Moby - Last Night

Whenever most audiophiles refer to Moby's crowning career achievement, most will mention his 1999 breakout album, Play. The creativity and originality of Play was a shining moment in the electronica genre, but unfortunately, Moby's creative light has fizzled in his latest offering, Last Night.

With his last album (Hotel) being less than stellar, Moby fans were forced to wait three years to see if he could musically reconcile with his loyal following. However, much to the chagrin of this reviewer, Last Night was a deplorable effort from an artist who was once electronica royalty. When a musician feels inclined to explicitly describe the concept of an album instead of letting the music speak for itself, something is amiss. In the album's liner notes, Moby states, "It's me trying to take 25 years of going out in NYC and condensing it into a 65-minute record. It's also trying to condense an eight-hour night into just over an hour of music." Although many of Moby's listeners haven't experienced a true "clubber's night" out in New York City during it's heyday, Last Night takes you on a flashback through the DJ's hazed eyes.

This album showcases Moby's keen production prowess, though at most times it seems to be brutally uninspired. A "clubber's night" parallels the plot structure followed in a screenplay or a novel. As the exposition of the album unfolds, Moby paints a musical picture of the anticipated good night out in "Ooh Yeah." Starting with a chilled out track to signal the quiet before the storm is an accurate depiction of the beginning of a stereotypical clubgoer's night out. Nevertheless, if Last Night is a purported concept album of a condensed "eight-hour night," Moby must not have had a very thrilling 25 years out in the NYC scene.

Intermittently, there are flashes of classic Moby energy. Grandmaster Caz, responsible for co-writing one of rap's all-time anthems, Rapper's Delight, was recruited to deliver a few bars over a Latin vibe during "I Love to Move In Here," where he repeats that "old school's takin' you back." This is another instance where Moby feels inclined to unambiguously tell the listeners the direction which the album is headed, certainly not a positive quality in writing or music. During the rising action of Last Night, "Alice" is a rare flash of brilliance on an otherwise lackluster album. Grabbing a strong energy from 419 Squad's hip hop vocal delivery, the album catches a bit of groove until the pills kick in during the next track. "Hyenas" is sexy, dreamy track which creates an ecstasy-fueled alternate state of consciousness with French vocals.

As the album reaches the climax of it's "roll," Moby pumps out some tracks which are obvious nods to 90's rave culture. "I'm in Love" sounds as if it was pulled off of a Paul Oakenfold album. Ironically, both artists have strayed to a more apathetic mode of production as they have gotten older. "Disco Lies" comes off as a flamboyantly gay club anthem... Not that there's anything wrong with that. With the falling action taking place during "Degenerates," Last Night has a very abrupt change in pace. If by this time, the album hasn't degenerated enough to lull you to sleep, this song will do the trick.

During the album's denouement, Moby kicks into serious late night NYC chillout afterparty mode as the pills start to wear off and the night's energy comes to an end. It seems unusual that Moby dedicates such a large portion of the album to the final moments of the night, as nearly a quarter of the album slips into a musical coma. Closing out the album with the title track, the diva swoons, "If this be my last night on Earth, let me remember this for all that it's worth." If this is Moby's last album on Earth, hopefully he will not be remembered by it's disheartening worth, for Last Night is truly forgettable.

- Monty "Moe Train" Wiradilaga

(More reviews at www.moetrainstracks.com)