MOBY 黑胶唱片和CD

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: 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: 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 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: 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: 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.