Showing posts with label Moby. Show all posts
Showing posts with label Moby. Show all posts

Sunday, November 29, 2015

One Thousand.

Not reviews. Not releases reviewed. Just posts, which includes a few fluff updates in there. Like this one! Guess folks expect some pomp for this accomplishment of sorts, so here it is.

Tuesday, December 16, 2014

Moby - Play

V2: 1999

Play is a very important album released by a very important artist at a very important time in electronic music’s history. It set the very important precedent that one need not rely on very important radio play for promotion, but could succeed by licensing the music out to very important movies and very important commercials for maximum exposure. Then you could smugly sit back watching those same very important radio stations crawl back to you now that your very important hit singles have wormed their way into the popular discourse. Take that, Very Important Radio that’s no longer so very important!

Sorry, had to get that bit of silliness out of my system. I know it goes without saying that Moby’s Play stunned everyone with how commercially successful it became, but it holds especially true for many ravers who’d been following him since the beginning of his career (or at least after hearing Go). Though he'd always been a little erratic with his muse, most figured he'd all but left electronic music following Animal Rights, seduced by the vigor of protest punk rock in lieu of his growing social conscience. Maybe he'd make another techno album down the road under his Voodoo Child alias, or something ambient leaning should he get the reigns to a film score, but not much else that could interest his old audience.

And it went when Play first dropped, many unsure what to make of all the ragtime and blues samples littered about. While his past indulgences with gospel were charming enough, tracks like Honey, Find My Baby, Run On, and Natural Blues gave us a Moby gleefully exploring American roots music not seen since... well, ever, at least where electronic music was concerned. These weren't simple historical raids for catchy or quirky loops; rather, he honored their legacy, providing little more than serviceable contemporary dance rhythms and his distinct piano, strings and pad flourishes. Everyone agreed it was different, yet uniquely Moby; a defining moment in electronic music's history though? Hardly. Just another indication the Moby brand, once a darling of American rave, had fallen further off from scene relevance. I mean, listen to those squeaky-clean 'rocktronica' cuts Bodyrock and South Side - no way those will catch on with the underground.

Silly underground, there's more to music than you. But okay, if you’re really forlorn for the Moby of old, there are a few tunes that play to his melancholy strengths, including the dreamy Porcelain and surprisingly uptempo Machete. Most of the vintage Mobes is found in the back end of Play though, with haunting ambience (Inside, My Weakness) rubbing shoulders with downtempo takes on his newfound blues infatuation (Everloving, The Sky Is Broken).

Though I doubt anyone reading this blog hasn’t come within earshot of at least a few tracks off Play, it is worth your while to hear the album in full if you haven’t yet. Its simple charm makes for a surprisingly difficult LP to turn off.

Sunday, December 1, 2013

Moby - Last Night (Original TC Review)

Mute: 2008

(2013 Update:
Not much to add to this review, as it holds up just as fine as it did when it first came out, though calling it "his most accomplished album since
Everything Is Wrong" is a bit of a stretch on my part. Kind of a shame this was just a one-off return to early club music on Moby's part, but it was only ever intended to be as such. I wonder if we might see another one though, what with classic house again back in vogue after a couple-year gap of not. Man, was 2008 ever a weird year for house music.)


IN BRIEF: The Moby ravers enjoyed returns.

I don’t think anyone expected Moby returning to dance music in such a fashion, if at all. Granted, he tested the waters a few years back with a Voodoo Child album, but for the most part everyone figured Mr. Hall’s most recognizable project had forever gone the way of quaint bittersweet pop-rock. Still, it’s not like the mainstream readily accepted Moby. Although they enjoyed the music off Play (if anything because you couldn’t escape it) and the odd tune here and there if it fit the times, Moby remained the butt-end of numerous jokes, an all-too easy target of ridicule.

Perhaps it isn’t surprising, then, that as he nears mid-life, Moby has begun reflecting, recalling a time and place one was accepted no matter who you were or what you did. The second Summer Of Love certainly was such a time, and thanks to anthems such as Go and Next Is The E, Mr. Hall emerged as an underground darling of the early American rave scene. So if such fond thoughts have been on his mind lately, producing an album which captures those free-wheeling hedonistic years in sixty-five minutes is an intriguing idea; the fact this comes at a point when classic house music is seeing something of a revival just so happens to be a bonus for both parties.

Still, there have already been plenty of question marks, accusations and critical responses to such an endeavor. Cynically, you have to wonder why Moby would go back to a sound he hasn’t touched on in over a decade, especially when his last Best Of release ignored nearly all of his pre-Play output. Also, will his current fanbase even be willing to accept such blatant romanticizing of early ‘90s dance music when it hasn’t been in vogue since Madonna’s Vogue? And does Moby even have much chance of standing toe-to-toe with admittedly much trendier revivalists like Hercules & Love Affair or Dixon?

