FEATURE: Spotlight: Marisa and the Moths

FEATURE:

Spotlight

PHOTO CREDIT: Blackham Images

Marisa and the Moths

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I am excited…

PHOTO CREDIT: Blackham Images

to spotlight the incredible Marisa and the Moths. This is an amazing band that I hope get played widely on national radio. I have known their lead, Marisa Rodriguez, for many years now and can attest to the fact she is an incredible artist. Her vocal style, playing, writing and dynamic stage presence. She leads a wonderful band who I hope go far. They are on tour at the moment. Together with Liam James Barnes, Alex Ribchester and Alez D'Elia, they need to be on your radar. Their must-hear album, What Doesn’t Kill You, was released last year. One of the best guitar players in the world, Sophie Lloyd, used to be a member of the band. She collaborated with Marisa Rodriguez last year for Won’t You Come. It was among my favourite singles of last year. I am going to get to some interviews with the group. Before getting there, here is some biography about a band who will be playing huge festivals before too long:

“Marisa And The Moths are turning heads with their unique alternative rock sound and powerhouse female vocals. Marisa's lyrics delve into heavy topics such as mental health, toxic relationships, trauma and sexuality, resonating deeply with her fellow misfits and anyone that has ever dealt with

similar hardships.

Since the release of their self-titled debut in 2019, the band has gone from strength to strength, culminating in their second album “What Doesn’t Kill You” reaching No. 1 in the

Official UK Rock and Metal Charts. Their latest album has been described by fans as a deep therapy session you want to singalong with at the top of your lungs.

Both albums have received rave reviews from press outlets like Classic Rock, Metal Hammer, and Kerrang!, and radio plays from mainstream shows such as BBC Introducing Rock on Radio 1, BBC Radio 2's Rock Show, Kerrang! Fresh Blood, Planet Rock, Total Rock, and Primordial Radio. They have also recently recorded a live session consisting of songs from both albums at the iconic Abbey Road Studios, which will be released later in 2024.

Marisa also features on Sophie Lloyd’s new album, “Imposter Syndrome”. The album was nominated for Best Breakthrough Album by Heavy Music Awards, 2024. Their collaboration single "Won't You Come" dropped in November '23, alongside other singles by the likes of Lzzy Hale (Halestorm), Chris Robertson (Black Stone Cherry), Matt Heafy (Trivium), and Michael Starr (Steel Panther). With previous headline tours under their belt, support slots for artists like Kris Barras Band, Von Hertzen Brothers, Those Damn Crows, As December Falls, and Elvana, as well as appearances at festivals like 2000 Trees, Planet Rockstock, and Primordial Radio's General Mayhem, Marisa And The Moths are ready to take the rock world by storm and redefine the genre with their electrifying performances”.

PHOTO CREDIT: Rob Campion

I will move to this interview from last month with Palantine. Durham’s official student newspaper, it is a really interesting chat. I have not included all of the interview, so apologies if there seem to be some gaps or it does not hang quite as well as the original. However, there were some sections I was keen to highlight. They spoke with the sensational Marisa Rodriguez. Someone, who I say, I have known for years and can attest to how passionate she is about music. Marisa and the Moths have the strength and talent to go from strength to strength. It is clear that their lead will soon be collaborating with huge artists and can make a real difference in the music industry. An inspiring artist and human who no doubt is giving inspiration, strength and voice to many other people:

“Firstly, I ask Marisa about the genre of the band’s music. ‘You tend to work within the rock and hard rock genres. Why did you choose this genre of music? And what do you think it is about this music that suits your lyrics so well?

Marisa responds by discussing how she came into the band, ‘I didn’t fall straight into rock. I had always loved rock since I discovered it, and I got more into rock in my teens. I had always had a very clean voice to start with, and I’d tried getting into a few bands, which hadn’t worked out. I then tried moving into more acoustic writing and performances, just me and my guitar, and I’d been in a band before The Moths, which was definitely not a rock band as such. It was only when I began writing songs for The Moths that it all clicked, and I realised this is what I’m supposed to do. I’d gained confidence in growing up, and the music industry had already kicked me around a bit, so I’d found myself a lot more as a result of these experiences.’

