Mothlite is Daniel O’Sullivan (born 1 December 1980), a multi-instrumenta… Read Full Bio ↴Mothlite is Daniel O’Sullivan (born 1 December 1980), a multi-instrumentalist/composer from Manchester. He is best known for playing in experimental art-rock bands such as Grumbling Fur, Æthenor, Miasma & The Carousel Of Headless Horses, Miracle, Guapo and Ulver. Mothlite is his solo project, although he is assisted by a loose collective of musicians.
Mothlite's second album ‘Dark Age’ is the 2012 follow-up to 2008’s ‘The Flax Of Reverie’ (Southern Records). Having spent a lot of time recently working as a collaborator in his many other projects, O’Sullivan felt it was time to return to Mothlite to work on something unequivocally personal:
“All the other things are collaborations and there’s a communal interest, but with Mothlite the content is quite personal and to do with me. It’s quite easy to neglect, particularly when you’re in a bit of a shit storm as I was the past couple of years.”
"This is prevalent in the lyrical content, which denotes a catharsis throughout a period of hysteria and emotional turmoil". He describes ‘Dark Age’ as “Dark megalomania, contradictions and paradoxes, and general bleakness”, yet rarely does such subject matter get delivered with the soaring pop aplomb as on the album’s twelve tracks, flitting from sparkle and rumble of ‘The Blood’ to the epic washes of ‘The Underneath’ and beyond.
Dark Age has allowed O’Sullivan to break free from the confines of genre, taking influence from the likes of Tears For Fears and Kate Bush from his parents’ record collection through the industrial and gothic textures of D.A.F., The Cure, Coil and Dead Can Dance to the hardcore punk of his own personal roots. Indeed, O’Sullivan’s use of contradiction within the style of the record is a very deliberate choice: “If it was too bleak, with melancholy overriding the whole thing, then I’d counteract it with a huge chorus or huge hook” O'Sullivan's chief collaborator in Mothlite is Norwegian producer Knut Jonas Sellevold (Elektrofant, King Knut). Arranger, composer and beat-maker of the highest order.
Now Dark Age is done, O’Sullivan is ready to move onto new things. “To be honest, I’m really glad that it’s over,” he says. “I felt like I couldn’t move until I got that out there.” As well as plans for a new Mothlite record, this forward surge includes exploring “ideas and schemes” as to how ‘Dark Age’ will transfer to the road. “Now that the drama has played out and everyone can see what it is, I can almost do a theatrical version of the scenes within. I don’t want to look as though I’m crying down the microphone night after night if we go on tour. I’d rather have a show.”
Mothlite's second album ‘Dark Age’ is the 2012 follow-up to 2008’s ‘The Flax Of Reverie’ (Southern Records). Having spent a lot of time recently working as a collaborator in his many other projects, O’Sullivan felt it was time to return to Mothlite to work on something unequivocally personal:
“All the other things are collaborations and there’s a communal interest, but with Mothlite the content is quite personal and to do with me. It’s quite easy to neglect, particularly when you’re in a bit of a shit storm as I was the past couple of years.”
"This is prevalent in the lyrical content, which denotes a catharsis throughout a period of hysteria and emotional turmoil". He describes ‘Dark Age’ as “Dark megalomania, contradictions and paradoxes, and general bleakness”, yet rarely does such subject matter get delivered with the soaring pop aplomb as on the album’s twelve tracks, flitting from sparkle and rumble of ‘The Blood’ to the epic washes of ‘The Underneath’ and beyond.
Dark Age has allowed O’Sullivan to break free from the confines of genre, taking influence from the likes of Tears For Fears and Kate Bush from his parents’ record collection through the industrial and gothic textures of D.A.F., The Cure, Coil and Dead Can Dance to the hardcore punk of his own personal roots. Indeed, O’Sullivan’s use of contradiction within the style of the record is a very deliberate choice: “If it was too bleak, with melancholy overriding the whole thing, then I’d counteract it with a huge chorus or huge hook” O'Sullivan's chief collaborator in Mothlite is Norwegian producer Knut Jonas Sellevold (Elektrofant, King Knut). Arranger, composer and beat-maker of the highest order.
Now Dark Age is done, O’Sullivan is ready to move onto new things. “To be honest, I’m really glad that it’s over,” he says. “I felt like I couldn’t move until I got that out there.” As well as plans for a new Mothlite record, this forward surge includes exploring “ideas and schemes” as to how ‘Dark Age’ will transfer to the road. “Now that the drama has played out and everyone can see what it is, I can almost do a theatrical version of the scenes within. I don’t want to look as though I’m crying down the microphone night after night if we go on tour. I’d rather have a show.”
