Moby
Last Night
Mute; 2008
For whatever reason, dance music (techno, electronica, and associated flavors) is too often tagged as both overly derivative and stylistically sporadic; thus, it has perpetually fallen just outside of the musical mainstream. And this sucks for a guy like Moby, everyone’s erstwhile and prolific Jesus-lovin’ vegan, who seems to serve as the public whipping boy for all things wrong with techno. The underground decries his existence because he has proven to be quite successful (it was difficult to escape the musical clutches of Play and 18 in the early part of this decade), and the mainstream mocks him because, well, he makes highly accessible, get-your-ass-on-the-dancefloor dance tracks. It really isn’t his fault that he’s good at what he does and that people like his music; but for some reason, techno is deemed to belong only in clubs and only enjoyed by people who don’t like “real†music. It’s typecasting of the worst kind and it only serves to perpetuate the ignorance surrounding dance music.
So, what has Moby done in spite of all of this confusion and misdirected vitriol? He might simply have made the best music in his life. Last Night is a concept album of the best possible kind, because it allows the music to direct where the concept might next be heading. At its roots, the record is conceived as a musical accompaniment to a journey taken by Moby and his friends during a great night-on-the-town amidst the clubs of New York City. The tracks resound with classic elements native to all good house music: ‘80s rhythms, heavy synth lines, upbeat piano chords, old-and-new-school hip-hop beats, and sultry female vocalists.
From beginning to end, the music sets the mood, drives the action, and propels the activities at hand. The music progresses through an intricate series of peaks and valleys, one that following the energy of the entire experience: the build-up to arrival, the heat of the dancefloor, the conversations between friends as they travel between clubs, the sultry times of the wee hours of the early morning, and the chill-down mode before everyone returns home for some much-needed rest. “Everyday It’s 1989,†“I’m In Love,†and “The Stars†easily get the blood flowing, and while “Ooh Yeah,†“Hyenas,†and “Degenerates†exude a much-needed calm, along comes “257.Zero,†“Live For Tomorrow,†and “Disco Lies†to even out the entire mix. Last Night simply resounds with enough big beats and breaks set alongside soulful, trance-inducing cuts and patterns to engage the listener at all levels. Moby has accomplished exactly what he hoped was possible with this record: craft a beautiful, smart, and alluring dance record that allows the listener to imagine that he or she is joining Moby and his compatriots out for a great night of fun.
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Digging Through The Wall
Visual Narratives on the Journey Toward Healing
April 5th through May 25th, 2008
One of my dear friends will be displaying her pottery at an art exhibition at Xnihilo Gallery inside 2115 Taft. The show features work she has created in response to her struggle with Multiple Sclerosis.
From the press release: “Xnihilo Gallery is excited to present the artwork of Andrea Rosselle and her exhibition entitled “Digging Through The Wall.†The show will be comprised of three interlocking series: a collection of biomorphic wall sculptures that serve as the core of the show; a set of acrylic and watercolor paintings called “Corporeal Salt;†and an installation labeled “As Comfortable As I Can Be.” When asked about the conceptual basis for her work, Ms. Rosselle responded by stating, “It stems from the universal desire to reconcile disease and illness in the framework of a benevolent God. My work specifically deals with the relationship of humanity and disease; emblematically represented by figurative forms and organic imagery, many at the cellular level. All things of a physical nature are inherently in need of redemption; my work examines that need as it relates to our material existence.â€
Ms. Rosselle works with low-fire ceramics and mixed media, possesses a BFA from the New York State of College of Ceramics at Alfred University, an MA from Central Michigan University, and is currently enrolled in an MFA program at Azusa Pacific University. The Artist Reception and Exhibition Opening will be April 5th, 2008 from 7pm to 10pm at Xnihilo Gallery at 2115 Taft Street, Houston, TX 77006. Ms. Rosselle will be giving a lecture at 8:30pm that evening where she will discuss the techniques used to create her work, as well as speak on the inspiration behind the pieces in “Digging Through The Wall.â€
diggingthroughthewall.jpg
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Michael Stipe, frontman of the seminal rock band R.E.M., discusses the band’s new album Accelerate (releasing to the world on April 1st, 2008) and other fun topics with Pitchfork. Here’s my favorite portion:
“Stipe: It’s a post-apocalyptic future, but it’s not frightening. It’s not scary. I think a lot of people probably inhabit that same universe. I look at other writers or filmmakers particularly– a handful of photographers, but a lot of filmmakers who do science fiction work or what have you– seem to inhabit that same dream world, so I don’t feel that alone. I’ve talked to a few people in my life who’ve said they’ve had similar experiences. It’s going back to when I was a child that all my dreams are set in this destroyed future, but I’m fortunate that it’s not a frightening place or a scary place. It just is what it is. Does that make sense?
Pitchfork: Perfect.”
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Check out my review of Were It Not For You, the sophomore album from Baumer. While the album was rather blah, I was rather pleased with the chief metaphor I used in composing this piece. Let me know what you think.
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