Acclaimed electronic musician, producer and activist Moby shares all-new remixes with 58-track album, always centered at night remixes out now alongside "wild flame (dark1 remix)" featuring Danaé. The whopping LP comes following Quiet Home DJ Mix and a sold out September 2024 EU/UK tour celebrating 25 years of Play.

Like so much of Moby's earliest work, this isn't so much an album as a compilation via his original label, Instinct. Ambient influences in techno were all the rage in 1993 in terms of press and coverage (though jungle would swiftly eclipse both it and the progressive house genre), so it's no surprise Instinct wanted some of that action, right down to the says-it-all title. Motivations aside, Ambient is an enjoyable collection of experiments; if Aphex Twin's monumental Selected Ambient Works releases eclipse it in terms of both quality and sheer inventiveness, Moby's own efforts in the field are often quite pleasing. Those familiar with such later efforts as "God Moving Over the Face of the Waters" and "The Rain Falls and rhe Sky Shudders" can find their partial roots here, though the compositions are generally more formal and less-immediately noteworthy than what came next.

Today Acclaimed U.S electronic musician, producer and activist Moby shares a self-directed video for sultry track “sweet moon” ft. Choklate, plus Jung remix. He has also shared news of a 3rd street DJ Mix, due out August 15, 2024, that will feature new and unreleased remixes of music from his new album, always centered at night, mixed together by Moby.

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.

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.) All the chanted choruses and seething verses over riotous rhythms evoke an apocalyptic glam-punk protest of sorts…

Last Night (2008) was Moby’s triumphant return to club music after dabbling in guitar-driven rock and moody instrumentals. The album channeled the decadent spirit of New York’s proto-house and garage, and represented something of a return to Moby’s pre-rave roots as an active participant in the city’s club scene. Last Night Remixed brings together electronica’s finest producers for brand new remixes of songs off Last Night. Featuring energetic mixes from upstarts such as Holy Ghost! and veteran producers General Midi, Remixed is a lively excursion through cutting edge dance with a nostalgic heart.

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. The sturdiest, most appealing tracks tend to be where Moby breaks out with some highly energized combination of rollicking pianos, stabbing keyboards, and random divas, mixing and matching rave, Hi-NRG, and disco: "Everyday It's 1989," "Stars," and "Disco Lies" (featuring a vocalist who is nearly a dead ringer for a young Taylor Dayne) would've had no place on any of the last five Moby albums…

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. "Landing" (with guest vocals by Azure Ray) and "Stay" make for moody bookends that sound the most complete and make for just enough of the poptacular Moby to hold you over till the next album.

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. No matter how affable, vegan, liberal, bespectacled, or vertically challenged he is, the real irony is that a millionaire and former love interest of Natalie Portman has made a song of this kind (see also: Aerosmith's "Eat the Rich")…

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 his new album Always Centered at Night, Moby has once again conjured into reality a collection of heartachingly beautiful, tender-yet-defiant songs, made in collaboration with uniquely talented, soulfully aware, other-worldly vocalists. All the songs are love letters to the unrestricted and enchanting music scene of late ‘70s, early ‘80s New York that shaped Moby as a musician. The featured vocalists were given the same assignment: “Please don’t write anything commercial. Let it be weird. Let it be personal. It doesn’t have to make sense.”

"Extreme Ways" is a song by American electronica musician Moby. It was released as the second single from his sixth studio album 18 on June 24, 2002. The track is notably used at the conclusion of all five of the Bourne films. New versions of the song were each recorded for the third, fourth, and fifth films of the series: The Bourne Ultimatum, The Bourne Legacy, and Jason Bourne respectively. The song was also significantly featured in multiple seasons of the Korean game show, The Genius. The song was used on Fox animated series The Simpsons episode "Bart vs. Itchy & Scratchy".

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…