London-based producer Moiré may have a background in architecture, but if his music were houses, they’d be the kind you find in Escher paintings. The rhythmic foundation wobbles and shifts; flickering synths pulse in and out of time, and the blank space between the elements feels ominous and imposing. They’re also inlaid with hundreds of tiny details: deep inlays of electronics, gentle waves of sound, scuffed-up techno and low-light dance music, as much shadow as sound. Even his name hints at that contrast. A design term for the process in which one set of lines is laid, at a slight angle, on top of another set of lines, causing distortion, it hints at both the symmetry and the deliberate imperfections in his music. “One side of it is actually describing the process,” he said in an interview with The Quietus, “and the other one is mentioning that unwanted error which can actually turn into something that you want.”
You are maintaining a phantom-like presence, releasing material on a slew of different labels. You started on Werkdisc, you released on R&S and now you joined the Spectral Sound / Ghostly International family with new release ‘Lines + Colours’. Which is you policy with record label?
None. I don’t have any policy – i think is natural to explore as young artist in search for the right place. I love all these labels and people behind it. I know guys behind Spectral / Ghostly for a long time and we finally decided to do something. Is all simple. Moment and Time.
‘Lines + Colours’. To me sounds experimental and emotional. What to you?
I just make what I feel. I wanted all to be recorded live, without computer. And thats what I did . But i don’t think is experimental. Is just Moiré
You have a background in architecture, but if your music were houses, they’d be the kind you find in Escher paintings. Can you describe ‘Lines + Colours’ as a space?
Always loved Gaudi or Esher – but also Niemeyer, Frank O’ Ghery or RIP Zaha Hadid, Wright or Mies Van Der Rohe- which are all very different , but amazing. And that is the point.
For me any form can work as long as is good. In architecture or music I’m into conviction. I like to put all into it. Lines and Colours is about adding some more twist and Colour to Moire Lines.
The blank space between the elements often seems main ingredients in your music recipe. Is it true?
Is all about space and distance so all elements can work. Yes is important for me whats between the lines. Trying to be me in full every time I make music . Music has to be about something.
This EP to me is the final proof to prove you are in love tiny details: deep inlays of electronics, gentle waves of sound, low-light dance music, as much shadow as vibrant energy. Can you see at your sound more like a sculpture or a sound design thing?
Yes! When I make music I really go into details – is like sculpting sound into specific form that I like . Sculpting math and data in way.
Your tracks often are build up on weird rhythms. Tell us something bout your studio set up. Do you use field recordings?
My studio set up depends on the day . Normally is very minimal and I like to work in many places – so i prefer to be portable. But Sometimes i like to have it all too. Lines + Colours for example was recorded live in Hamburg synth studio with a lot of synths and drums layered live . I don’t use any field recordings – but Sometimes i record myself playing from the speakers.
In 2015, you formed the collective Neversleep with longtime collaborator Disguise, and released a 3-song EP on Phonica Records. Let us know something about that collaboration and the work with that label.
Neversleep is just bunch of mates doing stuff together : music, art design, etc. Neversleep is like creative imprint . So last year we decided to make this release as a collaboration with Phonica . And this year we are doing more releases and some cool fashion collaboration too . We will reveal more soon.
What’s next for Moiré?
Moiré. More tracks more release more collaborations more art.
di @Andrea_Mi.
