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MagnetApr 17, 2018It's not as fun as [1999's Play], but the broad outlines comes from a similar Play-book, with Moby talk/sung vocals amid coos and hums of female singers. ... It's an inviting album but it's bleak. [No. 150, p.56]
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Mar 14, 2018It's a tasteful and mature evolution for one of the genre's key names, and long-time fans will have no problem assimilating this well-crafted, down-tempo album into Moby's already eclectic body of work.
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Mar 14, 2018It is the best thing Moby has done in a long time.
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Q MagazineMar 13, 2018This is the sound of someone surveying a world turning to ashes. In other words, anyone looking for upbeat club songs to soundtrack adverts may be disappointed. [May 2018, p.111]
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Mar 6, 2018With this widescreen delivery Moby has made an album at once more profound and more substantial than anything we have heard from him in a long time, and certainly more personally meaningful than Play.
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Mar 5, 2018This is one of Moby’s most cohesive efforts, so if you don’t dig this side of his musical output or look for a wild diversity, you’d be a bit disappointed. Other than this, the record flows surprisingly nice, unveiling a lot of strong material.
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Mar 1, 2018Despite the overwhelming melancholy that drenches the album, it remains a gorgeous collection that is mostly indebted to trip-hop and his pre-millennial output, with a few nods to the quieter moments on 2013's Innocents.
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Mar 1, 2018Despite its relentlessly downbeat content, then, Moby’s music is just too satisfying to be depressing.
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Mar 1, 2018Oddly enough, the early '90s feel which permeates the record, sounds fresh as a daisy in 2018. It would have been easy for Moby to get all punk rock and bombastic about the subject matter, but instead we get lush, mid-tempo trip hop. Kudos, sir.
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Mar 2, 2018[A] sympathetic examination of the world's wounds.
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Mar 2, 2018He’s turning them [conflicting emotions] into a rapturous piece of art like this instead of venting his spleen in the echo chamber of social media is worthy of praise and attention. Just do yourself the favor of taking this album in moderation. A little goes a long way.
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Mar 2, 2018Passionate, eccentric and unafraid of speaking out or baring his ever-beleaguered soul, Moby remains a welcome presence in modern times and certainly does himself no harm with this highly personal statement.
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Mar 1, 2018Too often--as on ‘The Last Of Goodbyes’, with its limp rap and doleful Burialisms--it sounds like Moby pastiching his old self. On the flip side, ‘Welcome To Hard Times’, a sunny Balearic soul shuffle, is lovely, and the ghostly piano haunting ‘The Tired And The Hurt’ contains the muscle memory of his masterpiece ‘Porcelain’, but they’re isolated sparkles.
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Mar 1, 2018Moby returns to form, honing in on the sounds that helped him rise through the ranks of the New York City club scene. Weaved in between the 12 tracks is a pastiche of trip hop, soul, electronics and gospel.
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Mar 12, 2018The impulse to luxuriate in despair, to find the lushness in it, rather than shut it down and shove it away. He does that well on Everything Was Beautiful, but he’s already done it better.
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Mar 6, 2018Despite these fine individual performances, Everything Was Beautiful, And Nothing Hurt overall is an interminable slog.
User score distribution:
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Positive: 31 out of 42
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Mixed: 3 out of 42
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Negative: 8 out of 42
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Mar 9, 2018
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Apr 6, 2018Moby surpassed himself with this album, the production envelops you in a magical atmosphere, manages to capture a unique essence.
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Mar 10, 2018