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Moby - Wait For Me
| Musicomh |
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Ten years ago Moby's slowburning Play album set the charts alight, going on to sell 10 million copies worldwide. Impressive stuff but, as every single track was licensed to TV ads and plastered all over programmes from Match Of The Day to Location, Location, Location, it became an album that many people owned, but nobody needed to listen to. Like Fatboy Slim's You've Come A Long Way Baby before it, the ubiquity of the music eventually nullified its original power and impact. But that was a decade and several albums ago, and 2008's Last Night was firmly aimed at the dancefloor, hinting at Moby's pre-Play techno past....full text |
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| Urb |
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Before listening to Wait For Me, take everything you know about Moby as an electronica superstar and completely disregard it. Following a brief detour back to club music with 2008's Last Night, this is arguably Moby's most organic album recorded entirely his "bedroom studio" in his Lower East Side of Manhattan. Of course, Moby would be pained to remind you that his first decade's work, including the multi-platinum Play, was recorded at home as well. That dichotomy of pop pariah perception and homespun reality is exactly what Moby is now trying to overcome, and Wait For Me, with its dark and occasionally obstinate presentation is the sound of an artist insisting that he's not the character he played on TV a full decade ago. Taking inspiration from a speech by director David Lynch (who created the album's first video, "Shot in the Back of the Head") about the commercialization of modern artistic creativity, Moby decided to compose a much more introspective, "mournful" collection to embodied a greater personal devotion to his work. The result is is sullen and foreboding, ominous and fragile. While it may be Moby's darkest record yet, Wait For Me should, at very least, serve as an optimistic sign that Moby's independent creative juices are still flowing....full text |
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| Allmusic |
| morose set of elegantly bleary material, quite a shift from the hedonistic club tracks of Last Night. Dominated by instrumentals, "Shot in the Back of the Head" is the most evocative of the bunch, seemingly pulled from an unreleased David Lynch film scored by the Afghan Whigs circa Gentlemen -- a lament from a dustbowl, full of mournful slide guitar and dewy electric piano. Other than "Mistake" -- a glum neo-post-punk rave-up that, despite its cathartic release, remains downcast -- Moby leaves the vocals to a series of females (neighborhood chums, apparently) who each contribute to one song. The smoky 3-a.m. gospel whispers from throwback soul singer Leela James on "Walk with Me" steal the show....full text |
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