MOBY 黑胶唱片和CD

Review: Friction's Shogun imprint launch the Shuriken series; a deep dig into the vaults to give select tracks a little vinyl spotlight. Limited and not to be repressed, the inaugural volume is packed with four thick slabs of Shogun's broad pie on a delicious green 12" platter; Document One's unique bass tripper "LSD", GLXY & DRS's introspective "These Lights", Pola & Bryson's starlit take on "Porcelain" and the evergreen soulful wobbler "Burning" from the dream trio that is Serum, Paul T & Edward Oberon all map out the label's breadth and extremities with precision.

Review: Moby's latest album, Always Centered at Night, is an homage to the power of unrestricted creativity and the allure of New York's late 70s music scene. With the assistance of exceptional vocalists, Moby has crafted a collection of songs that are both deeply personal and universally resonant. The album's unique approach, allowing vocalists complete artistic freedom, has resulted in a tapestry of sonic genius. From serpentwithfeet's ethereal dreamlike vocals to Benjamin's poignant poetry, each track exudes a sense of vulnerability and emotional depth. Always Centered at Night transcends commercial constraints, embracing the beauty of raw and unconventional expression. Moby's aim to foster creative integrity shines through, as the featured artists pour their souls into these collaborative pieces. This eclectic mix highlights the album's commitment to diversity and the celebration of talent beyond traditional boundaries. By showcasing the immense vocal talents of his collaborators, Moby has created an album that is a tribute to the transformative power of music.

Review: Moby's latest album, Always Centred At Night, is a collaborative smorgasbord, it's theme being a vocal feature from a different artist on each track: whether this be Lady Blackbird, Benjamin Zephaniah, Gaidaa, Jose James, serpentwithfeet, Akemi Fox or Aynzli Jones, all tracks on this record evince a distinctive record producer flaunting a profound finger on the pulse. This time, the palette is lowercase (titularly and in sound) and stripped back, continuing the ultra-hi-def direction Moby has moved in in recent years. In Moby's own words, "Always Centered At Night continues my love of collaborating, but (it) has a focus of working with amazing singers who might not be as well known as David Bowie and Gregory Porter."

Review: Following the runaway success of his first fully orchestrated album, 2021's Reprise, Moby returns to legendary classical imprint Deutsche Gramaphon with a second set of sweeping and soaring covers of tracks from his catalogue. This time round, he's limited himself to covering tracks he originally recorded and wrote in New York between 1994 and 2010. It's a successful exercise all told, with some of his best-loved and most impactful songs sounding even more joyous thanks to a canny combination of electric guitars, funk-fuelled organic grooves (there's little in the way of electronic instrumentation), a choir and an orchestra. Vocals are provided by a genuine who's who of stars and talented newcomers, including Kaiser Chiefs' Ricky Wilson, sensational soul man Gregory Porter, Lady Blackbird and Nicole Scherzinger.

Review: The follow up to his acclaimed album Reprise, released in May 2021, Resounds NYC sees electronic pioneer Moby reimagining and orchestrating fifteen of his most iconic tracks, written or recorded in New York during 1994 to 2010. Featuring an impressive array of internationally acclaimed vocalists including Gregory Porter, Ricky Wilson (from Kaiser Chiefs fame), Margo Timmons, and Amythyst Kiah, Moby has also paved the way for smaller names. Collaborating with lesser known artists including P.T. Banks - discovered by Moby via a wedding band in Texas - a democratic touch that sees the iconic artist giving airtime to the talent that has naturally crossed his path. Another instant-classic from the ground-breaking musician.

Review: 18 came at a time in Moby's career when the bulk of his hits had been and gone. Play, Moby, Ambient and Everything Is Wrong had all made a splash, and by 2002 the artist, real name Richard Melville Hall, was seeking to broaden his horizons. The breakbeat stylings of Go, for example, still shine through on 18, but additional ambient and trip-hop tinges also impress on tracks like Jam For The Ladies and Harbour, featuring Sinead O'Connor and MC Lyte respectively.

Review: Moby's 2005 album 'Hotel' gets reissued for the first time, signaling a harkening back to when the multifaceted artist had chosen not to use vocals or sampling for a while. Instead, it took an alt-rock turn; hits like 'Lift Me Up' continued to appropriate the dance music backbone while working in tropes from Europop and pop-punk, riding the wave of the 1990s reconciliation of band and electronic music producer. Ultimately Moby's "least favourite album", it still has a charm to it that can be enjoyed even to this day.

