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.

Moby’s second album on Deutsche Grammophon following 2021’s Reprise. Digging further into his catalog, Moby has reimagined fifteen of some if his most iconic tracks for his new album, Resound NYC. The album features tracks that he wrote between 1994-2010 while living in New York City, and the new versions feature a vibrant, brass-heavy sound.

Electronica meets orchestral in a new album of house, techno and contemporary classical remixes: Reprise Remixes reimagines tracks of Moby’s hit album and Deutsche Grammophon debut Reprise (released May 2021). Featuring artists such as Bambounou, Planningtorock, Topic, Peter Gregson, Christian Löffler as well as Moby himself.

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)…

"Everytime You Touch Me" is a song by American electronica musician Moby. It was released as the third single from his third studio album, Everything Is Wrong on February 13, 1995. Guest vocals on the song are performed by Rozz Morehead and Kochie Banton.

"Into the Blue" is a song by American electronica musician Moby, released as the fourth single from his third studio album, Everything Is Wrong on June 19, 1995. American musician Mimi Goese co-wrote the song with Moby and provided the vocals. The song is slow and melancholy, a stark contrast to the first four singles from the album. The single peaked at number 34 on the UK Singles Chart. In one of the remixes, the "Spiritual Remix", Joy Division's song "Atmosphere" is prominently sampled and sequenced.

"Honey" is a song by American electronic musician Moby. It was released as the lead single from his fifth studio album Play on August 24, 1998. The song samples the 1960 recording "Sometimes" by American blues singer Bessie Jones. Moby first heard "Sometimes" on a box set collection of folk music compiled by Alan Lomax, and subsequently composed "Honey" around vocal samples from the Jones song. "Honey" was well received by music critics, many of whom cited it as a highlight of Play in reviews of the album. Upon release as a single, "Honey" charted in several countries in Europe, despite receiving little airplay on European radio.

"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".

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.

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.

Following a notorious flirtation with alternative rock, Moby returned to the electronic dance mainstream on the 1997 album I Like to Score. With 1999's Play, he made yet another leap back toward the electronica base that had passed him by during the mid-'90s. The first two tracks, "Honey" and "Find My Baby," weave short blues or gospel vocal samples around rather disinterested breakbeat techno. This version of blues-meets-electronica is undoubtedly intriguing to the all-important NPR crowd, but it is more than just a bit gimmicky to any techno fans who know their Carl Craig from Carl Cox. Fortunately, Moby redeems himself in a big way over the rest of the album with a spate of tracks that return him to the evocative, melancholy techno that's been a specialty since his early days…

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…