Combining the epic and eerie landscape found at the very southern parts of the British isles with the bare, withdrawn and silently beautiful northern attitude and mentality of a cold winter day in Sweden, the video for David Moore's latest single 'Loveless' is the perfect marriage between the his English roots and his love of everything Scandinavian. Having lived, loved and lost in Stockholm, it was an obvious choice for Moore to head up north to record his debut album with Swedish rockers Mando Diao.
There is a clear sense of a filmic larger-than-life feeling throughout 'Loveless' which might be attributed to Moore's long-term collaboration with co-producer Sue Clayton, a film director whose CV includes 'The Disappearance of Finbar', 'Heart Songs' and 'The Last Crop'. But Ben Galster's shots of empty beaches, blue skies and breathtaking views in the clip also helps. Using 'The Oars' term as a loose umbrealla name for his musical 'band of brothers', Moore has produced a sonic fireball worth both a listen and a look.
Dazed Digital: What is 'Loveless' about?
David Moore: I guess 'Loveless' came from a place of loss and regret, when you try and change what you've done but can't fix it. When you pine for a loved one but realise that maybe you're in love with a ghost, or an idea of something long gone.
DD: Tell me me about the video - where is it set and what's the story?
David Moore: The video was directed by a good friend of mine Ben Galster, and the actress is a beautiful girl called Amberley Gridley, who's also a close friend of mine. It was shot in Camber Sands in southern England in January, it was freezing cold but it's absolutely stunning any time of year when that tide pulls right out. The video follows the song pretty well, the girl represents that perfect image in our minds of what we've lost, and it's pulling us back to a time long gone, and sure enough, it fades away to distant memory.
DD: How did you end up working with Mando Diao?
David Moore:Mando Diao are very close old friends - I auditioned for them over eight years ago but didn't get into the band, but we stayed friends. Carl-Johan and Mats Bjork heard my demos over a year back and asked me if we could record an album. So we did and I think we did a great job.
DD: Where does your obsession with Sweden stem from?
David Moore: I moved to Sweden in 2004 with an old girlfriend and fell in love with the place. I lived there for two years and then went back for a summer a few years back. I think it was the easy way of life and the closeness to nature that drew me in, I won't rule out the pretty girls either... the rumors are true! I really learnt to write music there, the long winters caused a strange desperation in me, months go by and the dark and cold never seems to end, so I'd shut myself away and write, it's the sadness that I really wanted to capture by recording back in Stockholm.
DD: You talk about DM&TO as an collective, who are the oars that play with you?
David Moore: The Oars was the working title I gave the project in order to make people feel a part of what we were creating on my songs. Film Director Sue Clayton has been with me since I began recording the demo versions with Laurence Aldridge, she was hoping to use the music in some film/tv projects, and later became co-producer of the album. On-and-off the stage, The Oars is a collection of close friends from all over. Each working on this project for the love of music. It's an album with only good feelings and intentions.
DD: Have you got many gigs planned for the summer?
David Moore: We've been so busy organising everything that we have not booked much up so far this year, we're expecting to plan a small festival tour, and there will be a few show cases coming up over these coming months, make sure you check out the web page to see about upcoming gigs and news.
DD: What track of the album is most special to you, and why?
David Moore: This is hard, the whole album means so much to me. I spend insane hours on every song because they all have their meaning, but right now it would have to be 'Lord I Tried', the outro vocal was put down in one take, it's just me ranting but it came up from somewhere deep, there is something very important about allowing the unconscious to well up in your art, it happens very rarely, it can be very powerful and you don't really want to mess around with it or it could destroy it. A similar thing happened with the song 'Lund' which also one of my favourites.