds’ 13^th Child pts.1 & 2, the album’s epic closing track. Pastoral psychedelia and heavy riffing alternate, with a few jazzy interludes and a bit of robotics thrown in for good measure on a track that gives every member of the band – Charlie and Billy in particular – the chance to show what they can do and, as always, it’s tight and controlled. Mothman, The Man are planning a UK tour to promote Where’s Your Head? and it’s the band’s intention that the blend of deep lyricism, competent musicianship and fun that makes Where’s Your Head such a rewarding listening experience will be placed on show during the tour. As Connor Childs explains: “We’re just all good friends and I think that comes across quite clearly and is our greatest strength when we play live. We’re just some pals having a silly old fun time playing our music on stage and I like to hope that the enjoyment we’re having infects and engages our audience.”

Watch the official video to Gigantopithecus, that album’s lead single, here: