Tag Archives: Chromaparagon

Moon Tooth: Chromaparagon


Fancy metallers Moon Tooth have delivered their debut “Chromaparagon.” Quickly rising up the ranks in their three year tenure, the band has a lot of emotions that are conveyed throughout the record in a full-on aural assault.

Kicking off with their single “Queen Wolf,” Moon Tooth let loose on this rifftastic ripping opener. To get an idea of the chemistry this band has, everything blends from guitarist Nick Lee’s pull-offs to John Carbone’s flowing vocals to the swinging latin beats of drummer Ray Marte (who produced, engineered, mixed and mastered the album) carried by Vin Romanelli’s luscious bass lines that really tie the room together.

In short, “Queen Wolf” is Moon Tooth incarnate.

Next up we have “Offered Blood,” “Igneous” and “Little Witch.” The latter (which Lee sings) may be catchy, fun and bouncy and the middle is wild, but nothing sums up “Offered Blood” better than five simple words.

What the hell is going on?

“Offered Blood” is all over the place, making it one of the best tracks on the album. Carbone’s soothing melodies control the chaos of his bandmates as they jam over a trippy monologue. One of the monologue’s key lines that stick out is Carbone’s caravan calling, “All the silent tingles in the air pulse and the animals know you’re coming.”

“Bats in the Attic” is a thrashy, psychadelic instrumental that sets the tone for the remainder of the album and your imagination. “Bats” creates the aural sensation of said mammals fluttering their leathery wings, foreshadowing Moon Tooth’s sonic descent into madness.

As bizarre as its title suggests, “Forgive Me Snake Ryder”  is a mind-blowing cacophony of wonky atonal wankery. A litany of chromoparatastic riffs followed by brief pauses containing random samples of both speech and sophistication create this monsterpiece.

As we journey to the center of the album we’re greeted by some tag team turmoil in “Chroma Vesuvius I” and “Vesuvius II.” “Vesuvius I” is a gritty, chunky blues bit while “Vesuvius II” throws all that out the window, blanketing you in heavy ambiance while Carbone’s voice becomes the light guiding you out of the tunnel. “Vesuvius II” is an elaborate trap that has been slowly built for an aggressive, agitated breakdown.

“Vesuvius II” is the soundtrack of a man going completely insane.

Enter “Belt Squeezer” which is chock full of aggressive, thrashy fun. This also features Lee’s vocals and he makes them count with his 90’s punk/grunge combo that compliment Carbone’s clean, carrying hymns. “Belt Squeezer” features some of Chromaparagon’s best riffs and displays a brief moment of brevity before turmoil. For brevity, Moon Tooth slips in a blues moment around the four-minute mark before “Belt Squeezer’s” epic crescendo.

Wrapping up the album are “Death and the Vibrant Architechture of Rebirth” and “White Stag.” The tracks are solid, somber closers that feel like the end of a warriors long journey. Like Iron Maiden’s 12-minute epic “Rhyme of the Ancient Mariner,” the former tells a story while the latter’s droning goodbyes slowly set the record down to a crawl.

Chromaparagon is a solid, complex debut from Moon Tooth. The intricate labor of love is a testament to the age old proverb “hard work pays off.” In a genre full of one-trick ponies, Chromaparagon is a much needed shot in the arm for the metal nation.

Moon Tooth Wreak Havoc on St. Vitus at CD Release Show

The cover for Moon Tooth’s debut album, “Chromaparagon” (via Bandcamp.com).

Last night was another Toothian trek for the boys and I.

An average Thursday was something one could only dream about. Whomever’s dream it was that came true must’ve been bored beyond belief.

I did may weekly freelance work (to attempt to try to make a buck), took a few matters into my own hands and waited around for some brute to install a washer/dryer combo. One who couldn’t wait, I passed the time by writing, listening to a combination of Cypress Hill, Pearl Jam and Alice In Chains (in that very order) and playing Marvel vs. Capcom 2 on my Playstation 2 (rock the classics!) for the drones to come between two and five.

A quarter to seven was not exactly what I was expecting.

They couldn’t do what was needed due to negligence on the guy who ripped off my family faking his way into installing a washer/dryer combo into a basement the week before.

Long story short, I was pissed.

My body yearned for sushi, but upon arrival to said sushi joint I realized not only had they recently changed the name but had adopted the inhabiting chain’s menu – raising prices and getting rid of the items I originally had intended to order.

I settled for pizza.

Half a block and a street away my cohorts Timmy and Kevin were parked at the Coney Island Avenue 7-11, grabbing a six-pack of Hoegarden. I walked over, got picked up and off we were like three 80’s headbangers on their way to a Judas Priest show.

When we finally got to St. Vitus, we found an awesome spot in front and dove into our brews while cranking some metal to get the blood flowing. After the beer ran out we headed into the surprisingly packed bar and grabbed some Lemmy’s (aka giant, overpriced Jack and Coke’s)

Unfortunately, we had missed Godmaker (which should not have opened based on the fact that they’ve been touring with Moon Tooth alone) and Meek is Murder. However, Netherlands was taking the stage.

Netherlands was a highly energetic mess of doom and ambiance flooded in visuals. I was a bit puzzled at first as the singer/guitarist had a wireless mic as opposed to using the club’s (makes more sense but doesn’t look as cool). Overall they had a good sound that was great to drink to. Unfortunately, a lot of the songs were very similar and at times they relied a little too much on said visuals and became a little one-dimensional. They did their job as far as getting the crowd pumped, but if they hone their craft and break that barrier, they can really be something special.

Afterwards came another round of drinks (changing things up with a Newcastle this time around) and some catching up with the Moon Tooth guys however I could. Their merch booth was covered in shirts, buttons and decorated in “Chromaparagon” (their debut album which came out today) paraphernalia. Eventually, it became “that time” and the mighty Tooth hit the lights.

If you don’t know Moon Tooth, you’ll have to claw your way out of the ditch, crush the rock and crawl out from wherever you came from as they’ve been all over the metal world lately (thanks to hard work, dedication and a crack marketing team). A sound full of classic, modern, aggressive and progressive influences – it’s hard to define what type of genre Moon Tooth actually is. Due to the strange sophistication of sounds, the term “Fancy Metal” immediately comes to mind (which I will sue over copyright!).

As per diem, Moon Tooth was all over the place. Frontman John Carbone could not sit still, whether he was having stationary seizures or bringing all of his energey directly into the face of the crowd (moshing around him or not). To describe the reaction of Moon Tooth’s fans (I’ll dub them “Toothians” or “Moonnites,” which I will also sue over copyright!) would be a sin, because we already have video evidence all over American Hardcore.

The Moonnites and Toothians were rampant, moshing and/or headbanging seemed to be fair game and the explosive attitude of the Tooth complimented their followers. Guitarist Nick Lee was loose and letting all his skills hang out on a Dean while keeping time and keeping up with drummer Ray Marte and Vin Romanelli’s Warwick/Precision attack. Make no bones about it, everyone was excited for “Chromaparagon” (my only complaints: No Reverend Sensei guitar and no backflips).They wrapped up their set with a longer, slower and predominantly instrumental number that according to Carbone they will allegedly “not play much.”


At around 1:30 a.m., after having said my “good-byes” (and some hellos) we had another drink and rode on into the night, where I came home to a pleasant surprise:

A fully installed washer/dryer combo.