Last Night will probably fly right over your head if you’ve been fussing over such thoughts. On this new album, Moby doesn’t seem to care whether the popular press or the bloggers or even the current crop of EDM followers accept his retro-direction; it’s primarily the old-schoolers whom enjoyed his early output that will dig on this. As much as he says this is a love-letter to New York City of the late 80s, Last Night is equally a love-letter to all those fans that gave Mr. Hall his big break, with the giddy rave vibes oozing from every sonic corner.

Were I allowed to wear my Nostalgia Headphones while reviewing Last Night, it’d easily earn high marks. Even without them, though, there is some gosh-darned good music to be had on here. Take Everyday Is 1989: it’s an incredibly simple track on paper, consisting of rolling pianos, soul-sista’ samples, and string stabs looping over vintage house beats. It should sound old, it should sound dated, it should sound like a bygone relic. Yet every time those pianos emerge - and I do mean every time - my head can’t help but bobble along. There’s a groove to be had here, my friends, and it’s more infectious than most of what’s come out from the house camps in the last few years.

Much of Last Nights works in this regard. Moby keeps things simple and to the point, doesn’t get bogged down in fancy gimmicks or overproduction, and maintains the old-school uplifting spirit throughout much of the album. And while the house cuts like Everyday Is 1989, Disco Lies, and I’m In Love received most of the pre-album buzz, there’s plenty of other EDM genres dabbled in as well. The Stars and 257.Zero tackles the rave end of the spectrum, while I Love To Move In Here adds some hip-house flavor. The latter portion of the album provides an ambient-house touch; however, aside from Sweet Apocalypse, these offerings aren’t nearly as interesting as the rest of Last Night, coming off as mere sonic doodles compared to some of Moby’s more famous downtempo tunes.

For as much as Last Night honors his roots, though, Moby hasn’t completely neglected some of the fresher influences of his discography. Material like the titular track, Ooh Yeah, Live For Tomorrow, and Hyenas finds blending of melancholic pop and lounge, especially so with the hidden bit of jazz tagged on at the end of the finale. Trumping it all though - and even the retro stuff - is Alice, which melds a whole pile of Moby-isms into a single track: blues-shuffle rhythms, squawking guitar licks, guest raps from Nigerian based group 419 Squad, catchy pop hooks... Lodging it smack in the middle of the album definitely helps prevent the whole of it from sounding like too much of a nostalgia love-in.

Ultimately, Moby’s latest is quite probably his most accomplished album since Everything Is Wrong. He may not be doing anything new on here but that’s beside the point - Last Night is the sound of a musician finding himself quite comfortable with his roots again, and proving he is more than capable of producing a song that remains just as timeless as the era it draws influence from. The mainstream media may not understand it (but, oh, they certainly do when R.E.M. does the same thing); long-time fans of electronic dance music will.

Sunday, February 17, 2013

Moby - Everything Is Wrong

Mute: 1995

The only Moby album you’re supposed to have, even if you aren’t much of a Moby fan. At least, that used to be the case, before Play hit the streets - even then, it took a bit for that quanti-popular album to get going (re: heard in every commercial or soundtrack ever), so Everything Is Wrong still held onto its title for a little longer. The funny thing is it’s not like Play was the first of Moby’s releases to do this - tracks off here and even his first album cropped up on various soundtracks - but it was the most ubiquitous of the bunch, thus the one that stuck in the public’s mind.

As for Everything Is Wrong, this was the one that raised his star beyond underground darling, thanks to the marketing muscle his new label Elektra provided. No longer tied to his rave roots, he could explore sonic avenues as never before! Then why does half this album sound like he had trouble letting go of those rave roots?

Feeling So Real, Bring Back My Happiness, and Everytime You Touch Me are all throwback rave anthems, which is weird to type nearly twenty years on. Truth is though, by 1995, almost all aspects of old school hardcore had been snuffed out by the march of musical progress: jungle adopted the breaks and bass, happy hardcore pilfered the piano lines and giddiness, and the riffs went to... oh, let's say gabber. But these tunes by Moby, they sound exactly as you'd expect classic rave to sound in that year had the genre kept plugging on. Fun these days, but kind of odd back then.

What really got folks' attention though, were the lush, cinematic piano-chill tracks. God Moving Over The Face Of The Water's the classic of the bunch, featured at the end of the movie Heat as Al Pacino holds the hand of a dying Robert de Niro (aw, they could'a had a bromance). Personally, Hymn's the track for me, playing to the haunting, melodic strengths many a Moby tune has carried over the years. Elsewhere, the gospel influences and pop-potential hinted in prior releases get more focus this time out with tracks like Into The Blue and Cool First Hive (a dead ringer of a precursor to Play).

So some lovely moments, but ol' Richard also shows his burgeoning musical schizophrenic behavior. I don't recall if The Prodigy made it the in-thing to do, but Moby's first forays into dance-punk fusion appear too. The two cuts, they're... um, punk, that's for sure; heck, What Love? sounds like it could have been an Atari Teenage Riot track.

With so much genre dabbling, Everything Is Wrong doesn't come off like a cohesive album. Instead, it's a snapshot of where Moby was in the mid-'90s, figuring out what to do next with his music as one chapter of it was coming to an end. Despite the lack of any narrative or flow, it's still a fascinating listen.

