The ever-dynamic outskirts of Oslo and their music scene always has something exciting to offer the deeper you explore, and the Norwegian rock unit MoE, which has been around since 2008, is one of them. Often described as Experimental and Noise-infused with avant-gardish Sludge undertones, they are bound to incorporate DIY approach in their creative process and present minimalist compositions in alternative and experimental ways. Well-known for involving challenging approaches in Rock and Noise settings, they aim to break boundaries in the stereotypical spectrums surrounding those two genres, aiming to provide their listeners a sonic experience laced in the depths of full-blown intensity.
Press-related sources have stated before that MoE is the epitome of “Jesus Lizard/Scratch Acid meets Napalm Death dressed up like very early Swans” – meaning that, they inherently embrace being unapologetically experimental; inclined towards the rejection against posing and endowed with the courage to live by raw expressions fueled by a penchant for new, expansive sonic territories.
I was lucky enough to catch one of their Tokyo shows earlier this year in late March, where I fortunately also got to catch up with Håvard and Guro a bit after the show, and managed to stay in contact. We mostly talked about the diverse ranges of the Norwegian underground scene nowadays, but also regarding their past touring experiences; where they have mostly toured across countries that are on the other side of the world from Oslo. By far, they have toured across Mexico, Australia, Japan, Europe, and Southeast Asia, where they also managed to seek new connections and collaborate on a tapestry of projects along the way. Their live performance was intense– a transformative experience with all-around jarring contrasts that still mesmerize me to this day.
Few months after the Tokyo show where we last met, Håvard agreed to be involved in this interview I conducted with MoE themselves on behalf of Ghost Cult– which makes me conclude, that maybe, either it is as a musician or as a journalist, intercultural networking in the music scene makes life make sense a bit, after all!
Ralka Skjerseth for Ghost Cult Magazine: Hello, MoE! First of all, thank you for staying in contact after our last meeting at the show! How do you feel after completing the diverse ranges of shows earlier this year, especially the Japan tour where we first met?
MoE: To tour Japan is one of our favourite things in the world. You can play so many gigs and the conditions are more or less always good. You meet dedicated sound technicians, and bands. The whole ecosystem around playing at live houses in Japan works for us. This tour was our 8th Japan tour and the first tour we have done together with a Japanese musician. Ikuro Takahashi is a unique musician and a true inspiration.
GCM: What was the origin story behind you mixing minimalist compositions with alternative and experimental approaches in your musical creative process?
MoE: Our core as musicians comes from improvisation yet we both played rock bands when growing up. We started the band in 2008 and at the same time we had a huge awareness towards the early 80s no wave era in New York. Bands like Suicide and DNA where big influences. They mixed music with their art background. It triggered a creative wain which has stayed with us since. It united all our musical and intellectual interests. The necessity of making the exact music you need to make and to always expand this desire. We have pushed ideas as far as we could take them.
GCM: I’ve read somewhere that you also have worked together with Årabrot as their backing band before (I love Årabrot! Cool lads.) — how did you first start working with them?
MoE: I (Guro) was invited to do a tour with Årabrot doing vocals and noise/synth in the UK, sharing the bill with The Body, among others. Soon after I continued on another tour as bass player and Håvard joined on baritone guitar and synth. On top of that MoE joined as a support act on a lot of the shows on the tour. It was a double-duty tour! Hard work! But I’ve always known that I am a composer and writer of my own, and not so much a backing musician. So I had to go back to focus on my own music. I could not dedicate myself to other bands.
GCM: Your experiences in music have an extensive range– not just as a live band but also as theater composers. Do you feel like you have to play “different roles” in live band settings and in theatrical settings, or are you still able to keep your consistent branding intact throughout the years?
MoE: It’s all about creating music which feels alive at the present moment. To push, push, push – to extend this exact moment when our music meets the audience. Working with the theatre allows just a greater pallet of energy explosions as you work together with highly skilled performers on other art fields. That truly feels like magic. When all our efforts coincide into an unknown energy, when it starts to live its own life. Playing with the theatre brings a stronger focus towards the stage and not an upfront focus towards the audience as playing a regular concert. But it’s the same thing, comes from the same desire, expanding the moment through sound.
GCM: You have toured across continents and countries that are practically on the other side of the world for you. What cultural differences and new experiences do you find the most interesting when touring?
MoE: We have at least done ten tours in Mexico, so this is the country we have the most experience from. The concept of time in Mexico towards the concept of time in Norway is very different. Extremely different. Somehow, I have learned to understand the Mexican way and at the same time understand the Japanese way. And I love both ways. I love to meet and interact with people as much as I love making music. The most interesting thing is maybe that people are people, no matter where you go. And music is a language that brings us together.
GCM: You have a series of albums called Oslo Janus that differ from your initial, core discography. What makes them different from the usual albums?
MoE: Originally it was just meant to be our second release, recorded by Håvard in our rehearsal space in Oslo.
When we recorded the album «MoE 3» in Athletic sound in Halden we had some spare time so we ended up re-recording the «Oslo Janus» album. The acoustics, the equipment and the energy was totally different, and then Håvard got the idea of making 5 albums in the series. (I assume everyone knows the story about the god Janus)
Shortly after we went to Japan and had a recording session in the famous GOK sound studios. Originally meant to be the first recordings for «Examination of the Eye of a Horse» but we had too much shochu the night before so we ended up improvising a full album instead. That became the third Janus. The fourth release was recorded in Australia, in a studio in Castlemaine. The fifth is almost done, and will be released when we get some time on our hands. All cover photos are taken from Oslo showing various sides of the city, and the music shows various angles of our music
Looks like the final «Oslo Janus» will be released as a vinyl with new material and a double CD with remixes of songs from the previous releases and one with the new music. (This is actually the first time we’ve told anyone, so now we have to do it!) (Haha!)
GCM: Out of all the countries you have played shows in, which one is the most different (from your usual Norwegian everyday life) and culturally surprising for you?
MoE: In many ways, we are far from typical Norwegian people. Me and Håvard run our own cultural house (Børsen Kulturhus) and curate concerts and art residencies in our house, we have professional recording facilities and a library at home. So in a way, I feel more relaxed in the meeting with other cultures than Norwegian everyday life. We have kind of created a melting pot in our own backyard. Just the last couple of weeks we’ve had five people from Japan visiting. It’s lovely, but not typical Norwegian.
But it’s amazing to see how similar human beings are everywhere, just living under different circumstances.
GCM: You have been signed to Fysisk Format before (surprise, it’s my all-time favorite label! I’ve been to Platebutikken Tiger once). Do you have any favorite rosters and/or releases from Fysisk Format?
MoE: We did one album with Fysisk Format, but we always go back to doing everything ourselves. It’s our destiny and our strength! We have so many friends and colleagues at FF. Just start digging into their releases! You will not regret it!
GCM: At the Tokyo show that I attended back in March, you were collaborating with Ikuro Takahashi during the live performance. How did you end up inviting him to collaborate?
MoE: We first met Takahashi-san on our first trip to Sapporo in 2015. Kameya-San set up 4 solo concerts outside a cave. It was freezing cold in February. Takahashi played a solo with home made electronics. After that, we have played together every time since in Sapporo, and also recorded several times. Last year, we did a month-long tour in Europe together. I think we have had an equal curiosity towards how and why we want to do music. Takahashi San always pushes himself and his ideas. He is an extraordinary musician. Strong, powerful, and present. Never one unnecessary hit on the drums. Always present. Very unique. He always challenges us.
Buy MoE music and merch here:
https://moepages.bandcamp.com/
RALKA SKJERSETH
Follow her work here: