Nightfly Condemned To Hope is the second album from Leeds doom/garage quintet Black Moth. Their debut album, The Killing Jar, released in 2012 was a strong statement of intent blending their influences of Black Sabbath inspired doom with an equal love of The Stooges and 60’s garage rock with punk attitude. Condemned To Hope follows in a similar vein with a bigger doom quotient, a tighter sound and an overall stronger collection of songs. The band play better and Harriet Bevan’s distinctive and powerful vocals, already a force to reckon with are better than ever. For some time it was bugging me who she reminded me of and then it came to me. It was the former Smashing Pumpkins bassist, Melissa Auf Der Maur who took the vocals on her solo albums.

Opener Tumbleweave is a killer opener with a great groove and driving dual guitar riff topped by Harriet Bevan’s biting vocals and some subtle and effective use of time changes. From then it moves through the garage punk of Set Yourself Alight and Looner. The Undead King Of Rock ‘n’ Roll and The Last Maze hit doom territory and the former in particular, one of the strongest cuts.

On Side 2 – yes, this album was made for vinyl, The up tempo White Lies hits hard followed by the more subdued Red Ink that takes a few listens to reveal itself. Room 13 is another hard hitting grungy highlight and Stinkhorn is subtler and dynamic with some impressive musical interplay and another favourite cut of mine. Slumber With The Worm is all 60’s rock ‘n’ roll showing their garage influences to great effect. The title track closes in fine style with more doom laden riffs.

Black Moth are the kind of band that transcend musical genre’s and could equally appeal to your indie loving mate as much as metalheads. Condemned to Hope is a killer album with a beautiful Roger Dean painted cover to boot (Yes, Greenslade, Uriah Heep and Budgie fans know his work well) and one can only expect even better to come from this young band.