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May 15, 2020Like 2018's Everything Was Beautiful, and Nothing Hurt, All Visible Objects is a highlight in Moby's late-era catalog, a revitalization that serves both his passionately held beliefs and his core sound.
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May 15, 2020Overall, All Visible Objects acts as a love letter to the early ‘90s techno/trance/rave scene, albeit in a pop-instilled way. Moby pays his respects to the respective era, blending various sounds from his discography into what plays like a smoothly sequenced, nostalgia party mixtape.
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May 15, 2020All Visible Objects is a welcome addition and one that offers a little bit of everything to everyone.
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May 18, 2020It may not be his most cohesive collection but when it comes to concocting sad bangers artfully combining bittersweet emotion with mesmeric dance grooves, Moby is too good to dismiss.
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May 18, 2020When it hits the spot, Moby’s writing is still subtly powerful, but when it doesn’t a curious and lasting emptiness remains. This may accurately reflect the imbalances of the world, but as a musical work it ultimately feels off-kilter.
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May 21, 2020These songs tend towards fuzzy sentiments—the words “love,” “life,” “light,” and “feel” are staples. Many of the musical ideas—tinkling pianos, plasticky strings and emotion-squeezing chord progression—have been part of Moby’s toolkit since the word “Go.”
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Rolling StoneJun 3, 2020There are toe-tapping moments, but the best song is a Roxy Music cover. [Jun 2020, p.71]
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May 15, 2020The overriding impression of both modes is nostalgia, not least for the uplifting, utopian properties of dance music. Moby finds some traction on the first count – there is vitality here, if not novelty – but the forays into politics aren’t so convincing.