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	<title>Clubport  ::::: trance ::::: electro ::::: house ::::: progressive ::::: podcast, and much more::::: &#187; Album Review</title>
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		<title>Moby &#8211; Wait for Me (Album Review)</title>
		<link>http://clubport.net/2009/07/23/moby-wait-for-me/</link>
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		<pubDate>Thu, 23 Jul 2009 13:28:10 +0000</pubDate>
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				<category><![CDATA[Album Review]]></category>
		<category><![CDATA[moby]]></category>

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Wait for Me is the most consistent of the four non-remix albums Moby has released since 1999&#8217;s Play. It sounds exactly the opposite of last year&#8217;s Last Night, his return to the lighter feel and up-front dance beats of the records he made before the willful tantrum of 1996&#8217;s Animal Rights. Wait for Me is [...]]]></description>
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<td style="vertical-align: top;"><em>Wait for Me</em> is the most consistent of the four non-remix albums Moby has released since 1999&#8217;s <em>Play</em>. It sounds exactly the opposite of last year&#8217;s <em>Last Night</em>, his return to the lighter feel and up-front dance beats of the records he made before the willful tantrum of 1996&#8217;s <em>Animal Rights</em>. <em>Wait for Me</em> is his most despondent work since that album—the tempos stay down, even the more overtly song-based tracks seem like sketches, and even the most gorgeous chord progressions (&#8221;Scream Pilots&#8221; is a good example) are steeped in melancholy. Yet it shares with <em>Last Night</em> a strange kind of amnesiac quality: both sound fine in the background, gain presence up close and largely slip away when not actually on.</p>
<p>If this isn&#8217;t exactly worrying, well, Moby hasn&#8217;t been giving us much to worry about lately. Some of that is down to the 800-pound gorilla that is <em>Play</em>, whose 300 ad placements seem perspicacious, if not particularly ideal, in retrospect now that the music biz has spent a decade mutating into something that even early Napster adopters would have found utterly alien. Besides, once you achieve cultural ubiquity, what&#8217;s left? You can drive yourself nuts trying to make everyone love you as much or more, which Moby did—see 2002&#8217;s <em>18</em> and 2005&#8217;s <em>Hotel</em>, respectively lesser and far lesser versions of the smash&#8217;s template—or you can simply try to please yourself, as he&#8217;s been telling everyone he did with <em>Wait for Me</em>.</p>
<p>That&#8217;s easy to believe: Moby&#8217;s been mining this vaguely melancholy tap for much of his career. &#8220;Division,&#8221; the opener, is just under two minutes of shuddering synth-strings criss-crossing in arcing waves. &#8220;Study War&#8221; cuts lines from a preacher&#8217;s sermon into rhythmic strips and lays them over a simple piano line, swishing cymbals and a woman moaning in assent. &#8220;Mistake&#8221; is a downcast new wave guitar number sung by the man himself in a flat, irritable monotone. &#8220;Walk with Me&#8221; is ambient/blues/gospel with a hushed vocal from R&amp;B singer Leela James. It hangs together organically, and the second half sneaks up on you. But none of it seems especially essential. Even if you&#8217;re a fan—and I&#8217;ll vouch for the best of his &#8217;90s stuff anytime—it&#8217;s a very slight return.</p>
<div>Tracklist: Moby &#8211; Wait for Me</div>
<p><span> 01. Division<br />
02. Pale Horses<br />
03. Shot in the Back of the Head<br />
04. Study War<br />
05. Walk With Me<br />
06. Stock Radio<br />
07. Mistake<br />
08. Scream Pilots<br />
09. JLTF 1<br />
10. JLTF<br />
11. A Seated Night<br />
12. Wait for ME<br />
13. Hope Is Gone<br />
14. Ghost Return<br />
15. Slow Light<br />
16. Isolate</span></p>
<p>Source  www.residentadvisor.net</td>
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