- In 2016 Moro made one of the most personal and electrifying experimental club music EPs, San Benito, which explored the African roots of Argentinian tango and the slave trade that brought Africans there. Irrelevant, which comes as a five-track EP and a 21-minute mixed version, turns to a different part of Argentinian culture: crowds, celebrations and protest. "The same percussion instruments originally used for Carnival are also used for the two most passionate things in Argentina," he says. "Politics and football."
For Moro, the din of a crowd celebrating (or rioting) at a football game isn't much different from a raucous protest. In fact, it can be hard to tell them apart. On Irrelevant he uses his ramba sound—an aggressive element of tango music—to channel this confusion, where violent drum patterns thrash against delicate vocal melodies and other gasps and yells that could be pained or exultant. And he sings. Moro's voice is a great addition to the EP, offering something to grasp amidst the seasick rhythms of "Showtime" and the clanging "Perdón," a cover of the Puerto Rican composer Pedro Flores that sounds like a singer crooning in the middle of a riot.
Irrelevant is full of sonic tantrums, like the exhausting "TaZzer," which is arresting in spite of its chaos—Moro maintains dynamics even in the most hectic arrangements. But the most breathtaking moment comes with "Xxandi," when the ruckus recedes and leaves something more intimate in its wake. Among random noises there's a gentle beat and, best of all, Moro singing a plaintive melody. It could be a love song or it could be a protest. Moro's melodies and rhythms get plenty across, like they have in the past. But here everything feels more assured, revealing a budding songwriter who's emerging as one of his scene's most talented artists.
Tracklist01. Showtime
02. TaZzer
03. brb
04. Perdón
05. Xxandi