Review: After Moby emerged on the techno scene with his anthem 'Go' followed by two compilations of early works, Everything Is Wrong was to be his first proper album. Signed to the Mute label, the album was an impressive and surprising display of musical dexterity. Def Jam Recordings reissue the seminal 1995 album here as a 180g heavy vinyl edition featuring its original tracks, such as the euphoric rave energy of 'Feeling So Real', the uplifting house anthem 'Every Time You Touch Me', and the wonderfully evocative 'When It's Cold I'd Like To Die' with guest vocalist Mimi Goese.

Review: Moby's Deutsche Grammophon album Reprise as rebased to great fanfare back in May 2021. Now it gets a whole new look with this series of remixes which meld electronica sounds with orchestral design across a series of fresh house, techno and contrary classical cuts. Moby himself steps up to offer a different take on his own material, while other cultured names such as Bambounou, Planningtorock, Topic, Peter Gregson and Christian Loffler all add their own perspectives. It makes for an interesting and often subversive collection.

Review: Moby has been in the headlines for some of the wrong reason recently but his music still warrants attention. His best days might have been his earliest period and albums like Play and 13 but on this record electronica meets orchestral in a new collection of house, techno and contemporary classical remixes of his material. The album comes with notes on the project from the man himself as well as reworking alongside the Budapest Art Orchestra of his most recognizable rave classics and anthems, many of which have all new arrangements for orchestra and acoustic instruments.

Review: In recent years, numerous high-profile rock artists have delivered dramatic orchestral interpretations of their greatest hits, though Moby may be the first electronic artist to try it. Reprise, his 18th full-length excursion, is not fully neo-classical despite the involvement of the Budapest Art Orchestra - there's also a more traditional rock and pop instrumentation - but it does largely steer clear of the electronic beats, sounds and samples that have traditionally been his stock-in-trade. The results are largely very impressive though, with the assembled cast delivering especially good interpretations of such classics as 'Porcelain' (with Jim James), 'Natural Blues' (whose gospel-inspired lead vocals by Gregory Porter and Amythyst Kiah are spellbinding) and his turn-of-the-90s breakthrough hit, 'Go'.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


Moby seems to be getting nostalgic in his old age. Having spent much of the last 30 years releasing a mixture of ambient and downtempo beats, "All Visible Objects" sees the veteran New York producer step back towards the dancefloor. It was of course with house and techno that he made his name, and there are tracks on this album that either recall the ethereal, energy-packed quality of his early rave-era hits ("Go", "Move", "I Feel It", "Hymn" etc.) or musical styles born in the 1990s (trance, progressive house and so on). It's pretty forthright at times, with Moby's inclusion of socio-political messages - the money raised from sales of the album will be donated to a range of charities - adding an extra layer of intensity.

Review: Moby seems to be getting nostalgic in his old age. Having spent much of the last 30 years releasing a mixture of ambient and downtempo beats, "All Visible Objects" sees the veteran New York producer step back towards the dancefloor. It was of course with house and techno that he made his name, and there are tracks on this album that either recall the ethereal, energy-packed quality of his early rave-era hits ("Go", "Move", "I Feel It", "Hymn" etc.) or musical styles born in the 1990s (trance, progressive house and so on). It's pretty forthright at times, with Moby's inclusion of socio-political messages - the money raised from sales of the album will be donated to a range of charities - adding an extra layer of intensity.

Review: Moby seems to be getting nostalgic in his old age. Having spent much of the last 30 years releasing a mixture of ambient and downtempo beats, "All Visible Objects" sees the veteran New York producer step back towards the dancefloor. It was of course with house and techno that he made his name, and there are tracks on this album that either recall the ethereal, energy-packed quality of his early rave-era hits ("Go", "Move", "I Feel It", "Hymn" etc.) or musical styles born in the 1990s (trance, progressive house and so on). It's pretty forthright at times, with Moby's inclusion of socio-political messages - the money raised from sales of the album will be donated to a range of charities - adding an extra layer of intensity.

Review: Moby seems to be getting nostalgic in his old age. Having spent much of the last 30 years releasing a mixture of ambient and downtempo beats, "All Visible Objects" sees the veteran New York producer step back towards the dancefloor. It was of course with house and techno that he made his name, and there are tracks on this album that either recall the ethereal, energy-packed quality of his early rave-era hits ("Go", "Move", "I Feel It", "Hymn" etc.) or musical styles born in the 1990s (trance, progressive house and so on). It's pretty forthright at times, with Moby's inclusion of socio-political messages - the money raised from sales of the album will be donated to a range of charities - adding an extra layer of intensity.