I ask Marisa a more personal question about being a female-led band in a male-dominated genre. ‘How does it feel to be such a strong female vocalist within a male-dominated rock scene?’

Marisa jumps straight in, ‘You’re definitely right! It is a male-dominated industry. Rock, in particular, is changing a little more now, but I do think that’s one of the reasons I struggled to get into a rock band when I was younger. I mean, when you think about female-led rock bands that are household names, there’s quite a limited number of them. Women haven’t really had much of a chance to come through before, but now we’re seeing a lot more female-led bands popping up everywhere and absolutely smashing it. It’s still tricky, sometimes there’s a lot of sexism still. I feel like women across all careers tend to have different expectations placed on them; a kind of unconscious sexism which is somewhat alarming. It’s a lot better than it was, but there’s still lots of work to do! I actually speak about it a bit in our second album. ‘Pedestal’ discusses my frustrations with sexism in the industry, my own insecurities with this, and how I have to present myself as being strong all the time, always done up, always attractive. Sexism in the industry is a massive industry, and I feel so strongly about it in general, but I would say it is at least getting better.’ .

I ask Marisa about her interview series ‘Time to Talk’ with @thedashcharity, in which the band promoted interviews with survivors of abuse to raise awareness and help their listeners share their experiences. ‘I just wanted to give you the chance to discuss this, and was wondering why you thought it was so important to share other people’s stories ahead of releasing ‘How Did You Get So Weak?’’

Marisa begins by discussing her own experience, ‘In a nutshell, my personal life was falling apart at the time because of a relationship I’d been in, where I’d been struggling with abuse myself. This person was actively trying to destroy my personal life and business, a lot of stuff went up online, and police were involved too. I think because my ex-partner had already destroyed me many times before that, he was expecting me to crumble and react publicly. But I didn’t, and I needed to show he had no power over me. So, instead of sharing my own story, I decided to give others a chance to share theirs and help each other. I thought this was a good opportunity to make a music video about empowerment, instead of making it about me. I just wanted to genuinely help other people. I think that’s where the whole interview initiative really stemmed from, giving other people a very public and powerful voice in their own situation.’

I thank Marisa for her answer and ask her if she’d be open to discussing how this personal experience has impacted the band’s music. ‘In the past, you’ve discussed this non-linear process of grieving an abusive relationship, and I just wanted to ask how you’ve worked to express this non-linearity within the musicality of your album?’

Marisa answers, ‘I decided the order of the songs later on. The guys really wanted to put some of the heavier tracks at the front of the album, but I was pretty adamant that I wanted to open with ‘Cursed.’ I felt that one was different than the others, and I wanted the album to begin with the downfall of the relationship and then grow into recovery. The album felt a lot like a story of survival, as well as getting over grief. And that’s why we called it What Doesn’t Kill You because it leans into that interpretation that these things happen, and it’s what you’re going to do with them that matters. The whole unfinished title, it’s almost a question but also a statement. When you’re going through something like that, there’s a lot of things that you ask yourself, and it’s a process instead of a straight line.’

I again thank Marisa for being so open, and then ask my final question, ‘Do you and the band have anything lined up for the future?’

‘Yes!’ Marisa exclaims, ‘We’re actually finishing some stripped-back recordings of the album, with a bunch of strings that we’re really excited about! We’re also hoping to run a limited number of stripped-back shows as well. We’re also just finishing a mix of a live session we did at Abbey Road, almost two years ago, which the album took priority over. It’s really nice because we’ve got these two products ready to come out soon, with some new video content too, and then we have our main tour coming up! With sixteen dates around the UK finishing in April. And then, between that and a few festivals lined up in Summer, it should be a bit more low-key again, so I’ll be able to get back into a writing phase again. Otherwise, we’re working really hard to get our first show abroad, and then hopefully we’ll be able to build other shows around that too!”.