Mother Spider
Mothlite Lyrics
We have lyrics for these tracks by Mothlite:
Cauldron And in becoming My sleepless state Betrothed For eyes u…
Dark Age How can we be bigger than the life we chose…
Disappear All flew away All today I’m watching you disappear Into…
Dreamsinter Nightspore Inheritance of trouble In the blood Or in the water Like …
Hypnogogue Stranger visiting Doors opening Rooms emerging Light flas…
Milk Two hearts Beating Inside The sickness of suicide And t…
Neverbegoodwood Fathoming the gulf between us Whose brambled banks bleed us…
Red Rook Silver wind is blowing Water turns to glass The giant’s gr…
Riverside In the shadow of the riverside…
Something in the Sky The murdering words Words like forever Violent and tender …
The Blood You can change the way it happened The truth was made…
The Underneath Woke from a dream That left me Open and sore Until my min…
The Untouched Dew So now beyond? celestial So Love Celestial So now? be…
Wounded Lions The house A Home Family Frailty Young and old The gho…
Zebras Time warps blame See you standing there before me drenched…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@PygmalionFaciebat
I am sceptic about one of your explainations , that the birds lost their teeth because of weight. Because what you forgot to mention in your video: birds (as well as classic plant eating dinosaurs itself), needed to eat stones instead, so that the stones helped to digest the plants. Birds even today usually do that. Stones have a density of around 2,7-3 grams/cm³ .. .much higher than teeth. Losing the teeth and forced to replace it with stones in the stomach actually increases the weight of the birds, and not decreases it.
I also sceptic about your second explaination : ''growing teeth needs more time in the egg to grow'' . A lot of animals today which are born out of eggs are actually born with teeth , like Lizards and Crocodiles. So i am sure the same option birds had back than, as the Lizards and Crocodiles today.
Now, when we sort out these two explainations - whats left. Not a lot, but i have a theory - and its about physics.
The weight of the mouth and head actually have another effect: the angular momentum. While non-flying predators only are acting in 2 dimensions, birds are moving in a 3-dimensional space in the air - means: thats a higher degree of freedom - and therefore: higher chance to miss the prey, than in 2 dimensions. Meaning: you need every piece of movement-advantage you have, to make that one hit in one split second. This not only needs very good eyes (like owls, eagles, etc) have. It also needs the most short beak as possible (remember: angular momentum of the head), and the most weightless beak as possible (the less weight, the smaller the angular momentum... the easier to move the head ... the faster headmovements can be). Tyrannosaurus rex had a big head, with a lot of weight, and therefore his head as sure didnt moved that fast, like an eagles head. But Tyrannosaurus rex didnt needed a fast head. It was enough when his body was fast enough for the big prey, and because he acted in two dimensions (walking on the ground), there was less degree of freedom for his kind prey to get away.
A predator bird needs every movement advantage possible with his mean weapon: his mouth, as possible.
And tooth add to the weight of his mouth...also the bones which need to support the teeth. A beak (because made of creatin) would be to soft to last a lifespan with tooth in it.
Sure the headmovement with bigger head-weight could be compensated with stronger bigger neck-muscles. But birds already have that, and still take more advantage of a lightweight beak, for faster headmovements, because less angular momentum.
So thats my explaination... It also could be wrong. But at least it seems as plausible for me, as the other theories you mentioned.
@deathsyth8888
Bird dentists also went extinct after birds lost their teeth.
@pavel9652
Beakycure services were booming ;)
@ohlookitswireddude8105
Dude I haven’t laughed for a week now
And now its been 8 days.
@cliftonfurney5083
Them same bird dentists had stock in the bird candy business. They did ok for themselves
@luminousfractal420
Maybe that was it, bird dentists went private so they had to learn to live without teeth.
@PeppermintPissy
That's true
@seanmckelvey6618
I like the point made at the end of the video that really, the fact that we're surrounded only by beaked birds today might simply be the result of their ancestors being the ones lucky enough to make it through the KPG event rather than a specific evolutionary advantage for losing their teeth.
@astick5249
@@Me-yq1fl But its not enough to have a rapid out competition event. Toothed individuals who have a good hold on a niche will likely prevent non toothed individuals from evolving traits that can get them close to taking their niche. So they probably niche partitioned instead.
@kait3n10
I was thinking, perhaps it wasn't just luck that helped beaked birds survive the KPG event. Since beaked birds develop faster in their eggs, it could lead to faster reproduction (since teeth take longer to develop) helping their survival. In other words, that could have been a specific advantage during the extinction event over birds with teeth. I felt that period was kind of glossed over in the video.
@astick5249
@@kait3n10 i think that one was touched on yea, but ultimately its a very minor difference. (however that difference could very well mean life or death in an extinction event)