Review: Record Store Day 2017 is sure bringing some interesting surprises. Other than the fact that American pop-tronica legend Moby is getting one of his biggest mainstream hits reworked by some of the key players of the underground, the collaborations are interesting too. To make our our point: German techno legend and the man behind the legendary and 'wompy' "Dooms Night" remix (among other things) Timo Maas teams up with My Favorite Robot alumnus James Teej on a remix of "Porcelain". Keeping up with contemporary trends, they swap 'womp' for some 'wonk' that would make even the Life & Death crew stand up and notice on this brooding journey track, which is optimised for proper dancefloor drama. The well known piano solo and symphony section make their dramatic entrance into the track at just the right time. On the flip Swedish hypnotic techno hero Sebastian Mullaert appears, would you believe: his rendition is equally as worthy an effort which makes for a great revision of this classic but not what you'd usually expect from him either.

Review: ***B-STOCK: Record has very light surface marks/smudges, but otherwise in perfect working order***


Spanish imprint Suara are a force to reckoned with at the moment and continue to bring the heat with his fine collection of remixes by US electronica icon Moby. Brazilian Victor Ruiz kicks off proceedings with his rendition of "Go" and he sure had his work cut our for him, trying his deft hand at such a defining rave classic: it's pretty good and gives a fresh perspective while staying true to the original. Also on the A side we've got French hero Oxia who stays on the same vibe as the original with his deep and emotive rendition of "Why Does My Heart Feel So Bad". On the flip, the m_nus affiliated Julian Juweil delivers an absolutely stomping peak time weapon with his version of "Porcelain" which blows the bloody doors off as always. Reinier Zonneveld's homage to "Natural Blues" goes for some sunny uplifting deep house: Kater Blau style.

Review: Spanish imprint Suara are a force to reckoned with at the moment and continue to bring the heat with his fine collection of remixes by US electronica icon Moby. Brazilian Victor Ruiz kicks off proceedings with his rendition of "Go" and he sure had his work cut our for him, trying his deft hand at such a defining rave classic: it's pretty good and gives a fresh perspective while staying true to the original. Also on the A side we've got French hero Oxia who stays on the same vibe as the original with his deep and emotive rendition of "Why Does My Heart Feel So Bad". On the flip, the m_nus affiliated Julian Juweil delivers an absolutely stomping peak time weapon with his version of "Porcelain" which blows the bloody doors off as always. Reinier Zonneveld's homage to "Natural Blues" goes for some sunny uplifting deep house: Kater Blau style.

Review: Following the release of his superb autobiography a year or two back - not to mention his recent "snub" of new U.S President Donald Trump - Moby has been back in the news. Crucially, his old records are making a return too, albeit in freshly remixed form. This third remix 12" from muscular Swedish techno types Drumcode boasts three more reworks of vintage floor-fillers. On the A-side, Alam Fitzpatrick re-imagines "Porcelain" as a Berlin style tech-house chugger, using Moby's original synths as a spine-tingling breakdown. On the flip, Tiger Stripes lays down two remixes of "Go". The 'White Tail Mix" is a thumping techno stomper with a buzzing breakdown, while the "Black Lodge Mix" is a bumpin' house re-shape.

Review: ***B-STOCK: Record has very light surface marks/smudges, but otherwise in perfect working order***


Moby's back catalogue has been reworked rather a lot lately, with Drumcode following the lead of 2DIY4 in releasing a string of contemporary remixes of the Vegan beat-smith's classic productions. This 12" - the second of four the Swedish imprint is releasing - begins with a storming version of "Why Does My Heart Feel So Bad" by Enrico Sanguilano. It makes good use of the original's famous vocal sample, working it into a banging techno track that looks to the riff-heavy world of trance for inspiration. On the flip, the Manic Brothers offer their interpretation of "Go", combining the original's evocative chords and vocal samples with heavy new techno beats.

Review: Moby's back catalogue has been reworked rather a lot lately, with Drumcode following the lead of 2DIY4 in releasing a string of contemporary remixes of the Vegan beat-smith's classic productions. This 12" - the second of four the Swedish imprint is releasing - begins with a storming version of "Why Does My Heart Feel So Bad" by Enrico Sanguilano. It makes good use of the original's famous vocal sample, working it into a banging techno track that looks to the riff-heavy world of trance for inspiration. On the flip, the Manic Brothers offer their interpretation of "Go", combining the original's evocative chords and vocal samples with heavy new techno beats.

