Destroyed
Moby's latest is a soundtrack for late-night cityscapes that plays like a facile representation of these environs instead of an exploration of them.
Even more than the gospel and blues vocals it sampled or the hundreds of advertisements its songs ended up in, what stood out about Moby’s breakthrough 1999 album Play was how settled-in it sounded. Moby’s earlier albums for Elektra leaped manically between styles, but while Play ranged wide, it also signaled a…
My first encounter with Moby, as I imagine was the case for many people, was in 1999 when “Southside” from his album Play…
Inspired by the isolation that comes from "being the only person awake (or alive) in an empty city" in the middle of the night, Destroyed is not too much of a departure from Wait for Me, Moby’s previous studio album.
Moby was essential once. Then he became overblown. Now he just sounds like a weedier, wheezier, vocoded Pet Shop Boy.
Moby's ninth album suggests he's still got some fuel left in the tank, writes <strong>Paul Mardles</strong>
I literally fell asleep (possibly in self-defense) on my first listen by the time it reached the fifth track.
There's little cheer in Moby's reflections on life on tour, finds <strong>Caroline Sullivan</strong>
Moby - Destroyed review: Broken down melodic electronic music for insomniacs and empty cities at 2am