Hello everyone, it’s your host Oliver from DULAXI, and today I’m delighted to be joined by Aaron Lewis Moore, an independent rock artist from Bexley, England, whose music brings together the energy of alternative rock, punk, and classic guitar-driven sounds. His latest original single, “Crash Modern”, released on 23rd October 2026, celebrates the freedom and excitement of youth through an upbeat musical approach influenced by the likes of Blink-182 and Nirvana. Working alongside producer Erim Ahmet, Moore continues to develop a growing collection of original recordings while maintaining the creative independence that defines his approach to music. Before we begin our conversation with Aaron Lewis Moore, here’s what you need to know about today’s featured project.
About Aaron Lewis Moore
Aaron Lewis Moore is an independent artist from Bexley, England, whose musical identity is rooted in guitar-driven rock, alternative rock, punk, and classic rock influences. Drawing inspiration from bands such as Guns N’ Roses, Nirvana, Metallica, Oasis, and Blink-182, Moore brings together different elements of the music he has admired over the years while allowing individual songs to develop their own character. His vocal approach also reflects his appreciation for the expressive rock style associated with Axl Rose. Rather than restricting himself to a particular genre, he prefers to explore different musical directions according to the ideas and feelings behind each composition.
Much of Moore’s current recording journey involves working with producer Erim Ahmet, whom he met through mutual connections in Enquire Within. Their collaboration has developed into an important creative partnership, with recording sessions taking place at Ahmet’s studio in Bexleyheath. The process involves building the instrumental foundation with bass, drums, and keyboards before Moore adds his guitar arrangements and vocals. Ahmet also encourages him to push his vocal performances further, helping him develop greater confidence while preserving the original direction of his songwriting. Their approach gives Moore room to hear another musician’s interpretation of his compositions without losing the ideas that inspired them in the first place.
Released on 23rd October 2026, “Crash Modern” is a lively reflection on the freedom and excitement of being young. Inspired by memories of riding a bicycle without the responsibilities and concerns that come with adulthood, the song captures a feeling that many listeners can recognise from their own childhood. The idea became particularly meaningful when Moore revisited old photographs of himself with his bicycle and remembered the carefree experiences associated with those years. Musically, the single brings together layered guitars, driving bass, energetic drums, and carefully developed vocals, creating an upbeat sound that complements its nostalgic subject. With influences from Blink-182 and Nirvana, the track offers a fun and accessible expression of youthful freedom.
Beyond this single, Moore’s wider catalogue includes material developed over several decades, with songs that have been in his mind since 1996. His project, “Within the Vault, Vol. 1”, reflects the extensive collection of original ideas he is gradually bringing into recorded form. Rather than concentrating on live performances or following industry expectations, he is currently focused on recording as much of this material as possible and allowing each song to retain its individual identity. His independent outlook is straightforward: he makes the music he wants to make, whether it takes a heavier, more melodic, or more reflective direction.
Having this brief introduction to today’s featured project, I’m sure both new listeners and longtime followers of guitar-driven music will be interested in hearing more about Aaron’s creative process, his collaboration with Erim Ahmet, and the experiences behind “Crash Modern”. So, without further ado, let’s begin today’s interview.
INTERVIEW SESSION
Oliver:
You’ve described your approach to music with the straightforward statement, “Who cares. I record what I want.” There’s a strong sense of independence behind those words, particularly in an industry where artists often feel pressured to follow trends or meet certain expectations. Has maintaining that freedom always been important to you, and what does being able to make music entirely on your own terms mean at this stage of your career?
Aaron Lewis Moore:
It’s very important to me, to not feel any pressure to follow trends. I play and record whatever I create and if it sounds like something else or is unique then that’s what it is. I like to show what ideas I come up with no matter what style it is at the time.
Oliver:
Your collaboration with Erim Ahmet has become an important part of your current recording process, with your connection developing through mutual friends in Enquire Within. What initially made you feel that Erim was the right person to work with, and how has your creative relationship developed as you’ve spent more time bringing your songs to life together?
Aaron Lewis Moore:
Erim is an easy going and friendly guy who is great to work with. I’ve been working with Erim for nearly a year now and our collaboration is becoming more organic. He helps me make my songs sound a lot better than what they were. He doesn’t change my songs at all. He lets them play out as I intend them to be.
Oliver:
One interesting aspect of your musical identity is the combination of influences from Blink-182 and Nirvana, alongside the classic rock attitude associated with bands such as Guns N’ Roses, Metallica and Oasis. These artists each bring a different energy and approach to rock music. How do you bring those influences together while ensuring that the music ultimately reflects your own personality rather than becoming an imitation of the artists you admire?
Aaron Lewis Moore:
It works like a filter. All these bands I’ve grown to like and admire and their different styles come out into my songs. As I’ve written songs as independent entities instead of making an album, they have room to sound like whatever I was feeling at the time of their creation. One song can have an Oasis feel and the other could have a Metallica feel. Or a mix of any together to make them feel unique, hope fully.
