Moby IS Cutting Edge

Moby's new album, Last Night, has completely crept up on me. It is fantastic. If there is one way to describe the new direction Moby has taken, it has to be cutting-edge. Each cut is simultaneously nostalgic and futuristic, implying this musical trend (early nineties club pop and rap) may catch on universally, despite Moby being universally ignored for his resurfacing this short-lived era of music. The best tracks are "Disco Lies" and "I Love To Move In Here," both drastically different in tone but similar in the euphoric high they create. "Disco Lies," a thumping, persistent club track with a brilliantly original hook (and just the right amount of corny humor) shines because, despite the subtleties--which could well turn off casual listeners--if it plays in a Parisian discoteque no one will bat an eye.

"I Love To Move In Here" is brilliantly composed. Small blips, an almost-incomprehensible vocal track, and the muted bass line leaves this cut both a lounge and club track. One could just as easily eat sushi or take the dance floor to "Move." This is also the more commercial of the two tracks I've mentioned.

Anyways, check out Moby's latest. It is a strong metropolitan soundtrack, easily worth a purchase (or at least a few tracks on iTunes). In any case, it's much better than Hotel, which is messy and unfocused in comparison.

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