Thursday, January 17, 2013

Moby - Ambient

Instinct Records: 1993

Most mornings, I wake up to a CBC Radio program called Q. The show, hosted by Jian Ghomeshi, focuses on many aspects of popular and indie arts: music, movies, and cultural movements. At the start of each broadcast, Jian reads a personal essay covering a contemporary topic while one of two pieces of music plays in the background. Whenever it’s something of somber reflection, I swear what’s played sounds like one of Moby’s ‘ambient-blues’ pieces, and after a while it got me wondering more and more about this particular album called Ambient. Not that I expected to find that track nor even that style here, but for a guy who’s most enduring pieces tended to skew towards the downtempo side of things, I was curious to hear the roots of Moby chill.

I’d actually heard one of the tracks off here long ago, Myopia. It’s a dark, brooding bit of ambient techno minimalism, with a beat that’s barely a throb, and wouldn’t sound out of place on an Aphex Twin collection; funny, then, that I first came across it at the end of a trance CD. Still, it was about as much exposure as anything off Ambient ever got. Instinct Records promoted it as much as they could (Moby was their biggest star, after all), but as an American-based label known for downtempo, their reach was limited. Even Moby’s pre-Play fanbase was barely aware of this album’s existence, and when greatest hits packages were gathering up material, you’re damned skippy this release was totally skipped.

Truth is, Ambient’s rather indistinguishable from most ambient techno of the era. Throw these tracks on for a blind guess at who made them, and Moby’s probably the last name to crop up, most of his popular material from those years much ravier. Mind, he likely had ambient material sitting in the wings, but at best these would make for nice transitional tracks between the anthems had they appeared on The Story So Far (much like Mercy did).

So what do we have here? Ambient techno, with a few dabbles in experimental sounds and sonic doodles. There are a couple offerings you could link to Moby of later years - Piano & Strings and J Breas are similar to the music found on the back end of Play - but for the most part we’re in early ‘90s territory. And for an album titled Ambient, there isn’t much in the way of droning, noodly pads. You could even, like, dance to tracks like Heaven, Tongues, and Dog. Myopia’s definitely a stand-out track though, in that it’s such a unique tune in Mr. Hall’s discography. The shorter Bad Days, with its dubby effects, is intriguing for these reasons too, though not long enough to give more than a passive thumbs up on.

In all, Ambient is alright if you have an ear for this sound. Of Moby’s obscure albums, I’d give it more of a recommendation than Animal Rights.

Things I've Talked About

...txt 10 Records 16 Bit Lolita's 1963 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2 Play Records 2 Unlimited 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022 2023 20xx Update 2562 3 Loop Music 302 Acid 36 3FORCE 3six Recordings 4AD 6 x 6 Records 75 Ark 7L & Esoteric 808 State A Perfect Circle A Positive Life A-Wave a.r.t.less A&M Records A&R Records Abandoned Communities Abasi Above and Beyond abstract AC/DC Ace Trace Ace Tracks Playlists Ace Ventura acid acid house acid jazz acid techno acoustic Acroplane Recordings Adam Beyer Adam Ellis Adam Freeland Adham Shaikh ADNY Adrian Younge adult contemporary Advanced UFO Phantom Aegri Somnia AEI Music Aes Dana Afgin Afrika Bambaataa Afro-house Afterhours Agoria Aidan Casserly Aira Mitsuki Airwaves Ajana Records Ajna AK1200 Akshan album Aldrin Alex Smoke Alex Theory Alice In Chains Alien Community Alien Project Alio Die All Saints Alpha Wave Movement Alphabet Zoo Alphaxone Altar Records Alter Ego alternative rock Alucidnation Ambelion Ambidextrous ambient ambient dub ambient techno Ambient World Ambientium Ametsub Amon Amarth Amon Tobin Amplexus Anabolic Frolic Anatolya Andrea Parker Andrew Heath Androcell Anduin Andy C anecdotes Aniplex Anjunabeats Annibale Records Anodize Another Fine Day Antendex anthem house Anthony Paul Kerby Anthony Rother Anti-Social Network Anzio Green Aoide Aphasia Records Aphex Twin Apócrýphos Apollo Apollo 440 Apple Records April Records Aqua Aquarellist Aquascape Aquasky Aquila Arcade Architects Of Existence Archives Arcturus arena rock Arista Armada Armin van Buuren Arpatle Artifact303 Arts & Crafts ASC Ashtech Asia Asian Dub Foundation Astral Engineering Astral Projection Astral Waves Astralwerks AstroPilot AstroPilot Music Asura Asylum Records ATB ATCO Records Atlantic Atlantis atmospheric jungle Atom Heart Atomic Hooligan Atomine Elektrine Atrium Carceri Attic Attoya Audiobulb Records Audion AuroraX Autechre Autistici Autumn Of Communion Auxilary Auxiliary Avantgarde Avatar Records Aveparthe Avicii Axiom Axs Axtone Records Aythar B.G. 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