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Oct 1, 2013The results are expectedly familiar, fantastic and welcome.
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Oct 7, 2013From its funereal ballads to its hook-infused jams, Innocents is uniformly satisfying and catchy as hell, suggesting a fascinating possibility--if this is the album that he has waited his entire life to make, then at the grizzled age of forty-seven, Moby is only now entering his prime.
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Oct 1, 2013There's a hypnotic purity to Innocents.
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UncutSep 25, 2013[Moby] draws on a long list of collaborators to bring character and depth to his distinct brand of ambient techno, with frequently haunting results. [Oct 2013, p.71]
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Oct 4, 2013The collaborations are interesting, and at times fascinating, but there is little doubt that the destiny of most tracks here will be, once again, as sonic accompaniments to visual productions.
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Oct 3, 2013There’s a huge range of styles on display, but Innocents remains a remarkably cohesive and creative record, thanks both to Moby’s instrumentation and to the album’s conceptual feel.
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Sep 30, 2013Mark Lanegan's deep, weathered voice is relatively (rightfully) unornamented and dissipates amid soft drones after "Here come the lonely night…can't escape my mind." It helps make Innocents Moby's most powerful work in several years.
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Sep 25, 2013Closing track The Dogs (featuring Moby himself on vocals) does stretch things out somewhat, it doesn’t spoil the notion that Innocents, while maybe not the creative renaissaince hinted at, is Moby’s best album for some time.
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Nov 4, 2013Majestically sad (“Almost Home,” “Saints”), soulfully sad (“A Case For Shame”), atmospherically sad (“Going Wrong”), trip hop sad (“The Last Day,” “Tell Me”), Northern soul sad (“Don’t Love Me”) are all interesting but often too subtle variations that almost make you want to force feed him Zoloft at times.
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Oct 24, 2013A richly listenable collection.
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Oct 7, 2013It's still a Moby album--patient tempos, frosted with strings and comfortably melancholy melodies. But working with his first outside producer, Mark "Spike" Stent (Gaga, Beyoncé, Massive Attack), has made him knuckle down; the writing is sharper than on 2009's sketchy Wait for Me or 2011's overblown Destroyed.
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Oct 3, 2013It’s a Moby album for sure. No gimmicks or schlocky attempts at something trendy like dub-step, and no curveballs to polarize fans.
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Sep 27, 2013Innocents contains some great vocal performances and catchy hooks, and despite the tent ropes being held down by the weight of mediocrity, it'll please many Play-era Moby fans and radio listeners as ideal background music for patio conversations about how their stocks are performing.
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MojoSep 25, 2013Album number 11 twitches with the same darkly neurotic pop as 2009's Destroyed. [Oct 2013, p.98]
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Oct 21, 2013Moby has created an album full of saccharine strings, endless loops and narcoleptic synths. The mind boggles.
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Q MagazineOct 11, 2013Most of the musical elements remain over-familiar-swelling strings, understated beats, the odd crackly blues sample. [Nov 2013, p.111]
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Oct 3, 2013It still sounds like so many other Moby albums. And by that, I mean the synth pad presets softly juggle the usual chords around and around while samples get the hell sampled out of them.
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Under The RadarSep 25, 2013For the most parts, it drags. [Aug-Sep 2013, p.92]
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Sep 25, 2013Moby’s attempts to paper over a demonstrable lack of songwriting inspiration with grand string arrangements and a sequence of guest collaborators only emphasises the tedium here.
User score distribution:
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Positive: 26 out of 31
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Mixed: 1 out of 31
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Negative: 4 out of 31
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Oct 2, 2013
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Oct 1, 2013
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Sep 30, 2013