Album review: Moby - Wait for Me (4.5/5)

Little about Moby has changed since Everything Is Wrong, his 1995 release that, except for the soul samples Play would pick up in 1999, pretty has defined his sound ever since. That album was a blend of dance floor pop, hyper punk rock and chilly electronica. While albums like Play and 18 also contain a diverse set of moods and sounds, other albums focus on just one theme. So while Animal Rights was the miguided punk album, and Last Night the all-dance workout, Wait for Me is Moby at his chilly best. Since that's the Moby sound I've always preferred, this is to my ears the best of single-sound efforts, even if it isn't breaking any new ground.

"Division" is a gorgeous instrumental opener, an orchestra composition of synths and strings. "Pale Horses" is territory Moby has certainly covered before--mid-tempo beats, synths, and a soulful female vocal--but that doesn't make it a bad song, particularly when the middle section's synths send a melancholic wash over the track. "Shot in the Back of the Head" contrasts a backwards fuzzy guitar loop over its layered downbeat synths, which carry the melody. "Study War" sounds like it samples an old black preacher's anti-war sermon, joined with a lovely synths and piano tune over fairly upbeat tempo. So far, I like everything I've heard.

"Walk with Me" features Leela James giving an affecting vocal performance like a woman on the verge of breaking down. It's a lovely but sad song. In fact, Moby doesn't seem to be having much fun at all on Wait for Me, which radiates a mostly blue mood to match the slower tempos. Moby himself takes up vocal duties on "Mistake," but don't let that discourage you from enjoying one of the album's best tracks. The rich strings melody makes room for guitar and drums during the chorus, making it one of the poppiest songs on the album, but also one of the easiest to like. "Scream Pilots" follows, and its a perfect instrumental companion to "Mistake," building the melody with layers of guitar and synths in the same satisfying way "18" does.

"Jltf" creeps in like the score to that scene in a country drama where the two main characters--separated by fate--realize they should be together. It's a really beautiful song with a nice cinematic quality. And its singer, Melody Zimmer, sounds not unlike Dido. The church choir of "A Seated Night" gives it a dreamy, gothic air. "Wait for Me" showcases a repetitive piano melody, vocals and strings, and a synth-backed chorus that strikes just the right key change. It's another really interesting song that I really like.

"Hope Is Gone" is a languid, slow ballad, with a depressing lyric about someone closing the door on love. Radiohead-ish "Ghost Return" combines a tinny beat with distant-sounding piano and space-age synth effects. "Slow Light" is a rich synth instrumental over a pretty good drum beat. "Isolate's" guitar sounds like it was recorded years ago, with sharp bass guitar, synths and strings layered over it. Moby talks about how he wanted this album to sound older--not retro--but just like it was recorded in the past, which he achieves with this song, among others.

I initially thought I'd give this a "4," but while writing this, I realized how much I really like this album and bumped it up a half a point. It's really quite lovely, sad, interesting, and enjoyable. Best album Moby's made since Play.

Best: Mistake, Jltf, Wait for Me, Division, Pale Horses, Walk with Me, Shot in the Back of the Head