Oliver:
Crash Modern takes listeners back to a particularly carefree period of life, using the simple image of riding a bicycle without worrying about what tomorrow might bring. What brought that particular memory or feeling to mind when you were writing the song, and was there a personal experience behind the story that made it especially meaningful to you?
Aaron Lewis Moore:
I was going through some old photos and found one of me with my bike as a kid. Then I remembered a fan hearing the demo of Crash Modern and he said that it was riding your bike fast music. It took me back to what it was like to be carefree and not have to worry about anything when I was a young kid zooming around on my bike.
Oliver:
Nostalgia can be a powerful subject in songwriting because it allows people to reconnect with moments they might not have thought about for years. However, Crash Modern approaches those memories with an upbeat, energetic attitude rather than simply looking back with sadness. Why was it important for you to make this a fun celebration of youth, and how did you capture that feeling through the music?
Aaron Lewis Moore:
Well the music came first. I was surprised how poppy the song is, considering I like rock and metal. I knew it was a fitting song for high energy and positivity. So a positive memory would fit well with it.
Oliver:
Your vocal performance on Crash Modern is an important part of the track, particularly given how much emphasis you and Erim placed on developing the final delivery. You have also mentioned that he pushes you to work harder during recording sessions. What does he recognise in your voice that perhaps you might not always recognise yourself, and how has this process changed your confidence as a vocalist?
Aaron Lewis Moore:
I never liked the sound of my voice. But Erim told me to be more confident. So I am getting more confident with singing and not caring about what I sound like. I’ve also been told I can control my voice well. That’s something I suppose.
Oliver:
The recording process for Crash Modern began with the bass and drums before moving into the guitars and vocals. This creates a foundation that allows each instrument to contribute to the finished arrangement. How does building a song in this order influence the way you approach its melodies and vocal delivery, and what does this method allow you to achieve that might be different from recording everything together?
Aaron Lewis Moore:
Well I would play all the instruments myself but I like Erim to play bass, drums and keyboards because I like to hear his interpretation of the song as we record it. The reason for this is that I write my songs with a band in mind. Once he does this I play my guitar parts as I want them and then vocals are last. The vocal melody comes naturally and I don’t work to hard to over think it.
Oliver:
You recorded Crash Modern at Erim’s studio in Bexleyheath, keeping the creative process relatively focused on the music itself. When you’re working in the studio, how do you recognise when a song has reached the point where it sounds exactly as you imagined it, and how much room do you leave for unexpected ideas or changes suggested during recording?
Aaron Lewis Moore:
Oh I don’t like to overwork a song. I want to record it how I wrote it. I don’t like the idea of overthinking parts or thinking of what could be here and there. If something comes naturally as we are recording it then that’s a bonus.
Oliver:
There is a noticeable connection between the youthful energy of Blink-182 and the raw alternative rock attitude associated with Nirvana in the direction of Crash Modern. What particular elements of those two bands appeal to you most, whether it’s their guitar arrangements, vocal character, songwriting or overall attitude, and how do those qualities influence the way you approach your own compositions?
Aaron Lewis Moore:
It’s the power chords. They are great easy chords for me to play as I have small hands. I don’t have a great reach. So I couldn’t play like Buckethead. Nirvana especially Kurt Cobain has a simplistic way of writing songs which are catchy and easy to make. It was a big influence on me when I was doing songs like that. I hope to make more.
Oliver:
Your current approach seems particularly focused on creating and recording as many songs as possible rather than prioritising gigs, festivals or the traditional live-performance circuit. That’s an interesting decision for a rock artist, especially when live performance is often considered an important part of building a following. What has influenced this direction, and what are you hoping to accomplish by concentrating your energy on developing your recorded catalogue?
Aaron Lewis Moore:
It’s my age really. I’m 44 now and I just want to record all the songs I have in my head right now. Playing live is something I’d love to do, but is not practical for me to do right now. I would have to form a band, find the time out of work and life to fit all that in. So I’m just building a steady flow of recordings to see what will come from it.
Oliver:
With Crash Modern, you’ve created a song that draws on a personal feeling but is intended to connect with a much wider audience. You have described it as something everyone can enjoy while remembering their younger years. When writing music with such a universal subject, how do you balance your own experiences with the need to leave enough room for listeners to attach their own memories and interpretations to the song?
Aaron Lewis Moore:
Honestly this is the first song that I have written with others in mind. Otherwise all my other songs are just personal feelings that I just happen to record and play. If other people feel something about themselves when hearing them then that’s great.
Oliver:
Your work with Erim also raises an interesting question about the balance between an artist’s original vision and the contribution of a producer. While the songwriting and musical direction come from your own creative instincts, Erim helps shape the recordings and challenge your performances. How do you approach creative disagreements or different opinions in the studio, and can you recall a moment when one of his suggestions took a song somewhere you hadn’t originally considered?
Aaron Lewis Moore:
There is a song of mine we recorded, it’s called Thrashes to Ashes. It’s a metal song that I need help from Erim a lot. I have so many riffs and I find it hard to make them flow into a song. So Erim helped me put them together. He even got a writing credit on that song because of some of his great suggestions. He made 3 of my ideas come together as one.
