Boomkat Product Review:
Packed with slo-mo knackered house time warpers and impressive vocal turns from DemiGosh, Moiré's third album is half Galcher Lustwerk and half Arthur Russell. Fuzzy, fwd and masterfully steady-handed, it's blunted and emotionally-charged >> deepest funk.
Deep house is a tough one to get right. When it's good, it's some of the best dance music out there. Think Virgo, Ron Trent, DJ Sprinkles, Gemini, Newworldaquarium or Omar S, the list goes on. But when it's bad, well, it's Disclosure at one end and the lo-fi mafia at the other. Thankfully, Moiré is a force for good, and his first album in four years pays tribute to the genre while inching it into new territory.
The Pépé Bradock-meets Actress chug of tracks like 'Low Works' and 'Lost in Pacific' should appeal to the regulars, but it's the collaborations with London-based Nigerian-Irish vocalist DemiGosh that elevate "Good Times". Half of the album centers on vocals, ranging from deadpan spoken word ('Know Me') to angelic Arthur Russell-esque free expression ('Doors').
On these collaborations, Moiré's soft-focus funk is reset in full color, allowing DemiGosh to expand the emotional range into a complete spectrum. The tracks are melancholy, charged and jubilant, occasionally tipping into gospel-like sunshine ('Sour Site') or circling sadness with syrupy blues ('Zooland'). Dance albums can be tough prospect, but by tempering his dancefloor tracks with avant pop and swerving the expected ambient interludes, this one's really worthy of your time.