MOBY Vinilo y CD

Review: Originally released in 1993, this vivid snapshot of Moby's first steps into the electronic world is now faithfully reissued for a new generation, capturing the raw energy and creativity of his formative rave years in the early 90s underground scene. The collection notably includes the original version of 'Go', the Twin Peaks-sampling track that would later become a global anthem in remixed form. 'Voodoo Child' is as an undeniable rave classic, pulsing with an infectious drive that still commands dancefloors. Deep cuts like 'Drug Fits the Face' and the ambient 'Mobility' reveal Moby's range i from techno's sweaty peaks to its more introspective valleys. Tracks such as 'Permanent Green', 'Barracuda' and 'UHF3' dive deeper into darker, edgier sounds that remain highly influential in today's techno evolution. The production feels raw yet full of vision, reflecting a time when rave music was still unpolished and thrillingly experimental. Early Underground isn't just a nostalgia trip; it's a crucial document of electronic history. For anyone curious about Moby's roots or the gritty, euphoric spirit of early 90s rave culture, there's no better place to start.

Review: Moby's latest album, Always Centered at Night, is another excellent album that explores the ethereal landscapes of late 70s and early 80s New York, the artist drawing inspiration from his musical roots. Collaborating with a diverse array of vocalists, Moby crafts a strong set of tender yet defiant songs that defy commercial norms in favor of raw, personal expression. The album pulsates with emotional depth and atmospheric richness, pulling you into a world where vulnerability reigns supreme. From the breathless daydream of 'On Air,' featuring serpentwithfeet's soul-stirring vocals, to the haunting melancholy of 'Dark Days,' adorned with Lady Blackbird's jazzy soul, each track offers a glimpse into Moby's creative vision. What sets Always Centered at Night apart is its commitment to authenticity and artistic integrity. Moby encourages his collaborators to embrace their individuality, resulting in a collection of songs that defy conventions and resonate on a profound level. Whether it's the stirring rendition of Cream's 'We're Going Wrong' with Brie O'Banion or the powerful verses of 'Where Is Your Pride?' featuring Benjamin Zephaniah, each track leaves an indelible impression. Always Centered at Night is another great example at Moby's unyielding spirit of creative expression.

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: 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: 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 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: 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.