Oliver:
Having songs that have been developing in your mind since 1996 gives your catalogue an interesting sense of history. Some ideas can remain with an artist for years before finding the right opportunity to become finished recordings. When revisiting older material, how do you decide whether to preserve the original ideas or adapt them to reflect your current musical abilities, experiences and production standards?
Aaron Lewis Moore:
I like to keep them as close to the original demo as possible. Obviously there will be improvement because I’ve gained more experience as a player. But they are so ingrained into my mind they haven’t really changed and I like that. Maybe when I eventually start writing something brand new the songs will be a lot stronger.
Oliver:
Your wider catalogue and the project Within the Vault, Vol. 1 suggest that there is a substantial amount of material behind your current releases. How do you organise and prioritise the songs you want to record, and are there particular tracks or ideas from your collection that you’re especially excited to finally introduce to listeners?
Aaron Lewis Moore:
Well I go to Erim and just say I’m doing this song today. I have a sort of idea which one to do after the other. With so many to choose from I try not to bunch the same style together. A rock song first, then punk, then ballad and then metal is the way I’ll try to go.
Oliver:
Something that stands out about Crash Modern is its refusal to take itself too seriously. It has the guitars, driving rhythm and energetic delivery associated with rock music, but its central message is simply about having fun and enjoying life. Do you think modern rock sometimes loses that carefree spirit, and would you like that sense of enjoyment and spontaneity to become a defining part of your musical identity?
Aaron Lewis Moore:
Again I play whatever was there at the time. This tune was a fun song that should be fun to listen to. If one of the songs is fun, great. If another is down or moody then there you go. I don’t like to put myself into one style of music. But it must involve a guitar. Modern rock should be what rock has always been, a way for an artist to express themselves through pure rockage.
Oliver:
As you continue developing your recordings, how do you measure progress as an independent artist? Is it about improving your songwriting, becoming a stronger vocalist, completing more of the songs you’ve carried with you over the years, or reaching listeners who genuinely connect with what you’re creating?
Aaron Lewis Moore:
I would like to be heard by as many people that enjoy guitar music as possible. It’s never about money or fame for me. I just want my music that I have been holding for 30 years to just be enjoyed by people that like what I like. Of course I want to get better at what I do and now I have the opportunity to show the world what I have to offer.
Oliver:
Looking beyond Crash Modern, are there particular musical directions you would like to explore in your upcoming recordings? For instance, would you be interested in experimenting with heavier guitar arrangements, more melodic punk influences, acoustic songwriting or perhaps revisiting the classic rock sounds that first shaped your musical taste?
Aaron Lewis Moore:
Well my next song is a very personal one on which I have string arrangements. I want to do more with strings in the future. Then I’m doing a Christmas song which will not be your typical Christmas song. Many Moore songs to come! Let’s see what happens in another year.
Oliver:
Finally, as you continue working with Erim and building a growing collection of original material, what would you like the next chapter of Aaron Lewis Moore’s musical story to look like? If someone discovers your music several years from now and listens through the catalogue you’re currently creating, what would you hope they understand about you, your independence and the reasons you chose to keep making music?
Aaron Lewis Moore:
My next chapter will be after getting these many songs recorded is to see if a proper album is on the cards. If someone or something demands it, I’ll do it. But for now I’m enjoying creating music by my own rules and schedule. I hope my audience grows and they enjoy and connect with what I have to offer.
“Some songs begin with a carefully planned direction, while others simply capture a feeling that refuses to stay hidden. With Crash Modern, Aaron Lewis Moore turns a childhood memory into a celebration of freedom, reminding us that the simplest experiences can leave the strongest impressions.”
~ Oliver (DULAXI Team)
EDITORIAL PERSPECTIVE
What makes Crash Modern particularly interesting is the personal memory behind its creation and the straightforward approach Moore brings to his songwriting. The combination of layered guitars, bass, and drums gives the track its lively character, while the vocal arrangement benefits from the collaborative work with Erim Ahmet. I also find Moore’s decision to move between different rock styles refreshing. Rather than forcing his music into one category, he allows each composition to reflect its own personality and creative moment.
~ Oliver (DULAXI Team)
CLOSING
A special thank you to Aaron Lewis Moore for taking the time to speak with DULAXI and share the experiences, creative decisions, and personal stories behind his music. From revisiting childhood memories for “Crash Modern” to discussing his long-standing musical influences and the importance of creative independence, this conversation has offered an interesting insight into the person behind the recordings.
For readers who have not yet experienced “Crash Modern”, the single is well worth exploring, particularly for those who appreciate energetic, guitar-driven music with a relatable story at its centre. We also encourage you to follow Aaron’s continuing work as he brings more of his long-standing musical ideas into recorded form. With new material already in development and different musical directions to explore, there is more to discover from his growing catalogue.
Thank you for spending your time with us here at DULAXI. We hope you have enjoyed getting to know Aaron Lewis Moore and learning more about his musical journey. Stay connected with us for more conversations, stories, and insights from independent artists around the world.
Until our next interview, keep discovering great music!