Before getting to some reviews, I am going to get to an interview from The Indiependent. Again, we get some incredible insight and reaction from Marisa Rodriguez. After their current tour, I wonder where the band will head next. I have seen have they have grown and all they have achieved. They are primed for some worldwide stages and a lot more great things. If you have not heard them yet then make sure that you do:

“THE INDIEPENDENT: I’ve also read before that you have cited bands such as Nirvana and The Smashing Pumpkins as direct influences. How do you take influence from these artists without directly imitating them, is that a challenge?

Marisa: Well, I always say when people ask “how do you write your songs?” I don’t really know; I don’t know how to read music, I did study vocal performance at uni but I failed almost all the modules to do with theory! It was always just the songwriting and performance that I excelled in, it just comes from somewhere inside me, where I feel things. I listen to a lot of different music, and I will always love that nineties grunge era because of its rawness and emotive side.

THE INDIEPENDENT: Since you formed as a band in 2017 you have released two albums. With your latest album reaching No.1 in the official UK Rock Charts you must have plenty of pinch me moments to choose from, are there any that stand out?

Marisa: Yes, there are a bunch but immediately the first thing that springs to mind is gigs. For me, it’s like a couple of the festivals that we played. We did the prim Primordial General Mayhem a couple of years ago and it was our first big indoor gig. We were all absolutely bricking it! We met so many people after it and so many of our fans. Maybe that’s not what other people would pick as a standout but it really felt like a milestone kind of thing.

THE INDIEPENDENT: You spoke there about how much your fans mean to you and we also spoke briefly about the impact your music has on your fans – it being that “sing along, deep therapy session” as described also by your website, was that the intention?

Marisa: I always write songs structurally. Even if they are not pop, they structurally usually are. We always try to find a hook that will make it memorable for fans, in a similar way a pop song is put together.

THE INDIEPENDENT: You mention pop music there as being a structural influence to your music, is having people try to categorise your music and yourself as an artist something you have struggled with throughout your career?

Marisa: Absolutely! I think everyone wants to pigeonhole a band or an artist. We’ve realised in the last year that it was that “grunge” label that was probably holding us back a bit. It’s really hard to get people to take a chance on something new, so you end up labelling yourself with something they are familiar with to draw someone in.

THE INDIEPENDENT: I suppose that makes dealing with comparisons much more difficult at times?

Marisa: Yes, and I mean this with love when I say it but I think it’s quite common for people to compare female rock singers to the likes of Hayley Williams or Amy Lee because unfortunately, until now, we did not have many other people to compare them to. Not that I will ever be offended with such comparisons but it can be difficult.

THE INDIEPENDENT: I can imagine as well at times there is a pressure to have a certain fan demographic, a sort of ‘cult’ following if you like that is associated with this specific genre?

Marisa: Yes, I say there that it’s difficult and yet at the same time I think we’ve had a lot of crossover with fans because we are not an obvious straight down the middle rock band. We get a lot of people saying “we don’t really like this sort of rock but we love you guys” and so it’s just about getting the exposure.

THE INDIEPENDENT: There’s also been a lot of cultural changes to the way that we discover new music and new artists as well as the way we promote them. How do you feel about that as an independent artist?

Marisa: I was discussing this with my partner, Peter, who produced our album and helps me with bits of management when I’m overloaded and he said you need lots of ‘touch points’ to break an artist. You still need platforms beyond streaming services, such as the media in terms of music magazines, legitimate radio stations and you have to remain consistent with branding. They say it takes ten years to create an overnight success!

THE INDIEPENDENT: You’ve spoken about what a lot of your songs mean to you and hinted at the catharsis involved in your songwriting but is sharing your music with the fans another part of that healing process?

Marisa: Absolutely! It does scare me though, I was just finishing up writing the song ‘Meanings’, but I was kind of putting it off because it’s really hard to talk about some of these things and it’s very exposing for me because those words aren’t made up, they are really thoughts and feelings. It feels like you are standing naked with the lights on saying to people “judge me”.