Review: Swedish techno megalith Drumcode has decided to breathe new life into the back catalogue of veteran New York producer Moby. This 12" is the first of four due in coming weeks, all of which boast fresh interpretations of classic tracks. On the A-side, Luca Angelli offers his take on "Porcelain", combining Moby's evocative chord progressions and twinkling pianos with banging new techno drums and stabbing electronics. Dutch DJ Bart Skills handles the B-side, offering a rolling, atmospheric version of "Go" that makes the most of Moby's stretched-out chords (themselves famously sampled from the Twin Peaks soundtrack).

Review: Released as a complement to the somewhat juicy autobiographical account his life up until 1999, Moby has compiled some of the most stirring songs of that era. The full album contains 29 tracks - 15 of his own and 14 iconic tracks of the time. This special limited 10", however, just focuses on four of Moby's personal greats; the Twin Peaks-sampling iconic ravelet "Go" takes the lead before his classic happy hardcore rave blunderbuss "Feeling So Real" shreds up the dance. Flip for two of Play's many matchless success; the trembling pianos and hushed emotion of "Porcelain" and the turn-of-the-century gospel life affirmer "Natural Blues". Read the book, listen to the music, take time to salute a genuinely unique and innovative creator.

Review: Throughout his career, Moby has shown a keen dedication to the ambient cause. He released his first beatless full-length in 1993, and ever since has sporadically released ambient interpretations of his work. Hotel: Ambient remains one of the stronger examples of this continuing trend. First released in 2005, a few months after the so-so Hotel set, the two-disc set is attractive, dreamy and impeccably produced, with each track offering a swirling, cinematic re-build of its' source material. In some ways, the album felt out of step with electronic music trends on its' initial release - the chill-out revolution of the '90s having long since passed - but now feels strangely on-point. It remains an evocative, calming listen.

Review: Like no other music of its era, Moby's oceanic, bluesy electronica has summed up the millennial turn's rootless melancholia, in massive worldwide hits like Porcelain, Natural Blues and Why Does My Heart Feel So Bad? His 1999 album Play sold over ten million copies and converted a whole generation to electronic dance music. With Destroyed, Moby has created a visual analogue to his gorgeous soundworld.

The photographs in this volume record the sizeable portion of his life that is spent shuttling from plane to bus to venue to stage to party to hotel room to oblivion. I hope that somehow in these pictures, Moby writes, I'm able to convey the mundanity of touring, juxtaposed with those moments of the strange and/or sublime. One minute on tour you're by yourself in a soulless airport, the next minute you're flying over the most beautiful landscapes on the planet. One minute on tour you're by yourself in a soulless backstage area, the next minute you're on stage pouring your heart out to 75000 people. Touring is all contrasts and strangeness, and that's what I'm trying to convey in these pictures. The 60 photographs in Moby: Destroyed accordingly veer from crowdedness to isolation, capturing the extremes of a life lived on the road. Also included is Moby's new album of the same name.

Richard Hall, aka Moby, was born in Harlem, New York City, in 1965. Having studied classical guitar, piano and drums as a child, and after stints in various punk bands, he debuted in the early 1990s alongside Orbital, The Prodigy and Aphex Twin, as a representative of a new generation in electronica, emerging from Ambient House and Techno, and foreshadowing Trip Hop. Moby's bestselling 1999 album Play propelled him to worldwide fame; its successor, 18 (2002), earned gold and platinum awards in over 30 countries. Already famous for his veganism, Moby made his authorial debut in March 2010 as a contributor to Gristle: From Factory Farms to Food Safety, a collection of essays on the dangers of eating meat.

Review: "Everyday It's 1989" is a taster for what's to come from Moby in 2008. Only 900 copies pressed! Don't sleep on it.

Review: Discover Moby's hits revisited by the greatest remixers: Mylo, Vitalic, Trentemoller, Benni Benassi, Bob Sinclar and more.

Review: Huge single resung by French actress/singer/model Mylene Farmer, already a top 10 hit in France.

Review: Huge single resung by French actress/singer/model Mylene Farmer, already a top 10 hit in France.

Review: Huge single resung by French actress/singer/model Mylene Farmer, already a top 10 hit in France.

Review: Huge single resung by French actress/singer/model Mylene Farmer, already a top 10 hit in France.

Review: This brand new track is taken from the forthcoming "Go - The Very Best Of" and features Debbie Harry on vocals. 12" includes mixes by Armand Van Helden and Trentemoller.

Review: This brand new track is taken from the forthcoming "Go - The Very Best Of" and features Debbie Harry on vocals. 12" includes mixes by Armand Van Helden and Trentemoller.

Review: This brand new track is taken from the forthcoming "Go - The Very Best Of" and features Debbie Harry on vocals. 12" includes mixes by Armand Van Helden and Trentemoller.