Innocents is in line with Wait for Me (2009) and Destroyed (2011), Moby's most intimate and isolated albums. Following a move from New York to Los Angeles, he recorded almost all the instrumentation by himself. He made a considerable change by seeking vocals from an extended cast of relatively known singers - including Mark Lanegan, the Flaming Lips' Wayne Coyne, Cold Specks, Skylar Grey, and Damien Jurado - rather than a handful of locals, and he had Mark "Spike" Stent mix it all. It's another downcast, occasionally grand-sounding set suited for solitary home listening. Not much moves the feet. "A Long Time" has an insistent, kind of dejected chug, while "Saints" sounds like Moby trying to recall how Massive Attack's "Unfinished Sympathy" goes…

Co-credited to the Void Pacific Choir - a name derived from a D.H. Lawrence quote - These Systems Are Failing is only slightly more collaborative than Moby's solitary ambient work, and its effect is the opposite of that. Fully energized and tightly concentrated, the producer's first studio album in three years is a concise and infrequently relenting set of songs that rail against those who have caused emotional and planetary harm. Moby revisits his punk and post-punk roots with a needling attack. Battering programmed drums, searing synthesizers, and torrents of rhythm guitar serve as prodding backdrops for his belting, often multi-tracked vocals. (The actual choir, a seven-member group including Moby, appears on two songs)…

Everything Is Wrong is the third studio album by American electronica musician Moby, released on March 14, 1995 by record labels Mute in the United Kingdom and Elektra in the United States. It was released with a limited-edition bonus disc of ambient music titled Underwater. Everything Is Wrong was released to positive reviews from music critics. Spin's Barry Walters praised its diverse range of musical styles compared to most other "one-dimensional" electronic albums and dubbed it "a hugely passionate album held together by its intensity". In The Village Voice, Robert Christgau remarked: "Where in concert he subsumes rockist guitar and classical pretensions in grand, joyous rhythmic release, on album his distant dreams remain tangents." Everything Is Wrong was voted the third best album of 1995 in The Village Voice's year-end Pazz & Jop critics' poll.

As MP3s and the constant rise of the DVD bring into question how relevant traditional albums are, Moby digitizes his loose ends and uses new formats to provide more than anyone can possibly ingest in one sitting. The CD in this set features Moby's leftovers from the 18 album, and they are pretty much what you would expect with the quality notched up a little. A bit less polished than his album tracks, they'll generally remind you of some other Moby tunes, only in demo form. "Soul to Love" sounds just like a more sedate "Go" and "String Electro" sounds like most of Play, only they're both pleasantly naïve and much less ambitious…

Hotel rarely shows, in any shape or form, traceable inspiration from the new wave and post-punk era Moby advertised as being in full effect. More surprising is that apart from the lovely ambient instrumentals that open and close it, the album is all valley and no peaks, suggesting that the shelving of his sampling device was the worst creative move he could've made. The first half contains simple - as in basic and/or emaciated, so we're talking poor - modern rock songs that tend to be anthemic and soul-searching in nature. Lead single "Beautiful" is one exception, a tongue-in-cheek thing Moby has imagined being sung by vacant celebrity couples…

Moby's most unified and understated album, and all the better for it, Wait for Me is a morose set of elegantly bleary material, quite a shift from the hedonistic club tracks of Last Night. Dominated by instrumentals, "Shot in the Back of the Head" is the most evocative of the bunch, seemingly pulled from an unreleased David Lynch film scored by the Afghan Whigs circa Gentlemen - a lament from a dustbowl, full of mournful slide guitar and dewy electric piano. Other than "Mistake" - a glum neo-post-punk rave-up that, despite its cathartic release, remains downcast - Moby leaves the vocals to a series of women (neighborhood chums, apparently) who each contribute to one song. The smoky 3-a.m. gospel whispers from throwback soul singer Leela James on "Walk with Me" steal the show.

On Last Night, Moby is as blissfully out of touch with modern club music as he is current. As he explains (of course) in the album's liner notes, he has been in the thick of New York City club culture since the early '80s, and he takes the opportunity here to pay tribute to a number of dance music strains that have fallen in and out of fashion - in a couple cases, they've recently fallen back into fashion - including some angles he hasn't taken in well over a decade…

Go: The Very Best of Moby is not the career-spanning compilation implied by its title. Instead, it's based around 1999's Play, 2002's 18, and 2005's Hotel. With the exception of Everything Is Wrong's ambient epic "God Moving Over the Face of the Waters," Anders Trentemøller's fresh mix of "Go," and a rough-sounding live version of "Feeling So Real," nothing here references Moby's output prior to Play. The one new track, "New York, New York," is a fun Giorgio Moroder-inspired throwaway featuring Debbie Harry.