THE INDIEPENDENT: You have achieved so much as a band already, but I would like to finish the interview by discussing what you have planned going forward beyond the tour?

Marisa: Obviously we want to grow. Our goal, like most bands, is to play bigger venues and grow our fanbase. Another thing coming up is the Abbey Road sessions that we recorded a few years ago, we never released the audio from that, so I re-recorded the vocals on that. Once we’ve done that, another thing we want to do is break out of the UK and play some venues in Europe. It will be an investment but we will do whatever it takes”.

I will end with a couple of critical reviews for Marisa and the Moths’ phenomenal album, What Doesn’t Kill You. The first interview is from Metal Planet Music. There has been so much love for the band and this album. I am going to try and see them live at some point. I hope some stations like BBC Radio 1 and BBC Radio 6 Music give some airing to Marisa and the Moths. Their loyal, growing and loving fanbase proves how good the band are and what an impact they are making already:

“UK band Marisa and the Moths release their second album and it is a cracker. A very deep and emotional release but the sheer talent shines through and no matter the lyrical content this made me very, very happy.

I have to put my hand up, I had avoided this band as every time I saw any mention of them I saw that one word that sends chills down my spine…Grunge. I hated that genre at the time it broke through and that emotion has never mellowed in me but how the hell is this band branded as Grunge? They are so far beyond that, so much better than that label and in What Doesn’t Kill me they have an incredible album and I have to say Marisa Rodriguez is my new found voice of 2024.

The album opens with a stunning track in “Cursed”. Think Evanescence with one of those haunting numbers like My Eternal. The piano is there, the outstanding vocals are there and the heart wrenching lyrics are there in spades. Marisa takes on songwriting duties and she is incredible on this song and throughout the album. This could very well be my song of 2024. This operatic and angelic number is just sublime.

Next track “Get it off my Chest” picks up the tempo and takes all the frustrations of the opening number and throws it into anger, aggression and some brutal instrumentation as well as some top notch screaming. As much as I mentioned Evanescence as the album wore on Maria Brink kept coming to mind more and more and Marisa definitely homed in on that woman’s aggression.

A little scrappy guitar opens “Borderline” and as Marissa comes into the equation you can really hear the tone in her voice and the range. This grows into a Pop/Punk number, more upbeat, more uplifting as some outstanding guitar work from Alessio D’Elia.

The Punk feel continues on “Wither Away” but 70s Punk with that scratchy, spit in your face edge. The guitars are on fire again. The songs follows on the bad relationship story and the breakdown vocals are very, very Maria Brink but why not…she is an angry woman.

We go full on Nu Metal with “Gaslight” and boy do I understand that title. This is a very powerful track and it really ramps up the energy and the metal sound. I loved this.

After a short interlude track we get “Who Are You Waiting For” and the opening is as close to Grunge as I could find on the album but it burst in with a ferocity and a kick as Marisa shouts to herself. Even through her own doubts and as low as she is she knows she is better that this, better than half of a disturbing and domineering relationship. The message? We are all better than that and do not just accept what you know for a simple life, pain is no simple thing!

“Pedestal” starts like one of Alice Cooper’s twisted numbers. An Evil funhouse feel to the guitars and Marisa the demented clown there to haunt your dreams for days. The song is a work of extremes like a fight inside your own thoughts.

“Straight Laced” opens like a 90s Punk number, one of the ones that starts slow and you get the up tempo happy mode but that part is missing. There is no happiness here. This is a simple number but when you have a voice like this you are there for the journey.

“Fake it Till you Make it” turns things around with the sound. The chaotic nature is still there but you can feel a change, a battle half won. This is a quirky but beautiful work of art and the guitar work is stunning again.

We get some sloppy, loose fretwork to portray the feelings on “Sad”. Marissa conveys her emotions so well through her singing here. You really do feel exhausted as the song takes us on its journey.

“Serotonin” is just perfection. That guitar, the desperate vocals and the emotions get you angry and when it kicks in the anger is written all over the track. An outstanding musical tapestry.

