London producer Moiré shared an eccentric new track called "Brixton" off his forthcoming EP on Spectral Sound, Lines + Colours, which is premiering today on THUMP. It's a very conversational piece of music, but not in any kind of harmonious sense. It's a messy, uneven exchange, defined most by the disjunction that occurs as the drums, synths, and samples dodge and bump against one another.When THUMP caught up with Moiré over the phone he talked about how he's inspired by imperfect, imbalanced mixing; he also explained how he's seen Brixton—the rapidly gentrifying south London neighborhood—change in the time he's known it.Listen to the track below THUMP's interview with Moiré.THUMP: The tracks on this EP seem a little bit more linear and concise than your previous work, would you agree with that?
Moiré: I have no idea. I don't think about things like that. You can generalize or categorize music in certain ways, like straighter tracks or more wonky tracks, and so on, but I don't think about it that much. I think it's just a matter of opinion, it depends who feels what in a certain moment when they listen to the music. Perception constantly changes.What kind of thing were you going for with "Brixton"?
Because I live in Brixton and my first studio was in Brixton, I felt the transition from the Brixton when I first moved there until now. It's a very different place. Of course it got gentrified and so on. But when I first moved in, it was just different, slightly more diverse culturally, less white. There was something about it that was very interesting; it felt like you could get away with anything.What motivates you to make music?
[Each record] is an expression of how you feel in the moment, but it's a collision of many things. One thing is that you make music and you feel that you have something to give to the music. It's almost like, even if you wouldn't be making records as a professional, you would still be making music. It's just a part of your life. It's kind of utopian, in a way, because you are spending a lot of your life writing tracks that maybe will never come out, but you do it because you love it and because [the drive to do it] is stronger than resisting it.The other reason to [make music] is you can listen to something and it will inspire you, or you go to the rave and listen to someone else play and [be] inspired by it. It's quite interesting, when the tracks mix and you like the mix. That moment when two tracks are going into each other is the most interesting moment for me, even if it's not perfect. It's amazing, the fusion of two songs. Sometimes it's totally wrong, but it's still great, because you cannot control the tuning of every track you play, or master the key and everything, but that harmony, whatever happens there, that's something that I've always been drawn to. Maybe that's why some my tracks are really full-on, because I'm trying to get to that sweet spot that I love about tracks going into each other.
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Moiré: I have no idea. I don't think about things like that. You can generalize or categorize music in certain ways, like straighter tracks or more wonky tracks, and so on, but I don't think about it that much. I think it's just a matter of opinion, it depends who feels what in a certain moment when they listen to the music. Perception constantly changes.What kind of thing were you going for with "Brixton"?
Because I live in Brixton and my first studio was in Brixton, I felt the transition from the Brixton when I first moved there until now. It's a very different place. Of course it got gentrified and so on. But when I first moved in, it was just different, slightly more diverse culturally, less white. There was something about it that was very interesting; it felt like you could get away with anything.What motivates you to make music?
[Each record] is an expression of how you feel in the moment, but it's a collision of many things. One thing is that you make music and you feel that you have something to give to the music. It's almost like, even if you wouldn't be making records as a professional, you would still be making music. It's just a part of your life. It's kind of utopian, in a way, because you are spending a lot of your life writing tracks that maybe will never come out, but you do it because you love it and because [the drive to do it] is stronger than resisting it.The other reason to [make music] is you can listen to something and it will inspire you, or you go to the rave and listen to someone else play and [be] inspired by it. It's quite interesting, when the tracks mix and you like the mix. That moment when two tracks are going into each other is the most interesting moment for me, even if it's not perfect. It's amazing, the fusion of two songs. Sometimes it's totally wrong, but it's still great, because you cannot control the tuning of every track you play, or master the key and everything, but that harmony, whatever happens there, that's something that I've always been drawn to. Maybe that's why some my tracks are really full-on, because I'm trying to get to that sweet spot that I love about tracks going into each other.
Lines + Colours is out on March 25 on Spectral Sound. Preorder available.Follow Alexander on Twitter.