MoE – Examination of the Eye of a Horse

Mind-Bending Noise Rock

MoE–not to be confused with American jam band moe.–is an avant-leaning rock trio that hails from Norway. Formed in 2008 by double bassist Guro Skumsness Moe, guitarist Havard Skaset and drummer Joakim Heibo, the group infuses simple song structures with deeply distorted sonic textures and plodding rhythms. However, while their last LP, III, was more improvisational, Examination of the Eye of a Horse embraces a more structured, compositional approach.

MoE’s greatest strength has always been their ability to craft heavy, guitar-driven soundscapes. Much like their American brethren in Russian Circles and Pelican, they often eschew melody in order to focus on constructing thunderous sound collages. Although the band may reject being associated with the “metal” genre, their newest release certainly evokes the same ploddingly assertive tone of sludge metal. “Realm of Refuge” kicks off the album with a resounding chorus of grimy guitar riffage, paired with some unabashedly belligerent lyrics, such as, “who wants to take my throat and rip it open.” The following track, “Saccades and Fixations,” maintains the ponderous tempo and harmonic stasis of the album opener, whilst capturing some even rawer timbres. This uniquely aggressive lethargy continues throughout the remainder of the album’s offerings, thus characterizing the band’s trademark sound.

MoE’s musical style is the antithesis of “pretty.” Skaset’s guitar riffs, while not entirely dissonant, are caked in heavy distortion, while the deep sonority of Moe’s bass further intensifies the trio’s sludge-fueled atmospheres. And while she does avoid some of the more hackneyed vocal techniques commonly associated with metal music, her delivery is abrasive in its own right–for a taste, hear the ear-piecing shrieks towards the latter half of “Wild Horses.” Furthermore, Examination’s dearth of beguiling melodic material and strikingly repetitive harmonic structures cause it to stray yet further from the safe confines of accessible rock music.

However, these experimental methods do help MoE to establish a sound that is decisively singular. Their music juxtaposes the brutality of punk rock–if not metal–with the more contemplative subtleties of minimalist music. While certain tracks (e.g. “Paris”) offer a furious blend of cacophonous riffs, frenzied solos and breakneck rhythms, Examination does also contain moments of subtle sonic intrigue. Japanese noise legend Pain Jerk makes several guest appearances, contributing his eclectic brand of impenetrable minimalism. The final minutes of “Saccades and Fixations” feature a hypnotically dissonant noise collage, while “Letters of Pliny” opens with an eerie array of mechanical instruments. These moments of profound experimentation hearken back to the ecoacoustic work of John Cage and Pierre Schaeffer. Much like these early sound pioneers, MoE arrange their compositions in a fashion that firmly emphasizes textural depth over musical consonance. Unfortunately, as is true with many noise artists, the harsher qualities of MoE’s latest album will likely prevent it from resonating with more than a small clique of experimental-minded listeners.