MOBY 黑胶唱片和CD

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: 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: 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.