Exclusive Inverview: Moeror talk writing and recording “All That We Seem”!
A second conversation with Greek Experimental Atmospheric Black Metal act Moeror following the release of “All That We Seem” is an absolute pleasure. Paying tribute to their fallen brother and vocalist X they made the decision to keep everything in house and not find another vocalist, instead sharing out the duties amongst those who remain. As a record, the band continue down the path that their well received debut album “The Ghosts Amour Propre” started upon, exploring their Post-Metal influences as well as blending heavier synths into their sound…
How did your previous experiences writing and recording help to smooth the path of the new record? “Sure, the experience gained from our earlier work helped us a lot, especially with the recording process. We were able to define how we wanted the album to sound at an early stage, so we focused more on the composition and experimentation”
How does the writing process of a new track start? Melody, riff or rhythm first? How does it evolve from there before you consider it the finished article? “It depends. We don’t have a standard process. Sometimes it’s a riff, sometimes is a bridge, while sometimes it’s a whole song that someone brings to the table. Once we start working on it, it may change completely, or not at all. There have been songs changed a lot in rehearsals, or even during recording, while others remained untouched since the first demo”
What was it like not having a producer or an outside voice in the group during the recording? What made you choose to have guitarist Kostis Prassas mix and master in house? “The best thing with not having a producer is that the band has total control on their sound and direction. On the other hand, this is also the worst thing about not having a producer. An outside voice is always helpful because a band is an echo chamber. So, we try to be as objective as possible”
If you had the opportunity to work with a guest in the studio next time around, who would you like to work with and why? “Production wise, I’ve always admired the work of legends like Matt Bayles (Botch, Vana, Norma Jean) and Kurt Ballou (Year Of The Knife, High On Fire, Full Of Hell). Regarding guest musicians, I’m afraid the list would be too long!”
For us gear nerds out there, can you tell us what you’re using gear wise (pedals, strings, drums etc) to get your sound? “The guitars were recorded with a Marshall DSL40C. For rhythm we had a Plumes tubescreamer in the front and a Boss Eq in the fx loop. For leads we used the Strymon Volante Delay and 2 reverbs, a Digitech Polara and a Dark Star from Old Blood Noise Endeavors.
We also used a Boss CH-1 here and there. Bass was recorded with a DI, but we added a second fuzzy channel on top, using DOD’s Carcosa pedal. Our main guitars were a Gibson Les Paul and a Fender Tele, while some parts were recorded with a Gretsch Electromatic. Synth-wise, we’ve used some analog synths like Arturia’s Microbrute and Behringer’s Neutron, but also a few VST synthesizers”
What difference would it make to you as a band if you could land an endorsement from a gear manufacturer?“Being a small underground band that’s not performing live, the thought never crossed our minds. I wouldn’t say no to a few free guitar pedals though!”
“All That We Seem” by Moeror is out now and available over at bandcamp.