Music’s bald-headed pacifist is back. Although Moby’s last album “Play” was probably 1999’s best album, but it was also one of the worst years for music in a decade. Moby, once considered an underground electronic wizard, unapologetically decided to license most of the tracks on “Play” to every possible corporate entity in America and Europe; the result of this was success on a global scale. Moby became as recognized as the Nike logo and the album went platinum 10-times.
The question has to be asked, how does one follow up a 10-million selling breakthrough album? The answer is simple; with a sequel. Moby decides to play it safe and stick with his hit-proven formula. It’s a welcome return to his newer fans, and a possible disappointment to his older fans, and Electronica purists who have grown accustomed to Moby’s music evolution, which he proudly displayed on his previous albums.
This brings us to “18.” So what is Moby’s fifth album made of? You guessed it, 18 tracks that blend blues and soul, with ambient string arrangements and electronic drum loops. In short, it’s very hard to resist.
“18” starts off with the first single release “We Are Made of Stars,” an excellent and extremely catchy take on David Bowie’s “Heroes,” which in all honesty is probably one of Moby’s best compositions. It displays most of his talents, his ear for a great melody, his ability at arranging a song, and the simplicity that makes it accessible to just about anybody who is not tone-deaf.
“18” also has plenty of guest appearances, the best of which is Sinead O’Connor, whose vocals on “Harbor” are sublime, comforting and haunting. They’re pleasure to listen to. Less interesting is a contribution of MC Lyte and Angie Stone on “Jam for the Ladies.” Moby’s first choice for this track was Madonna, but Lyte and Stone do a good job on this R&B number, which is sure to be a favorite among those “Girl-Power” relics.
Other notable mentions on “18” are “The Great Escape,” a minimalist mix of strings and striking harmonies courtesy of Azure Ray. And there’s the somber title track “18.” Moby borders on classical music with the title piece. Don’t be surprised if the “Bald one” comes up with a classical album one day. He is more than qualified to do so. “In My Heart” takes another page from the “Play-book.”
Overall “18” is a cool piece of work, and although Moby decided not to take any risks this time around “18” is still made with a lot of heart and soul.
Whether the laws of diminishing returns will apply to this record depends on how well it is accepted in the market, but this album should still be considered a welcome return of popular music’s most reluctant poster boy.
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