There is an indie feel on “Just Like Me”, an almost 80s vibe. It is simple, haunting and as catchy as hell. We get another interlude before we get into “Devil You Know”. This felt like a Norse chant before breaking into that Evanesce feel again. This song soars and screams for your attention.

“Lungs” closes the album and the song really has a feel of struggling to breath as it opens. You feel the struggle. The relationship between pain and sanctity. The crawling through a desert of feelings and emotions to get to the sanctuary that only water can quench. The water here is breaking out and standing undefeated on the other side.

What Doesn’t Kill You is not only a brilliant piece of musical work but it is a soul laid bare. It is passing on lessons that cut deep in order to self heal and to hopefully help others recognise their own worth.

This band and this album could very well be my find of the year and I cannot wait to see what the future holds for this talented four piece”.

I will end with this review from Now Spinning. I hope that there are more interviews and features around the band soon enough. That their music reached new countries and potential fans. On the road at the moment, they can take heart from the fact they have this wave of support and faith behind them:

“Firstly, I’m a little late with this album review, with this album having been released on the 3rd of May. What I can say though since then is, after its first week of release, ‘What Doesn’t Kill You’ debuted at No.1 on the Rock Chart in the UK and this week, the band have managed to get their ‘Borderline’ song listed as ‘Track of the Week’ by Classic Rock Magazine. No mean feet for an independently released album and testament to the power of their devoted fanbase. More about that later.

In almost all reviews of this album there will be long passages dedicated to documenting the personal struggles and band splintering that have taken place between the release of the band’s debut album and the aptly titled ‘What doesn’t Kill You’. I’m not going to cover that again, other than to confirm that it’s no hype! And that for such a relatively young band, MATM are already establishing a (Pete Frame) family tree to rival the likes of Fleetwood Mac! All of which have provided Marisa Rodriguez with plenty of lived experience to sing with passion about.

The now established line up of the band are as stable as this band has ever been and seem genuinely committed to each other. Longtime bass stalwart Liam Barnes is a great talent in the band. Singer, bass player, guitar player. He and Marisa herself were among the first acts to fully embrace lockdown live experiences and that time, in retrospect, was so vital in building the hugely devoted following the band has gained.

Alez D’Elia has replaced the revolving door of female guitar players (which included Sophie Lloyd on the first record) and he fits perfectly. Alex Ribchester completes the band on drums. But make no mistake, Marisa herself is the star of the show here.

Marisa possesses a god given voice, reminiscent of Julianne Regan of All About Eve at times, although this is coincidental, as they were not a band Marisa listened to in her formative years. Musically the songs fit into the alt-rock category, I guess. There are as many Nirvana and Smashing Pumpkin influences here as well as other iconic bands from past history

‘Cursed’ opens the album, with Marisa’s haunting and misleadingly frail vocal, over piano and strings leading into the crushing rock of ‘Get It Off My Chest.
Throughout the album Marisa’s voice is just mesmerising, but in a forward move from the debut, the angst in the lyrics sees her able to move from frail to ferocious in a heartbeat. ‘Wither’ is Hole-style grunge, sung from experience. ‘Who Are You Waiting For’ is another highlight, but the biggest surprise shift from the style of the debut is ‘Devil’.

Another hugely personal lyric sees Marisa caress us and curse us with that voice, from the angelic to demonic death style screeches of emphasis. All while the band is given a huge production in what may be their most impressive song yet.

The band have been hitting the live circuit and seem to be making more new friends at every show. The band’s fanbase have funded the independently released album, made it debut at number 1 in the rock chart and now it’s time to take the band to the masses.

Marisa And The Moths deserve every second of success. They have MORE than earned it and are well worth your time to investigate”.

I shall leave it here. I remember back to when I first met Marisa Rodriguez. Quite a few years back now. More or less starting out, I knew then she would go a long way! In spite of some change since their formations, Marisa and the Moths seem settled and hungry. Many more years ahead of them. Make sure that you do not miss on the opportunity to throw your weight behind…