Moby – All Visible Objects (Album Review)

moby slide - Moby - All Visible Objects (Album Review)

Moby – All Visible Objects (Album Review)

moby promo - Moby - All Visible Objects (Album Review)Songs like “Extreme Ways” and “Porcelain” ruled the 2000s Electronica and Pop music genres. Although, that comes as no surprise, because their creator, Moby, had been at it since the early ’90s. Born in New York on September 11th, 1965 as Richard Melville Hall, his childhood nickname Moby would become his moniker as he descended into a life of music.

Releasing his self-titled album in 1992, quickly following it up in 1993 with Ambient, these releases laid the foundation for what his music was all about – hypnotic and out of this world stylistically. Moby would go on to release many more albums ranging from remixes to compilations with 1999’s Play going on to be his best-selling album. Now he returns with his newest album All Visible Objects on Friday, May 15th, 2020 via Mute Records.

For those unaware, over the last ten years, Moby has been donating 100% of the profits from most of his work to animal and human rights charities. This being his seventeenth overall studio album, this time is no different as proceeds will be handed-off to various charities. Eleven songs in total, it kicks off with “Morningside” – a bright, popping, multilayered masterpiece. A Tribal drum beat incites a fever for the track with the soaring vocals of Apollo Jane. From here, it evolves with swirling, vivid synth takes over before ending with a quiet hush.

Moving on, “My Only Love” is a prepossessing testament filled with rapid, rain-like keys, and fluttering synth. The breathy, angelic singing of Mindy Jones flows with excellence and weaves a compelling tale within the song. In enough words, it is airy and fantastical, with quiet intensity it doesn’t shy away from. This is while “Refuge” opens with a bespoke monologue before heading into the slamming beat that comprises the song. A repetitive statement of ‘silence has no meaning’ spoken by Linton Kwesi Johnson plays throughout adding a haunting quality.

Following up is “One Last Time,” which carries with it a thumping, clattering percussion. Making an appearance again, the soprano vocalizations of Apollo Jane are accompanied by the cyber like murmurs of Moby himself. Using a multilayered effects, Moby’s voice seem to create a symphony behind the duo. This is before “Rise Up In Love,” a rather apt title for its powerful expression. Then, “Forever” comes in as a strange intertwine of quiet hums and bouncing synth. Growing with high tones and conductive energy, it still easily falls behind more intriguing songs on the album. That includes “Separation,” a song entirely made up of the graceful stylings of piano and the whirring of mid tone synth. Furthermore, the album’s finale, “All Visible Objects,” is fit with emotive piano before interweaving a pounding bass and electric synth, signing off in delightful fashion.

All Visible Objects is an album that will make you fall in love over and over again. Every synth is enrapturing and crafted in such a way that builds a whole new world around you. The vocals can take on a different meaning and placement with each usage they have. In essence, finding the words to describe the experience that comes from Moby is useless. Falling down the rabbit hole is half the fun, and that is why Cryptic Rock gives All Visible Objects 5 out of 5 stars. 

moby - Moby - All Visible Objects (Album Review)

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Dara Patterson
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