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David Watkins

Moby
Last Night
(Mute)
The guru of tasteful anodyne melancholia returns with a safe yet strong offering that is his best work since 1999's Play.
Moby's self-imposed mission in creating Last Night was to distil a typically eclectic, varied and hedonistic night out in New York City down to a 65-minute album. He has mostly succeeded, as long as that night out in New York City was somewhere between 1989 and 1991.
Last Night bursts with the kind of euphoric, piano-driven rave riffs, hyperactive strings and snapping beats that  Moby has been mining  for nearly 20 years. Tracks such as the self-explanatory Every Day It's 1989 practically wave glow-sticks, gurning idiotically at the listener.
Moby's decision to return to his old school dance floor roots is a good move. His previous release, 2005's Hotel, was an attempt to distance himself from the things he excels at. For all of its admirable sentiment, it was burdened by its creator's underwhelming vocals.
The cool, monolithic electro that made him a favourite with advertising executives rubs shoulders with the sense of abandon that characterised his earlier work, yet everything remains tastefully shoehorned into familiar parameters. Even when descending into a hugely camp Gloria Gaynor moment on Live for Tomorrow, Moby manages to just keep the train on the tracks.
With the likes of Degenerates, I Love to move in Here (featuring Rappers' Delight collaborator MC Grandmaster Caz) and the sparkling opener Oooh Yeah, there's yet further proof that Moby's unmistakable brand of electro is as potent and recognisable as the Rolling Stone's flavour of rock.



Moby